There are 228188 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeBritish Army Royal Gloucestershire Hussars other ranks full dress jacket of blue cloth, with eighteen loops of yellow mohair cord to front and six rows of brass half/ full domed buttons, the lining of black cotton. Consigned for sale by the Trustees of the Royal Gloucestershire Hussars Trust
British Army Royal Gloucestershire Hussars other ranks full dress jacket of blue cloth, with eighteen loops of yellow mohair cord to front and six rows of brass half/ full domed buttons, the lining of black cotton, together with a pair of overalls. Consigned for sale by the Trustees of the Royal Gloucestershire Hussars Trust
British Army Royal Gloucestershire Hussars other ranks full dress jacket of blue cloth, with eighteen loops of yellow mohair cord to front and six rows of brass half/ full domed buttons, the lining of black cotton, together with a pair of overalls. Consigned for sale by the Trustees of the Royal Gloucestershire Hussars Trust
British Army Royal Gloucestershire Hussars other ranks full dress jacket of blue cloth, with eighteen loops of yellow mohair cord to front and six rows of brass half/ full domed buttons, the lining of black cotton. Consigned for sale by the Trustees of the Royal Gloucestershire Hussars Trust
British Army Royal Gloucestershire Hussars other ranks full dress jacket of blue cloth, with eighteen loops of yellow mohair cord to front and six rows of brass half/ full domed buttons, the lining of black cotton, together with a pair of overalls. Consigned for sale by the Trustees of the Royal Gloucestershire Hussars Trust
A group of shield fobs, comprising a plain silver shield, a silver and enamel BSSUA 1938 W Fussey enamel swimming badge, a silver Eisteddfod first award violin badge for 1939, silver cadet council badge, two Battersea Schools Sports Association silver badges, and a plated badge, together with two lady's quartz dress wristwatches, silver badges, 2¼oz gross.
A RARE YELLOW-GROUND SILK KESI ROBE 'DRAGON' PANELWanliThe panel finely woven with a lively side-facing five-clawed horned dragon chasing a flaming pearl beneath an oval canopied lantern decorated with a rabbit and striding amidst wispy ruyi clouds interspersed with the Auspicious Emblems, all on a rich yellow-ground above the terrestrial diagram rising above rolling waves and ruyi clouds, mounted.122cm (48in) long x 61cm (24in) wide.Footnotes:明萬曆 黃地緙絲龍紋袍料Provenance: Jacqueline Simcox Ltd., London, 2007An English private collection來源：倫敦古董商Jacqueline Simcox Ltd.，2007年英國私人收藏Finely woven in gold and multi-coloured threads with elegant designs of a side-facing five-clawed dragon, writhing amidst clouds and a lantern decorated with a rabbit, the present panel would have formed the front right half of an Imperial robe which would have been worn by the Emperor on the occasion of the Lantern Festival celebrations. The Lantern Festival was held over a period of ten days centering on the 15th day after the New Year Festival, which was the time of the first full moon of the new year. It appears to have been introduced during the Han dynasty, probably in relation with the spread of Buddhism in China. Emperor Ming of the Eastern Han dynasty (25-220 AD) had heard that Buddhist monks prayed to Buddhist relics on the 15th day of first lunar month, lighting lanterns to pay respect to the Buddha. Taking a liking to the custom, he ordered that lanterns be lit throughout the Imperial palace and all the temples on the same day. The custom of hanging lanterns quickly became widespread among the population; see G.J.Melton, Religious Celebrations: An Encyclopedia of Holidays, Festivals, Solemn Observances, and Spiritual Commemorations, Goleta, CA, 2011, pp.514–515. A colourful scroll painting titled 'Xianzong Enjoying Pleasures', in the History Museum, Beijing, depicts the ruler at several moments in time including his tour of the palace surveying the elaborate festivities he ordered for the Lantern Festival, which included several rows of brilliantly-blazing lanterns lining the archway leading up to the Imperial palace; see J.Stuart, 'Timely Images: Chinese Art and Festival Display', in Proceedings of the British Academy, vol.167, 2009, pp. 295–348.The Emperor, Imperial family and high-ranking wealthy courtiers wore costumes woven or embroidered with themed decoration for the festive event. While the Ming dynasty official colour was red, the Emperor wore yellow for his official Court dress. Robes made to be worn for the occasion were probably restricted for use by the upper ranks at the Court of the Wanli Emperor, known for its demand for luxurious silks. Compare with a silk gauze embroidered panel from a dragon robe made for the Lantern Festival, Wanli, depicting a side-facing dragon riding amidst clouds and lanterns, illustrated by J.Vollmer and J.Simcox, Emblems of Empire, Edmonton, AB, 2009, pp.50-51.For further information on this lot please visit Bonhams.com
An exceptionally rare chestnut-ground 'dragon' chubha, KangxiKangxiThe elegant garment constructed in Tibet from Chinese Kangxi period Imperial chestnut silk brocades, finely worked in gold and multi-coloured threads, the design on the front and back dominated by a large and powerful side-facing four-clawed mang dragon clutching the flaming pearl amidst a dense ground of ruyi clouds and Shou medallions, all above the terrestrial diagram rising from rolling waves and ruyi lishui, with four further partial dragons on the sleeves, superimposed against a ground of interconnected clouds and small dragons, woven in gold and multi-coloured threads, all above a partial terrestrial diagram at the hem, the collar and inner flap decorated with panels depicting a continuous patterns of dragon roundels alternating with wispy clouds, the raised collar and border edged with dark and light fur pelts, blue brocade and gold thread creating an elegant design, the interior lined with patterned cotton. 184cm (72 1/2in) wide x 136cm (53 1/2in) long.Footnotes:清康熙 御製褐地織彩雲金龍紋袍料製藏袍Provenance: Linda Wrigglesworth, LondonA distinguished Belgian private collection來源：倫敦Linda Wrigglesworth比利時顯赫私人收藏Finely tailored from sumptuous Imperial chestnut-ground brocaded silks, the present garment is a brilliant and elegant adaptation of 17th century Chinese Imperial Court costume to formal Tibetan ceremonial attire.The front and back of the garments would have made up the main body of an extremely rare Imperial woman's formal state robe, chaopao dating to the Kangxi period. This is visible by the L-shaped seam between the collar and the underarm, noted on the present lot. The same L-shaped seam between the collar and the underarm is one of the main features of chaopao garments, long dragon robes made of a single section from shoulder to hem, with separate sleeves which were inserted into the main body at the shoulders; the resultant seams were then covered with metallic brocade ribbon, which was used as neck, side and hem trim. A separate piling collar was an additional garment that rested on the shoulders. Epaluettes were once applied and then removed to obtain a simpler Tibetan-style closure. This tailoring combined the styles of the two layered garments worn by the Imperial female members of the Ming dynasty, namely a a long sleeved, full-length coat, chaopao, which would have been worn under a full-length sleeveless coat, gualan. Surviving material evidence suggests that probably by the time of the Qing conquests, the two garments had merged into a single coat though the full length court vests still appeared; see J.Vollmer, Ruling from the Dragon Throne. Costumes of the Qing Dynasty (1644-1911), Berkeley, CA, 2002, p.69. Chaopao robes dating to the Kangxi period and preserved in public collections are exceptionally rare, however, a velvet textile for a dragon robe, 17th century, from the Metropolitan Museum of Art, New York, depicts a very similar large four-clawed dragon clutching the flaming pearl, to the dragons brilliantly woven on the present robe, acc.no.1987.147, illustrated in The Metropolitan Museum of Art. Friends of Asian Art Gifts, 1985–2007. New York, 2008, p.36. See also a yellow-ground robe, Shunzi, embroidered with a single large side dragon clutching the flaming pearl, illustrated in The Complete Collection of Treasures from the Palace Museum. Textiles and Embroideries of the Ming and Qing Dynasties, Hong Kong, 2005, p.181, no.202. A Qing dynasty winter chaopao lined with brown fur and incorporating the styles of a long garment and a sleeveless coat, as the present example, from the 'Regulations of Imperial Paraphernalia of the Qing Dynasty' Huangchao Liqi Tushi, edited in 1759, is illustrated by J.Vollmer and J.Simcox, Emblems of the Empire. selections from the Mactaggart Art Collection, Edmonton, CA, 2009, p.13.According to the 'Illustrated Regulations for the Ritual Paraphernalia of the Imperial Court' Huangchao Liqi Tushi 皇朝禮器圖式, edited in 1759, brown jinhuang, was considered one of the five shades of yellow that could only be worn by the closest family members to the Emperor, and Third and Fourth Degree Princes and their wives could wear brown robes decorated with four-clawed dragons, mang; see L.Wrigglesworth, Imperial Wardrobe, London, 1990, p.174.During the Qing dynasty, it became an established practice for the Court to send gifts of silks and garments to Tibet because of the strong attachment of the Manchu rulers to Tibetan Buddhism and the political relations. At this time, the Court produced richly-decorated silk costumes specifically for use in Buddhist rituals and bestowed large quantities of Imperial 'dragon' robes that became the customary formal dress for aristocratic Tibetans. The Tibetans traditionally wore robes featuring very long sleeves characterised by wider cuts and a simpler style of front overlap and fastening. The front part of the garment slanted from the neck to a fastening under the right arm.The Tibetans created the chubha style robe by substituting the front underlap of the garment with another material, or by cutting off some of the deep wave border to extend the arms or widen the sleeves. The overall result conveyed a rather harmonious and eccentric effect obtained by combining different materials; see J.Simcox and J.Vollmer, Emblems of Empire: Selection from the Mactaggart Art Collection, Edmonton CA, 2009, pp.200-217.Compare with a related 'dragon' robe, Kangxi, which was sold at Christie's London, 9 November 2010, lot 276.For further information on this lot please visit Bonhams.com
A RARE SILK EMBROIDERED 'GOLDEN PHEASANT' BADGEYongzheng/QianlongMade for a civil official of the Second Rank, finely embroidered in multi-coloured threads with the bird facing the sun as it alights onto a rock emerging from green rolling waves interspersed with gold thread, all within a border of sinuous trailing clouds executed in delicate blue and green shades, framed and glazed. The badge 28.5cm (11 2/8in) wide x 27cm (10 1/2in) long. Footnotes:清雍正/乾隆 刺繡錦雞紋二品文官補子Provenance: Linda Wrigglesworth, London, 1980來源：倫敦Linda Wrigglesworth，1980年Badges buzi displaying fabulous creatures, birds or animals were worn by the members of the Qing ruling elites as part of their Court dress. The various species, whether real or imaginary, signified the wearer's rank and the badges were worn in pairs on the bufu surcoat. Accordingly, one badge was attached to the back of the surcoat, the other was made in two parts, which were respectively placed to either side of the opening on the chest.Compare with a similar silk 'Golden Pheasant' embroidered badge, 18th century or earlier, in the Metropolitan Museum of Art, New York, acc.no.1988.104.89.For further information on this lot please visit Bonhams.com
A RARE EMBROIDERED SILK MANCHU NOBLEWOMAN'S FESTIVE HAT, JIGUAN19th centuryOf domed shape, the upturned brim lined with sea-otter fur surrounding a domed crown finely decorated in various shades of pink and green threads with flowering prunus branches and large red peaches, all on a vibrant blue ground beneath a red silk Endless Knot, suspending two red silk streamers at the rear, each decorated with gold thread designs depicting the Auspicious Emblems within a double ruyi frame. The hat 22cm (8 5/8in) diam.; the kerchief 78.5cm (30 6/8in) long. Footnotes:十九世紀 海狸皮冬季女吉服冠Provenance: Linda Wrigglesworth, London, early 1990's來源：二十世紀九十年代早期，倫敦Linda WrigglesworthFestive hats, such as the present example, were known as jiguan and completed the semi-formal outfit worn by Manchu noblewomen and noblemen, which comprised of a side-fastening silk robe decorated with five-clawed dragons, footwear, belts, purses and a surcoat.Women's festive hats resemble the shape of the Emperor's winter hats and were embellished with a pair of wide streamers decorated with auspicious symbols, which were inserted through a horizontal slit in the brim and hung down her back to below the waist.Compare with a similarly-shaped silk hat for an Empress or concubine, Qing dynasty, capped with a similar red silk endless knot, as the present example, from the Qing Court Collection, illustrated in The Complete Collection of Treasures from the Palace Museum: Costumes and Accessories of the Qing Court, Shanghai, 2006, no.165. See also two related embroidered silk Manchu noblewomen's festive hats, each suspending a pair of streamers, 19th century, the first in the Royal Ontario Museum, Toronto, illustrated by J.Vollmer, Ruling From the Dragon Throne. Costumes of the Qing Dynasty, Berkeley, 2002, p.133, fig.4.50; and the second is illustrated by V.Garrett, Chinese Dress: from the Qing Dynasty to the Present, Clarendon, VM, 2008, p.41, fig.65.For further information on this lot please visit Bonhams.com
A DEEP AUBERGINE-GROUND SILVER AND GOLD-EMBROIDERED 'LONGEVITY' JACKET, 19TH CENTURY19th century Finely embroidered on the front and back in gold-wrapped thread and satin stitch with seven roundels each enclosing a Shou medallion surrounded by five entwined bats with bright blue eyes completing the circle, all interspersed with further Shou characters, all on a deep-midnight-blue ground, the cream-ground satin sleeve bands delicately embroidered in gold-wrapped thread with further Shou medallions enclosed within borders of gourds issuing from leafy stems, trimmed with a high collar and turquoise blue lining. 153cm (60 2/8in) wide x 108cm (42 1/2in) long. Footnotes:十九世紀 黑地捻金銀繡團壽紋馬褂Provenance: Linda Wrigglesworth, London來源：倫敦Linda WrigglesworthSuperbly embroidered in wrapped gold threads with a profusion of Shou characters, the present robe would have been worn by a high-ranking Han Chinese woman.Robes decorated with Shou characters, such as the present example, were known as 'Hundred Longevity Character Garments' baishouyi. They were thought to be imbued with the power to extend one's life and were normally presented as gifts to ageing parents by dutiful sons. At the time, the wealthiest families obtained the finest silks from Shanghai or Suzhou and engaged well-known tailors to make their garments; see L.Wrigglesworth, Imperial Wardrobe, Berkeley, 2000, p.68.Women in Han society often paired calf-length garments with pleated silk skirts, a combination that had existed for centuries prior to the establishment of the Qing dynasty. As the present example illustrates, these robes were fastened down the centre front, in Ming style, or with the right-front overlap with a loop-and-toggle-button closure. They were typically worn during celebrations such as New Year, birthdays, seasonal festivals and formal family gatherings. 'Longevity' jackets, such as the present lot, were typically paired with a pleated skirt similarly decorated with Shou characters embroidered in blue, an example of which is illustrated by V.Garrett, Chinese Dress: From the Qing to the Present, Clarendon, VT, 1997, p.125, fig.242.The elegant combination of Shou characters, meaning longevity and bats, convey highly-auspicious symbolism. Bats represent 'good fortune' and five bats represents 'The Five Blessings' of prosperity, long life, love of virtue, health and a natural death. Combined, the decoration of five bats surrounding the Shou character forms a rebus for Wu fu peng shou 五福捧壽, which may be translated as 'Longevity held up by the five blessings'.The elegant designs of double gourds embroidered on the cream sleevebands further reinforce the wish for longevity bestowed upon the wearer. In addition to sounding similar to the words for blessing and emoluments fulu, double gourds hulu are also associated with Li Tieguai, one of the Eight Daoist Immortals, who was usually depicted holding a double gourd containing the elixir of Immortality. Compare with two related deep-blue-ground silk robes, 19th century, similarly decorated with Shou characters surrounded by five bats, illustrated by L.Wrigglesworth, Imperial Wardrobe, Berkeley, 2000, p.69, and Heaven's Embroidered Cloths. One Thousand Years of Chinese Textiles, Hong Kong, 1995, pp.248-249.For further information on this lot please visit Bonhams.com
AN EXCEPTIONALLY RARE IMPERIAL DOUBLE-SIDED EMBROIDERED SILK 'DRAGON' ROBE, JIFUEarly 19th century Meticulously worked on both the outer and inner sides in satin stitch and coloured threads with nine writhing five-clawed resplendent blue dragons clutching or pursuing flaming pearls amidst dense trailing scrolls of five-coloured clouds interspersed with bats, all above the terrestrial diagram rising from rolling waves and lishui stripe at the hem, all picked out in vibrant shades of blue, aubergine, yellow, coral-red and green, reserved on a deep apricot ground, the matching dark-blue-ground collar and cuffs worked with further blue dragons amidst bats, clouds and waves.205cm (80 6/8in) wide x 156cm (61 1/2in) long.Footnotes:十九世紀早期 御製藍地雙面繡彩雲龍紋吉服袍Provenance: Linda Wrigglesworth Ltd., LondonA distinguished New York private collection, acquired from the above on 6 April 1994.來源：倫敦古董商Linda Wrigglesworth Ltd.紐約顯赫私人收藏，於1994年4月6日購自上者Superbly embroidered on both the inner and outer surface with nine lively five-clawed dragons riding the heavens, the present robe is a rare and remarkable example of its type and would have most probably, been worn by a Third or Fourth Rank Prince.Double-sided robes displaying such an impeccable and detailed embroidery and meticulous attention to detail, noted in the animated expressions of the dragons and their overlapping scales, exquisitely executed in various shades of blue to convey the impression of depth, are obvious features of the most exquisite garments reserved for the highest-ranking members of Qing society. Furthermore, the depictions of dragons clutching, rather than chasing, flaming pearls, also suggest that the wearer would have been one of the most immediate family members of the Emperor. According to the 'Illustrated Regulations for the Ritual Paraphernalia of the Imperial Court' Huangchao Liqi Tushi 皇朝禮器圖式, edited in 1759, blue was the colour worn by the Third and Fourth Degree Princes; see J.Vollmer, C.Hall and Lee Cheor Lin, Power Dressing. Textiles for Rulers and Priests from the Chris Hall Collection, Singapore, 2006, p.147. In Han Chinese thought, the five-clawed dragon pursuing or clutching the flaming pearl was the quintessential symbol of Imperial power, embodying royalty, dominion and expressing the visual metaphor of the good ruler who behaved wisely for the wellbeing of his subjects. Capable of flying high in the sky and diving back into the sea, dragons were regarded as intermediaries between Heaven and Earth and credited with extraordinary powers that compared to those of the Emperor. Even the number nine, for the dragons depicted on the present robe, is highly evocative and likened to the power of Heaven. The multiple of three threes, nine has a long association with the Emperor. In addition, the 'Records of the Grand Historian' Shiji, completed during the first century BC, recounts that, having tamed the floods that once engulfed the land, the mythical emperor Yu divided the territory into the Nine Provinces and collected bronze in tribute from each one. Thereafter he cast the metal into nine large tripod cauldrons. These vessels thus were at the heart of ruler's possessions and symbolic conveyers of power.At the Qing Court the colour blue had a ritual significance, as it was associated with the most important rites at the Altar of Heaven, where the Emperor performed sacrifices at the Winter Solstice and prayed for good harvest and rain during the summer months. It is possible, therefore, that the present robe may have been worn on the occasion of a ritual at the Temple of Heaven. The Imperial Regulations confirmed the importance of a new type of robe, the jifu or longpao, as semi-formal Court wear and brought the cosmic purpose of Imperial rule into sharp focus. The careful arrangement of sinuous dragons writhing amid clouds and above the universal ocean washing against the earth mountain, quickly transcended the political and ethnic priorities of Imperial government to become universal symbols of the Empire. Dragon robes thus became supreme significant social markers representing access to power. The right to wear such garments was dependent on rank and status. The Manchu rulers of the Qing dynasty were keen on projecting an evocative and powerful image of themselves, and their Court costumes conveyed legitimacy and heritage. Despite their initial reluctance to wear the same type of robes as their Ming predecessors, by the reign of the Kangxi Emperor, the Manchu elites were keen wearers of richly-ornamented 'dragon' robes on semi-formal Court occasions and official duties.The Qing robes, however, had their own distinctive shapes and trimmings. For example, the slits appearing at the centre seams, at the front and back hem, as well at the sides, were Manchu innovations that made it comfortable for the garment to be worn during riding. In addition, 'dragon' robes were secured at the waist with ceremonial belts suspending narrow and straight streamers, and sometimes, purses. Other conspicuously-displayed accessories further identified Manchu dress, such as a hat, a surcoat and a necklace; see V.Garrett, Chinese Dress From the Qing Dynasty to the Present, 2008, North Clarendon VT, pp.16-17.The impeccable quality and style of the embroidery closely compare with an Imperial double-sided yellow-ground robe, Qianlong, also decorated with similar blue dragons, from the Qing Court Collection in the Palace Museum, Beijing, illustrated by Ming Wilson, Imperial Chinese Robes from the Forbidden City, London, 2010, p.46-47, no.46. An Imperial blue-ground kesi silk robe, Qianlong, also from the Qing Court Collection, decorated with nine blue dragons, is illustrated in The Complete Collection of Treasures from the Palace Museum. Costumes and Accessories of the Qing Court, Shanghai, 2006, no.37. See also a related Imperial chestnut-ground robe for a Prince, Jiaqing, with nearly-identical depictions of blue dragons, illustrated by J.Vollmer, Dressed to Rule. 18th century Court Attire in the Mactaggart Art Collection, Edmonton, AB, 2007, p.10-11, no.2005.5.79.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A FINE BAMBOO MAN'S JACKET19th centuryThe garment elegantly made of small tubular bamboo beads threaded in a net-like structure, the edges finished in cream silk with two silk with a tie and a button to the front.121cm (47 5/8in) wide x 65.5cm (25 6/8in) long.Footnotes:十九世紀 竹衫Provenance: Linda Wrigglesworth Ltd., LondonAn Australian private collection, acquired from the above in 1997來源：倫敦古董商Linda Wrigglesworth Ltd.澳洲私人收藏，於1997年購自上者The use of bamboo jackets and vests appears to date back to the Ming dynasty. They were worn as an undergarment to aid air circulation, which helped to protect the outer garments from perspiration stains during the hot weather. A nearly identical bamboo jacket, 19th century, is illustrated by V.Garrett, Chinese Dress. From the Qing Dynasty to the Present, Clarendon, VT, 2008, p.112, fig.211.A similar bamboo man's jacket, 19th century, was sold at Christie's New York, 19 March 2008, lot 125.For further information on this lot please visit Bonhams.com
TWO EMBROIDERED SILK FAN CASES19th century Both finely embroidered in counted stitch technique, the first with two deep coral-red bats hovering amidst vaporous ruyi clouds executed in vibrant blue shades, the blue cord with a pair of porcelain spheres decorated with polychrome floral designs, 30.5cm (12in) long; the second 18th century example of fine silk gauze finely-embroidered in subtly-coloured silk and gold and silver wrapped threads with an intricate diaper pattern incorporating Shou and Shuangxi characters with similar woven edgings, the yellow cord with couched gold knots, 31cm (12 2/8in) long.(2).Footnotes:十九世紀 扇套兩件Provenance: Linda Wrigglesworth, London來源：倫敦Linda WrigglesworthFinely woven with auspicious designs of bats and elegant medallions enclosing the characters for longevity and double happiness, the present fan cases would have been suspended from a belt girdle worn around the waist, over a silk robe. Purses were acceptable gifts to mark special occasions and it was the custom for the Emperor to reward his high-ranking officials with elegant sets of five purses, which included a fan and a spectacle case, a pair of drawstring purses containing jewelled charms and a flat purse for storing money; see V.Garret, Chinese Dress: From the Qing Dynasty to the Present, Claredon, VT, 2008, pp.89-91.Compare with a related silk fan case, part of a complete set for a high-ranking official, illustrated by V.Garret, Chinese Dress: From the Qing Dynasty to the Present, Claredon, VT, 2008, pp.89-91. Also compare the bats depicted on one of these fan cases with the designs depicted on a silk drawstring purse, late 19th century, illustrated by J.Vollmer, Imperial Silks. Ch'ing Dynasty Textiles from the Minneapolis Institute of arts, Minneapolis, MA, 2000, p.363.For further information on this lot please visit Bonhams.com
A RARE IMPERIAL APRICOT-GROUND EMBROIDERED SILK WOMAN'S 'DRAGON' ROBEMid 19th century Finely worked on the front and back in satin stitch and couched gold threads with nine writhing five-clawed dragons pursuing flaming pearls amidst dense trailing scrolls of five-coloured clouds interspersed with bats, all above the terrestrial diagram and the lishui stripe at the hem picked out in vibrant shades of blue, yellow, red, coral and green, all reserved on a deep apricot ground, the matching dark-blue-ground collar and cuffs worked with further dragons amidst further bats, clouds and waves, dragons bands, and nine dragons amidst further bats, clouds and waves, lined in a blue support silk. 186cm (73 2/8in) wide x 133.5cm (52 2/8in) long.Footnotes:十九世紀中葉 御製杏黃緞繡暗八仙紋龍袍Provenance: a distinguished Belgian private collection來源：比利時顯赫私人收藏The delicate tailoring and vivid depictions of dragons clutching flaming pearls, suggest that this robe would have been worn by an Imperial Manchu consort. According to the 'Illustrated Regulations for the Ritual Paraphernalia of the Imperial Court' Huangchao liqi tushi 皇朝禮器圖式, edited in AD 1759, the apricot-orange colour xinghuang of this fine robe was one of the 'Five Imperial Yellows' that could only be worn by the Heir Apparent to the Emperor, as well as Princes and Princesses of the First Rank and Imperial Consorts of the Second and Third Degree; see M.Medley, The Illustrated Regulations for Ceremonial Paraphernalia of the Ch'ing Dynasty, London, 1982, and L.Wrigglesworth, Imperial Wardrobe, Berkeley, 2002, pp.14-30.The 'Regulations' confirmed the importance of a new type of robe, the jifu or longpao, as semi-formal Court wear and brought the cosmic purpose of Imperial rule into sharp focus. The careful arrangement of sinuous dragons writhing amid clouds and above the universal ocean washing against the earth mountain, quickly transcended the political and ethnic priorities of Imperial government to become universal symbols of the Empire.Dragon robes thus became supreme significant social markers representing access to power. The right to wear such garments was dependent on rank and status. The Manchu rulers of the Qing dynasty were keen on projecting an evocative and powerful image of themselves, and their Court costumes conveyed legitimacy and heritage. Despite their initial reluctance to wear the same type of robes as their Ming predecessors, by the reign of the Kangxi Emperor, the Manchu elites were keen wearers of richly-ornamented 'dragon' robes on semi-formal Court occasions and official duties.In Han Chinese thought, the five-clawed dragon was the quintessential symbol of Imperial power, embodying royalty, dominion and expressing the visual metaphor of the good ruler who behaved wisely for the wellbeing of his subjects. Capable of flying high in the sky and diving back into the sea, dragons were regarded as intermediaries between Heaven and Earth and credited with extraordinary powers that compared to those of the Emperor. Even the number nine, for the dragons depicted on the present robe, is highly evocative and likened to the power of Heaven. The multiple of three threes, nine has a long association with the Emperor. In addition, the 'Records of the Grand Historian' Shiji, completed during the first century BC, recounts that, having tamed the floods that once engulfed the land, the mythical Emperor Yu divided the territory into the Nine Provinces and collected bronze in tribute from each one. Thereafter he cast the metal into nine large tripod cauldrons. These vessels thus were at the heart of a ruler's possessions and symbolic conveyers of power.The Qing robes, however, had their own distinctive shapes and trimmings. For example, the slits appearing at the centre seams, at the front and back hem, as well at the sides, were Manchu innovations that made it comfortable for the garment to be worn during riding. In addition, dragon robes were secured at the waist with ceremonial belts suspending narrow and straight streamers, and sometimes, purses. Other conspicuously-displayed accessories further identified Manchu dress, such as a hat, a surcoat and a necklace; see V.Garrett, Chinese Dress From the Qing Dynasty to the Present, 2008, North Clarendon VT, pp.16-17.Compare with a similar apricot-ground silk 'dragon' robe, mid-19th century, illustrated by V.Garret, Chinese Dress. From the Qing Dynasty to the Present, Berkeley, 2008, p.32, fig.49.A related apricot-ground formal Court silk 'dragon' robe, jifu, mid-19th century, was sold at Christie's London, 12 May 2017, lot 290.For further information on this lot please visit Bonhams.com
A FINE UNCUT 'MIDNIGHT-BLUE' GAUZE SILK 'GOLDEN PHEASANT,' BUFULate 19th century Elegantly fashioned from rich midnight-blue gauze silk with front, back and side vents and a front opening, finely embroidered on the front and back rank badges finely made of colourful thread, each depicting a golden pheasant for the Second Civil Rank, the bird standing atop a rock arising from foaming waves interspersed with bats and vaporous clouds, all above rolling waves, all within a border decorated with stylised chi long on a key-fret and Shou symbols ground. 186cm (73 2/8in) wide x 126cm (49 1/2in) long.Footnotes:十九世紀晚期 藏藍地納紗繡錦雞紋二品文官補服Provenance: Linda Wrigglesworth, London, early 1980's.來源：二十世紀八十年代早期，倫敦Linda WrigglesworthQing Court officials could be recognised by their Court surcoat, or outer coat bufu, such as the present example. A pair of identical insignia badges buzi, were embroidered directly on the back and chest of the garment, indicating the high rank of the wearer. The fact that the badge is embroidered directly into the silk ground further reinforces the high status and wealth of the wearer. This feature in fact made it impossible for the rank badge to be substituted with another as the wearer received a promotion, which happened often amongst the lower ranks of officialdom.When the Qing dynasty was established in 1644, regulations concerning rank badges were among the first edicts enacted by the Manchu government. The shapes of the badges conveyed religious and philosophical concepts that were themselves tied to the maintenance of social order.Following the publication of the 'Imperial Regulations', edited in 1759 by the Qianlong Emperor, calf-length, centre-fastening surcoats became mandatory for formal occasions. All who appeared at Court were required to wear a bufu, which was made of either dark blue or purple-black silk. It was loose-fitting, opening down the centre front, and had side and back vents. The three-quarter-length sleeves and the mid-calf length of the garment enabled the official to show off the sleeves extensions, the horseshoe-shaped cuffs and the lishui hem of the 'Court' or 'dragon' robes underneath. In addition, the simple shape of the coat made it an ideal 'canvas' for the badges of rank attached to the front and back, clearly defining their rank for all to see; see V.Garrett, Chinese Dress From the Qing Dynasty to Present, North Clarendon VT, 2008, p.75.The golden pheasant, shown in a finely-delineated terrestrial diagram, corresponds to the Second-Rank civil official. Although the Manchu, on assuming power, made a break in Chinese tradition and retained their own national costume, in 1652 they brought back the Ming custom of indicating rank by insignia squares, demarcating the nine ranks of civil officials by birds embroidered on the squares and the military rank grades by animals.Compare with a very similar dark-blue gauze silk surcoat, late 19th century, illustrated by J.Vollmer, 'Clothed to Rule the Universe: Ming and Qing Dynasty Textiles at The Art Institute of Chicago', in Art Institute of Chicago Museum Studies, vol.26, no.2, p.20, pl.III. See also a pair of related kesi 'goose' badges, 19th century, which was sold at Christie's London, 15 May 2013, lot 727.For further information on this lot please visit Bonhams.com
A Victorian W.H. Goss parian porcelain bust of a lady, 27cm, in fine veil with floral hair dress, on socle base minor chips to the floral splay in her hair, very minor knocks to the edges of the bust on either sie just below the shoulders, slightly loose from the base, light surface scratches, otherwise generally good condition, no obvious signs of significant damage or repair
A ladies full-length gown, Horrockses, 1950s white cotton,printed with green daisy meanders, labelled Horrockses Fashion, size 14; another of toffee brocade; a third of blue crepe; a wedding dress tagged 1959; and a boxed pair of Clarke's blue suede shoes, Andria, size 6, with the CC41 ration mark.
Loading...
