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Lot 209
A rare cloisonné enamel tripod incense burner15th centuryOf curved cylindrical form supported on three legs, expertly enamelled around the exterior with large lotus blooms in yellow, white and purple borne on leafy scrolls, all on a dark lapis-blue ground, the mouth with a further floral band on an emerald-green ground. 11.1cm (4 1/2in) diam. Footnotes:十五世紀 銅胎掐絲琺瑯蓮紋三足爐Provenance: Mrs Gret Hasler (1895-1971), Winterthur, Switzerland, and thence by descentA trip to New York, Chicago and Washington in 1937 was the starting point for Mrs Gret Hasler's interest in Chinese art. This she continued until the Second World War by acquiring objects from dealers in Paris, Sweden and New York.來源：瑞士溫特圖爾Gret Hasler夫人（1895-1971）舊藏，並由後人保存迄今Gret Hasler夫人對中國藝術的興趣始於1937年的紐約、芝加哥和華盛頓之行。此後，她持續自巴黎、瑞典和紐約的古董商處購藏藝術品，直至第二次世界大戰後。See a related cylindrical cloisonné enamel brush holder on three feet, decorated with grape vines, second half 15th century, illustrated by H.Brinker and A.Lutz, Chinese Cloisonné: The Pierre Uldry Collection, New York and London, 1989, no.31. Compare also with a cloisonné enamel tripod incense burner, early Ming dynasty, illustrated by B.Quette, ed., Cloisonné: Chinese Enamels from the Yuan, Ming, and Qing Dynasties, New York, 2011, p.231, no.14.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
Lot 234
AN EXTREMELY RARE AND IMPORTANT CLOISONNÉ ENAMEL 'POMEGRANATES' CIRCULAR BOX AND COVERIncised Xuande six-character marks and of the periodThe slightly-domed cover exquisitely enamelled in gradating tones of red, green and yellow in the centre with two ripe pomegranates, one bursting with ruby-red seeds highlighted with white, issuing from gnarled gold branches with blossoms and further smaller fruit, the undulating leaves with shades of red, yellow and blue picked with gold veins, the vertical sides of the cover and box decorated with formal lotus scrolls, the slightly recessed base incised with a Xuande six-character mark, the interior of the cover similarly incised with a six-character mark. 12cm (4 3/4in) diam. (2).Footnotes:明宣德 掐絲琺瑯石榴紋蓋盒「大明宣德年製」楷書刻款Provenance: Spink and Son, Ltd., London, purchased by Lord Cunliffe in 1946Rolf, Lord Cunliffe (1899-1963), Honorary Keeper of the Far Eastern Collections at the Fitzwilliam Museum, Cambridge (collection no.E2), and thence by descentPublished, Illustrated and Exhibited: Mostra D'Arte Cinese (Exhibition of Chinese Art), Venice, 1954, p.203, no.754The Arts Council of Great Britain and the Oriental Ceramic Society, The Arts of The Ming Dynasty, 15 November - 14 December 1957, no.300 (published and exhibited)H.Garner, Chinese and Japanese Cloisonné Enamels, London and Boston, 1962, pl.23 (published)Rolf, Lord Cunliffe, began collecting Chinese art in London towards the end of the Second World War. Over the next 20 years, he acquired over five hundred Chinese ceramics, jades and bronzes; buying judiciously but regularly from the best dealers in Chinese art dotted around Mayfair and St James in London, including galleries such as Bluett & Sons, John Spark, and Spink & Son. At his London flat in the heart of Mayfair, across the street from the famous Dutch dealer in Chinese art Peter Boode, he squeezed his growing collection into steel filing cabinets inconspicuously tucked away in his bathroom! Visiting collectors like the King of Sweden would spend happy hours sitting on the edge of the bath, discussing the finer points of a jade rhyton or a Junyao bowl. The present important cloisonné enamel box and cover, Xuande marks and of the period, has been a prized object in the collection, previously exhibited on two occasions, lastly in 1957, and published in the important and early publication by Sir Harry Garner in 1962.來源：1946年，倫敦古董商Spink and Son, Ltd.劍橋大學菲茨威廉博物館東方藝術部名譽主任，Rolf，Cunliffe勛爵（1899-1963）舊藏（藏品編號E2），並由後人保存迄今展覽著錄：「Mostra D'Arte Cinese（中國藝術展）」，威尼斯，1954年，頁203，編號754英國藝術委員會與倫敦東方陶瓷學會，「The Arts of the Ming Dynasty（明朝藝術）」，1957年11月15日-12日14日，編號300（展覽並出版）H.Garner著，《Chinese and Japanese Cloisonné Enamels（中國與日本掐絲琺瑯）》，倫敦和波士頓，1962年，圖版23Rolf，Cunliffe勛爵，第二次世界大戰後期開始收藏中國藝術品；並在之後的二十年內有規律地光顧倫敦當時最為頂尖的中國藝術古董商，如Bluett & Sons、John Spark、和Spink & Son 等，購藏了五百餘件中國藝術品，所藏涵括瓷器、玉器、和青銅器等門類。其倫敦的公寓位於梅費爾地區腹地，與著名中國藝術經紀Peter Boode隔街相望；而他就將其日益壯大的中國藝術收藏收納在公寓浴室中毫不起眼的金屬櫃裡！登門造訪的收藏家，譬如瑞典國王，則會花幾個小時坐在浴缸邊沿，愉快地交流諸如玉雕來通盃或鈞窯盌上的精彩細節。本例明宣德掐絲琺瑯石榴紋蓋盒，「大明宣德年製」楷書刻款，在Cunliffe勛爵的收藏中也備受重視，曾經兩次公開展出，最近一次展於1957年，且被收錄在早在1962年出版的加納爵士（Sir Harry Garner）關於掐絲琺瑯的重要著作中。Cloisonné enamel wares, though introduced in the 14th century during the Yuan dynasty, are widely considered to have reached artistic maturity in the early 15th century during the early Ming dynasty. In terms of their dynamic designs and powerful palettes, framed and heightened by the richly gilt wires, the Xuande period represents the pinnacle of cloisonné enamel craftsmanship as exemplified in the famous 'dragon' jars and covers in the British Museum, London and the Uldry Collection in Museum Rietberg in Zurich. The present lot is an exceptionally rare example of this early period, bearing two incised Imperial Xuande reign marks, demonstrating the bold palette and decorative features of the period, exquisitely shown in the juicy translucency of the ripe and bursting fruit. Apart from being extensively published, the present lot is important as it is one of only four published similar cloisonné enamel boxes. Each of these four boxes is similar in form, in size (approximately 12cm diam.), in the lotus scroll decoration around the sides of the box and cover, and in the main decorative motif being a type of auspicious fruit: pomegranates, persimmons, melons and grapes. Importantly, each of these boxes are doubly marked with an incised Xuande six-character reign mark, once on the underside of the box and again on the interior of the cover. The Cunliffe box is the only one remaining in a private collection with the other three in public museums and institu... For further information on this lot please visit Bonhams.com
Lot 260
A PAIR OF CLOISONNÉ ENAMEL DISHES17th century Each finely decorated in red, yellow, blue, green and white enamels on a turquoise ground, the centre with two exotic birds on gnarled rockwork amidst flowering trees and plants of the four seasons including peony, lotus, chrysanthemum and prunus, the shallow sides with floral panels enclosed by everted rims, all raised on a short foot. Each 23.5cm (9 1/4in) diam. (2).Footnotes:十七世紀 銅胎掐絲琺瑯花鳥紋盤一對Compare with an almost identical cloisonné enamel dish with the same motif of birds and rockwork, first half 17th century, illustrated by H.Brinker and A.Lutz, Chinese Cloisonné: The Pierre Uldry Collection, New York and London, 1989, no.130. Another cloisonné enamel dish of the same type, was illustrated by E.Bluett, 'Chinese Cloisonné in the Krolik Collection', Oriental Art, vol.XI, no.4, Winter 1965, p.223, fig.8.For further information on this lot please visit Bonhams.com
Lot 261
A large cloisonné enamel 'Dragon' pricket candlestickKangxiSupported on a bell-shaped base, finely decorated in bright enamels with a shou character between two pairs of confronted dragons, below a collar of gilded lappets, rising to a meiping shaft supporting a drip-pan and a tapering column, similarly enamelled with confronted dragons and scrolling lotus tendrils, continuing to a smaller gilt drip-pan surmounted by a pricket. 48cm (18 7/8in) high.Footnotes:清康熙 銅胎掐絲琺瑯夔龍捧壽紋燭台A related pair of cloisonné enamel pricket candlesticks, 18th century, with the drip pan similarly supported by a baluster, was sold at Christie's New York, 19 March 2021, lot 814.For further information on this lot please visit Bonhams.com
Lot 300
A CLOISONNÉ ENAMEL TRIPOD INCENSE BURNER, DINGQianlong The vessel with a compressed bulbous body flanked by a pair of bail handles, finely decorated with blossoming lotus issuing leafy vines alternating with geometric interlacing designs ending in acanthus leaves, all in multi-coloured enamels on a vibrant turquoise ground. 9.5cm (3 5/8in) wide.Footnotes:清乾隆 銅胎掐絲琺瑯蓮紋沖耳爐Provenance: Sotheby's London, 15 May 2007, lot 405來源：倫敦蘇富比，2007年5月15日，拍品編號405Compare with a related cloisonné enamel incense burner, Qianlong six-character mark and of the period, from the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Enamels, Cloisonné in the Qing Dynasty, 2, Beijing, 2011, p.281, no.225.See also a related Imperial cloisonné enamel tripod incense burner, incised Qianlong four-character mark and fei character and of the period, which was sold at Bonhams Hong Kong, 28 November 2017, lot 34.For further information on this lot please visit Bonhams.com
Lot 301
A RARE CLOISONNÉ ENAMEL GU-SHAPED WALL VASEQianlong Vibrantly enamelled in various colours on a turquoise ground with taotie masks between foliage and stiff-leaf designs, within gilt rims and wire. 24cm (9 1/2in) high.Footnotes:清乾隆 銅胎掐絲琺瑯仿古饕餮紋觚式壁瓶Compare with a related wall vase, Kangxi four-character mark and of the period, illustrated by H.Brinker and A.Lutz in Chinese Cloisonné: The Pierre Uldry Collection, New York, 1989, no.223.For further information on this lot please visit Bonhams.com
Lot 302
A PAIR OF CLOISONNÉ ENAMEL CHIME-SHAPED LANTERN FITTINGSQianlongEach in the form of a musical chime, reticulated and exquisitely enamelled with archaistic scrolls and florets, with ruyi-shaped terminals, the top ruyi formed from a double-headed chilong, the heads joining a taiji symbol. Each 26cm (10 1/4in) wide. (2).Footnotes:清乾隆 銅胎掐絲琺瑯磬式燈飾一對The musical stone or chime was one of the 'Eight Precious Things' or babao, including the pearl, lozenge, conch shell, coin, mirror, artemisia leaf and books/scrolls. The musical stone symbolised harmony, and thus perfection and justice. See a wood and lacquer lantern in the form of a similarly-shaped musical chime, mid Qing dynasty, at Kedleston Hall, Derbyshire (acc.no.NT 107453). See also a related cloisonné enamel lantern, Qianlong, but in the form of a ruyi-head, which was sold at Christie's New York, 19 September 2006, lot 100.For further information on this lot please visit Bonhams.com
Lot 304
A MAGNIFICENT AND RARE CLOISONNÉ ENAMEL AND GILT-BRONZE TRIPOD 'CRANES' INCENSE BURNER AND COVERQianlongImpressively cast and supported on the shoulders of three cranes, the globular body colourfully enamelled with a continuous scene of a lotus pond, depicting swimming, flying, resting and pecking egrets amongst foliate lotus leaves and upright sprays of lotus blossoms beside craggy rocks and patchy grass, all beneath a gilt band of lotus lappets to the waisted neck, flanked by a pair of finely-cast handles in the form of a sinuous five-clawed dragon grasping an enamelled Shou-character roundel, the reticulated domed cover finely decorated with three large ruyi-shaped lappets enamelled with lotus flower heads surmounted by a gilt bronze bud-shaped finial meticulously cast with a writhing five-clawed dragon amidst scrolling clouds. 86.4cm (34in) high. (2).Footnotes:清乾隆 銅胎掐絲琺瑯鷺蓮圖鶴壽三足大熏爐Provenance: a European private collectionBonhams London, 10 November 2016, lot 96A UK private collection來源：歐洲私人收藏倫敦邦瀚斯，2016年11月10日，拍品編號96英國私人收藏The Qianlong Emperor was a keen collector of objects of the past, advocating to restore ancient ways, suggesting that craftsmen turn to antiquity for models which would enable them to imbue their designs with simplicity and honesty in order to achieve refinement and elegance.The present vessel is a magnificent example of the Qianlong period, combining the archaistic form derived from the Shang and Zhou dynasties ding ritual vessel, with the opulent taste of the Qing Court, utilising the vibrantly-colourful cloisonné enamel embellished with the gilt bronze dragon finial and handles. The master craftsman has further elevated the vessel, both in height and in extravagance by using three long-legged cranes instead of cabriole legs as supports.The magnificent vessel is imbued with auspicious associations as often seen on other Imperial works of art. The cranes symbolise Immortality and are often shown as companions to Shoulao, the God of Longevity. Paintings of cranes had been popular in the Imperial Court since the Northern Song dynasty, when the Huizong Emperor (1082-1135) himself painted an iconic handscroll, 'Auspicious Cranes', now preserved in the Liaoning Provincial Museum, Shenyang, and illustrated by J.Cahill, 3000 Years of Chinese Painting, New Haven, 1997, p.123, fig.114. Cranes were also a recurring subject in the paintings of the Jesuit Court artist Giuseppe Castiglione (1688-1766). Further symbolism is imbued in the lotus, as one of the Eight Buddhist Emblems, and bajixiang and its association with purity.Compare with a similar pair of cloisonné enamel incense burners and covers with crane supports bearing similar dragon handles, Qianlong, which were sold at Bonhams Hong Kong, 4 December 2008, lot 202. See also a similar pair of cloisonné enamel incense burners and covers with crane supports but with upright cloisonné enamel handles, Qianlong, in the British Museum, London, one of which is illustrated by E.S.Rawski and J.Rawson, eds., China: The Three Emperors 1662-1795, London, 2005, pl.304; for another similar example see H.Brinker and A.Lutz, Chinese Cloisonné: The Pierre Uldry Collection, New York, 1989, pl.323; and compare with a pair similar to the British Museum example, which was sold at Sotheby's New York, 18 March 2014, lot 359.For further information on this lot please visit Bonhams.com
Lot 320
A rare pair of Imperial white and spinach-green jade and cloisonné enamel 'Shou Characters' screensQianlong The jade rectangular plaques of pale white tone, each inscribed with 60 Shou characters in zhuanshu calligraphy and decorated with gilt, the reverse with pomegranates, butterflies, and narcissus, the other with lotus and a pair of Mandarin ducks, each encased in a cloisonné enamel frame with diaper pattern, supported on a zitan wood stand with spinach-green jade spandrels and shaped apron. Each 24.1cm (9 1/2in) high. (4).Footnotes:清乾隆 御製紫檀嵌碧玉座框銅胎掐絲琺瑯鑲白玉雕壽字紋硯屏一對Provenance: Sir John William Buchanan-Jardine, 3rd Baronet (1900-1969), LondonSpink & Son Ltd., LondonAn English private collection, with one of the pair of screens acquired from the above on 30 November 1954 (to join the pair to it which was previously separated), and thence by descentExhibited and Published: Royal Academy of Arts, International Exhibition of Chinese Art 1935-6, London, 1935, p.245, no.2859Captain Sir John W. Buchanan-Jardine became, like his family predecessors, the Chairman of Jardine, Matheson & Co. He was among the largest lenders to the Royal Academy of Arts International Exhibition of Chinese Art in Burlington House in 1935-36, his loan including the present pair of screens. The Exhibition remains the most important exhibition of Chinese Art ever held in Europe.來源：倫敦第三代John William Buchanan-Jardine男爵（1900-1969）舊藏倫敦古董商Spink & Son Ltd.英國私人收藏，其一於1954年11月30日購自上者（將兩屏合為一對），並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935年，頁245，編號2859John W. Buchanan-Jardine男爵，如他的家族前輩一樣，曾為怡和洋行（原名渣甸洋行）董事長。同時，他也是1935-36年於英國皇家藝術學院伯靈頓宮舉辦的「中國藝術國際展覽會」最大的借展方之一，並借展了本對硯屏。該展覽仍為歐洲迄今最為重要的中國藝術展覽。The present lot has sixty Shou (壽) characters on each screen. It is likely therefore, that it was made for the occasion of the Qianlong Emperor's 60th birthday celebration (held on the 1st month of the 35th year of his reign, approximately 1770). The motif of numerous Shou characters (meaning 'longevity') is common for birthday celebrations and appeared as early as the Kangxi reign. See a massive blue and white 'Ten thousand Shou vase, which bears 9,999 Shou characters and one wan character, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red (III), Hong Kong, 2002, pp.8-9, no.5.See a single related incised celadon jade and lacquer 'longevity' table screen, 18th century, which was sold at Sotheby's Paris, 10 June 2021, lot 101.For further information on this lot please visit Bonhams.com
Lot 360
A RUBY-PINK-ENAMELED CONICAL BOWLYongzheng blue-enamel seal mark, Republic Period Finely potted with deep sides rising from a short foot flaring widely towards the rim, the exterior covered with a light ruby-pink glaze, the interior and base left white, inscribed to the base with a four-character reign mark in underglaze blue.10cm (3 15/16in) diam.Footnotes:民國 胭脂紅釉斗笠盌藍料「雍正年製」楷書款Provenance: an English private collection來源：英國私人收藏For further information on this lot please visit Bonhams.com
Lot 41
A VERY RARE IMPERIAL-TRIBUTE PAINTED ENAMEL YELLOW-GROUND SNUFF BOTTLEYongzheng four-character mark and of the periodExquisitely painted to one side with the female Immortal Magu with hemp skirt, carrying a basket of medicinal herbs and auspicious lingzhi hung from a gnarled staff over her shoulder, her left hand carrying a peach, all amidst wispy ruyi-clouds, the reverse enamelled with Xiwangmu holding a ruyi sceptre and standing beside a phoenix, all on an egg-yolk-yellow ground, the four-character mark in brown-black on the base, coral and malachite stopper. 7cm (2 3/4in) high. (2).Footnotes:清雍正 銅胎畫琺瑯黃地人物紋鼻煙壺「雍正年製」楷書款Provenance:Spink & Son Ltd., London,E. A. Parry (1879-1946), London, acquired from the above on 30 September 1923, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1923年9月30日購自上者，並由後人保存迄今The present yellow-ground enamel snuff bottle is a very rare example made as Imperial-tribute to the Court of the Yongzheng Emperor. As noted by Hugh Moss, 'extant examples of Yongzheng painted enamels on metal are almost as rare as those surviving from the Kangxi reign. [...] Of all surviving marked enamels from the Yongzheng era (there are not many), more than half are southern.' Yellow-ground enamel on copper examples of this form are rare and vary in decoration including designs of 'dragons', 'deer in landscape', 'bats, lotus and Shou', and particularly rarely, as seen on the present snuff bottle, with Daoist female Immortals. The Imperial Enamel Workshop which was first established in Beijing by the Kangxi Emperor utilising the knowledge of Jesuit priests and enamellers from Guangzhou, was producing enamel works since circa 1715 as attested to by a Jesuit priest, Father de Maille; see H.Garner, 'The Origins of Famille Rose', TOCS, vol.37, 1967-1969, London, 1970, p.4. However, the most important Chinese craftsmen came from Guangzhou as shown in a Court memorial dated to 1716 noting the Viceroy of Guangdong and Guangxi sent two artisans to Beijing to serve in the Enamel Workshop; see Yang Boda, Tributes from Guangdong to the Ch'ing Court, Hong Kong, 1987, p.63. By the Yongzheng period technical challenges were gradually overcome and the painting became more refined and controlled. See a related Imperial-tribute painted enamel yellow-ground 'deer in landscape' snuff bottle, Yongzheng four-character mark and of the period, illustrated by H.Moss, V.Graham, and K.B.Tsang, A Treasury of Chinese Snuff Bottles, Hong Kong, 2008, vol.6, part 1, pp.288-289, no.1129, which was later sold at Sotheby's Hong Kong, 24 November 2014, lot 188. Compare also a Guangzhou painted enamel yellow-ground 'dragons' snuff bottle, Yongzheng mark and period, in the British Museum, London, acc.no.1936,0413.64.See also a Guangzhou painted enamel yellow-ground 'bats, shou and lotus' snuff bottle, Yongzheng brown-enamel four-character mark and of the period, which was sold at Christie's New York, 19 March 2008, lot 261.壺銅胎，小口直頸，折肩微溜，直壁扁腹，整器修長挺拔，纖巧俏麗。明黃作地，一側繪麻姑肩挑花籃，手執仙桃，端立雲端；一側繪西王母身著袍服，手持如意，瑞鳳伴於身側。器底黃地書褐彩「雍正年製」楷書款。本例為雍正年間貢品中極為珍罕的畫琺瑯製品。如Hugh Moss所述，現存的雍正時期金屬胎畫琺瑯製品，幾乎與康熙年間的畫琺瑯製品一樣少有；...而現存少數署有雍正年款的畫琺瑯製品中，多於半數為南作。形如此例且以明黃為地的銅胎畫琺瑯鼻煙壺頗為少見，曾見以祥龍、瑞鹿、福壽等作主題者，而如本例以道教女性仙人為飾者殊為稀有。十五世紀中葉，歐洲發明了畫琺瑯的製作技法，後隨海運貿易往來以及西方傳教士呈進傳入中國，身處通商口岸的廣州工匠得以比清宮造辦處更快接觸歐洲進口畫琺瑯器。康熙年間始設內務府造辦處琺瑯作，據傳教士Maille神父稱，自約1715年起，西方傳教士和琺瑯匠師已赴京傳授燒琺瑯工藝；見H.Garner著，〈The Origins of Famille Rose〉，收錄於《TOCS》，卷37，1967-1969年，倫敦，1970年，頁4。然而，從康熙硃批奏摺中可知康熙五十五年（1716年）兩廣總督楊琳派潘淳、楊士章等四人進入內廷琺瑯廠效力。雍正和乾隆時期，廣東督撫繼續向養心殿造辦處保送畫琺瑯匠師，並同時向內廷提供進口的或廣東製造的琺瑯彩料。詳見楊伯達著，《清代廣東貢品》，香港，1987年，頁63。至雍正年間，畫琺瑯工藝和製作技法已日臻成熟。... This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 101
A FAMILLE ROSE EGGSHELL PORCELAIN BOWLQianlong blue-enamel four-character mark, 20th centuryDelicately enamelled around the exterior with a continuous scene of sparrows, some in flight, some perched on bamboo or peonies, all beneath a pendent ruyi-head band, the interior well enamelled in blue with a medallion enclosing a coiled dragon amidst dense fronds. 13cm (5 1/8in) diam.Footnotes:二十世紀 粉彩薄胎花鳥紋盌藍料「乾隆年製」楷書款Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Compare with a related famille rose eggshell bowl, Qianlong seal mark, 20th century, but with different motif of sages, which was sold at Bonhams London, 10 November 2011, lot 276.參考一例粉彩薄胎八仙人物紋盌，售於倫敦邦瀚斯，2011年11月10日，拍品編號276。For further information on this lot please visit Bonhams.com
Lot 80
A VERY RARE FAMILLE ROSE ENAMELLED WHITE GLASS 'FLOWER BASKET' SNUFF BOTTLEGuyue Xuan iron-red enamel mark, Beijing, circa 1775-1799Of flattened rounded form, with a recessed oval base, the milky-white glass finely carved in relief and decorated in famille rose enamels in the form of a wicker basket bearing a profusion of flower sprays including prunus blossom, lilies, chrysanthemums, peonies and narcissus, all beneath an overlapping plantain leaf collar and a scrollwork band at the neck, the foot inscribed Guyue xuan (Ancient Moon Pavilion), gilt metal stopper and ivory spoon. 6cm (2 3/8in) high. (2).Footnotes:約1775-1799年 料胎畫琺瑯「花籃式」鼻煙壺 礬紅「古月軒」楷書款Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The inscription Guyue Xuan (literally 'Ancient Moon Pavilion') on the present lot refers to one of the halls in the Old Summer Palace (Yuanming yuan) completed in 1767, prompting the Qianlong Emperor to order a group of wares, mostly enamels on glass, bearing the name of that particular pavilion. Compare with a similar enamel on glass snuff bottle, with the same motif, Guyue Xuan mark and attributed to the Palace Workshops in Beijing, 1770-1790, illustrated by H.Moss, V.Graham, and K.B.Tsang, The Art of the Chinese Snuff Bottle, vol.2, New York and Tokyo, 1993, no.200. The subject of a basket of flowers was a popular design during the 18th century and can be seen in many of the decorative arts of China; it may be related to the Daoist Immortal Lan Caihe whose attribute is a a basket of flowers. Compare a closely related famille rose enamelled white glass snuff bottle, Yuzhi mark, 1775-1800, attributed to the Palace Workshops, Beijing, illustrated by H.Moss, V.Graham and K.B.Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection. Arts of the Fire, vol.6, Part 1, Hong Kong, 2008, no.1105, which was later sold at Sotheby's Hong Kong, 27 May 2013, lot 238. See also a similar carved and enamelled white glass snuff bottle, Guyue Xuan mark, 1775-1799, which was sold at Christie's New York, 18 March 2021, lot 681.「古月軒」，一說為圓明園中一軒名，《故宮鼻煙壺》一書將乾隆朝料胎畫琺瑯鼻煙壺稱為「古月軒」。因其屬於玻璃與畫琺瑯的複合工藝，需先用玻璃造型，再以琺瑯顏料在胎體表面繪畫，最後放入小窯焙燒；且因玻璃與琺瑯顏料熔點非常接近，製作難度高，殊為珍貴。參考一例「古月軒」款且應為清宮造辦處所作，1770-1790年制料胎畫琺瑯「花籃式」鼻煙壺，收錄於H.Moss、V.Graham、與K.B.Tsang著，《The Art of the Chinese Snuff Bottle》，卷二，紐約，東京，1993年，編號200。花籃紋或源於道教仙人藍彩和之法器，是十八世紀的常見紋飾，廣泛用於各類材質器物。對比一例清乾隆1775-1800年制「御製」款料胎畫琺瑯「花籃式」鼻煙壺，應為清宮造辦處所作，收錄於H.Moss、V.Graham、與K.B.Tsang著，《A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection. Arts of the Fire》，卷六，第一部分，香港，2008年，編號1105；後於香港蘇富比2013年5月27日「瑪麗及莊智博鼻煙壺珍藏：第六部份」專場拍賣售出，拍品編號238。紐約佳士得於2021年3月18日售出一例1775-1799年御製涅白地粉彩花卉紋玻璃鼻煙壺，同署「古月軒」款，拍品編號681，可為參考。This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Lot 42
A FINE AND RARE PAINTED ENAMEL AND GILT-BRONZE SQUARE VASEQianlongOf slender square section tapering form, delicately enamelled with cusped panels variously depicting Xiwangmu borne on clouds with a boy attendant offering a dish of peaches, and Magu with a further boy attendant in a rocky landscape, all on a bright yellow ground with a profusion of flower sprays and foliage, the neck with archaistic pendent lappets on a pink ground within key-fret bands, set with a pair of gilt bronze lion-mask handles, with hongmu stand. 16.5cm (6 1/2in) high. (2).Footnotes:清乾隆 銅胎畫琺瑯開光仕女圖長方形瓶Provenance:J. C. Vickery, LondonE. A. Parry (1879-1946), London, acquired from the above on 25 August 1924, and thence by descentPublished, Illustrated and Exhibited: Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-1936, p.186, no.2187.來源：倫敦古董商J. C. Vickery倫敦E. A. Parry（1879-1946）舊藏，於1924年8月25日購自上者，並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935-1936年，頁186，編號2187This remarkable vase was included in the International Exhibition of Chinese Art held at the Royal Academy of Arts, Burlington House, London, in 1935-1936. This seminal exhibition had the patronage of their Majesties King George V and Queen Mary, and the President of the Chinese Republic. It included over 3,000 objects. These were variously loaned by the Chinese Government, including pieces shown for the first time outside China, objects from the collection of Sir Percival David, which were exhibited for the first time in public, pieces from the British Royal Collection, and from many important museums including the British Museum, the V&A, the Louvre, Guimet, Cernuschi, Topkapi Saray, the Metropolitan Museum of Art, Cleveland, Kansas City, Cologne, Dresden, and by notable private collectors including HRH Crown Prince of Sweden, Alan Barlow, R.C. Bruce, Buchanan-Jardine, Mr & Mrs Alfred Clark, Dr Leonard Gow, C.T. Loo, Carl Kempe, H.J. Oppenheim, Oscar Raphael, F. Schiller, Mr & Mrs Walter Sedgwick, A. Stoclet , S.D. Winkworth and Prof. W. Perceval Yetts - a roll call of the greatest collectors of Chinese art in the West in the 20th century. E.A. Parry loaned 6 pieces to the Exhibition, demonstrating the superb quality of the Collection and the high esteem in which it was held by the Exhibition Committee, which was directed by Sir Percival David. These pieces were admired to this date in the Parry family homes and this is the first time since the 1935-1936 Exhibition that they are seen in public once again. During the Qianlong period, the southern port of Guangzhou (otherwise known as Canton) was the main trade entrepot between Europe and China. Influenced by European painted enamels and oil paintings, local craftsmen began producing a large number of painted enamel wares depicting foreign flowers, architecture and Western figures as well as Chinese Immortals and subject matter which were sent as tribute to the Imperial Court in Beijing. Apart from the Guangzhou workshops, a smaller number of painted enamel wares were also manufactured in the Imperial Workshops in the Forbidden City, Beijing, which were first established during the reign of the Kangxi Emperor.Xiwangmu, the Queen Mother of the West, shown on one side of the vase, is a Daoist deity often depicted with an assistant carrying a basket of peaches beside her, such as on the present lot. She has an orchard of peaches deep in the Kunlun mountains in the West, which when eaten bestow Immortality. Magu, shown on the other side, is another female Immortal associated with the elixir of life. She is often portrayed next to a basket of flowers or herbs with life-giving properties. Compare the painting of Xiwangmu with another similar female Immortal on a painted enamel vase, Qianlong seal mark and period, in the Qing Court Collection, illustrated in Compendium of Collections in the Palace Museum: Enamels, 5, Beijing, 2011, pp.106-107, no.72. Compare also the dense foliate scrolls with similar ones on two Imperial-tribute painted enamel vases, Qianlong seal marks and of the period, illustrated in Ibid., nos.119 and 120.本拍品曾借展1935至1936年於倫敦皇家藝術學院伯靈頓宮舉辦的中國藝術國際展覽會。這一史無前例的展覽得到了中英政府及雙方人士的大力支持，由雙方元首擔任名譽主持人，英王喬治五世和瑪麗王后為監理。展品共計三千餘件，中國政府應邀出借包括故宮文物在內的近千件藏品，也是藏品首次在中國境外展出；展覽還包括了英國皇室的中國文物收藏，以及來自世界各地重要博物館（如大英博物館、維多利亞和阿爾伯特博物館、盧浮宮、吉美博物館、賽努奇博物館、託卡比皇宮博物館、大都會藝術博物館、克利夫蘭藝術博物館、堪薩斯城納爾遜-阿特金斯藝術博物館、科隆博物館、德累斯頓博物館等）與著名私人藏家（如瑞典王儲、Alan Barlow爵士、R.C. Bruce、Buchanan-Jardine男爵、克拉克伉儷（Mr & Mrs Alfred Clark）、Leonard Gow博士、盧芹齋、卡爾·坎普（Carl Kempe）、H.J. Oppenheim、Oscar Raphael, F. Schiller、Walter Sedgwick伉儷、A. Stoclet、S.D. Winkworth、W. Perceval Yetts教授等）的公私收藏精品，名單幾乎囊括了二十世紀西方世界最為重要的中國藝術收藏家。 E.A. Parry向本次&... This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 17
A RARE CLOISONNÉ ENAMEL BOWL19th centuryOf rounded form inverted towards the top, raised on short foot, the exterior colourfully enamelled with four depictions of a robe-clad figure seated on rockwork amongst tumultuous waves on a ground of turquoise ground, the interior decorated in the well with a medallion enclosing a red five-clawed dragon emerging from crashing waves and rocks by a tortoise against green ground, the cavetto with a tiger, phoenix and qilin against turquoise ground, all reserved against ruyi-shaped cloud scrolls, the base enamelled with a foliate lotus blossom. 22cm (8 5/8in) diam.Footnotes:十九世紀 銅胎掐絲琺瑯瑞獸紋盌Provenance:J. C. Vickery, LondonE. A. Parry (1879-1946), London, acquired from the above on 25 August 1924, and thence by descent來源：倫敦古董商J. C. Vickery倫敦E. A. Parry（1879-1946）舊藏，於1924年8月25日購自上者，並由後人保存迄今The form of the present bowl, unusually inverted towards the rim, as well as the decoration, suggest it may have been used for a ritual purpose or as an alms bowl. The interior is decorated with five mythological creatures, dragon, tortoise, phoenix, tiger and qilin. This is an unusual combination which varies from the known combination of the Five Heavenly Beasts, which includes a number of these creatures, but not the qilin, and in other colours.盌束口，弧壁深腹，下承圈足，略呈缽形。外壁飾四人著袍立於礁石之上，內壁飾龍、龜、虎、鳳、麒麟五種瑞獸。《禮記》中將麟鳳龜龍稱為「四靈」，而道家則以青龍、白虎、朱雀、玄武四方神獸為「四靈」，此例中所飾神獸或為「四靈」之組合變體。For further information on this lot please visit Bonhams.com
Lot 104
A GROUP OF PAINTED ENAMEL WARES18th centuryComprising: an unusual pair of canted square painted enamel 'dragon' trays, with pseudo-European marks, each brightly enamelled with a pair of writhing dragons amidst five-coloured ruyi-shaped clouds, within a foliate scroll border, 9.8cm (3 1/2in) square; two painted enamel canted square dishes, one painted with a scene of Europeans, with bottles arranged on the ground, the other dish with a mountainous scene with pavilions and sages, each within floral scroll borders, the bases with painted studio marks, 10cm (4in) square; and a painted enamel bowl and cover, finely decorated around the exterior with cartouches containing the 'One Hundred Antiques', reserved on a floral scroll ground, the domed cover similarly decorated, 10cm (4in) diam. (6).Footnotes:十八世紀 銅胎畫琺瑯方盤及蓋盌 一組五件Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今During the Qianlong period, the southern port of Guangzhou was the main trade entrepot between Europe and China. Influenced by European painted enamels and oil paintings, local craftsmen produced a large number of painted enamel wares depicting Western figures, foreign flowers and architecture.See a group of painted enamel vessels, 18th century, which was sold at Bonhams London, 11 May 2021, lot 313.清朝初年，粵海關為歐中貿易的重要口岸。畫琺瑯製品經由粵海關入境後，工匠就地研製，開始大量製作以西洋人物、外國花卉及建築為飾的畫琺瑯製品。參考一組十八世紀銅胎畫琺瑯器，售於倫敦邦瀚斯，2021年5月11日，拍品編號313。For further information on this lot please visit Bonhams.com
Lot 31
A SUPERB IMPERIAL CLOISONNÉ ENAMEL, LACQUER AND ZITAN EMBELLISHED DOUBLE-SIDED SCREEN AND STANDQianlongThe central moon-shaped circular panel framed by a gilt-bronze band finely incised with a foliate scroll, the medallion exquisitely inlaid with jade and various hardstones with a rabbit on rockwork gazing up at a gnarled pine tree with coral lingzhi issuing from the roots, all on a turquoise ground surrounded by five bats, wufu, in flight amidst ruyi-shaped clouds amidst flowering and fruiting branches, the reverse with a further gnarled pine tree issuing from an ivory ground with grass and rockwork against a black-lacquered ground, all set within a cinnabar lacquer frame with key-fret border, further inlaid with lime-green-stained-ivory carved with diaper-patterns, the zitan stand elegantly carved and pierced with further floral scrolls and further ivory lime-green sections. 43.3cm (17in) high x 40.3cm (15 7/8in) wide. (2).Footnotes:清乾隆 紫檀嵌象牙座剔紅框銅胎掐絲琺瑯鑲漆地嵌寶「蟾宮月兔圖」插屏Provenance:Spink & Son Ltd., London,E. A. Parry, London (1879-1946), acquired from the above on 15 May 1925, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1925年5月15日購自上者，並由後人保存迄今The opulence and exquisite craftsmanship shown in the present screen exemplifies the peak of Qianlong period craftsmanship. No cost was spared to accomplish the auspicious Daoist representation, utilising different techniques and a variety of prized materials, from cloisonné enamel, gilt-bronze, carved lacquer to hardstone inlay, stained ivory, zitan and boxwood. With its exquisite decoration of the rabbit with a lunar-like roundel, the present lot was most likely associated with the Moon festival or Mid-Autumn festival, when China's Emperors worshipped the moon and offerings were made to Chang'e the Moon Goddess of Immortality, for bountiful harvests. A companion of Chang'e is the Moon rabbit, sometimes also known as the Jade rabbit, who constantly pounds herbs for the Immortals. In time, the rabbit became synonymous with the moon, as the famous Tang poet Li Bai (701-762) relates: 'The rabbit on the moon in vain pounds the elixir'The screen also contains several other auspicious symbols beside the moon rabbit. Towering above the rabbit is a gnarled pine tree. The pine tree, bamboo and plum blossoms were called the 'Three Friends of Winter' because they grew and stayed green when nothing else did in the cold winter. Thus, the pine came to symbolise perseverance through difficulty and integrity. Furthermore, the cloisonné enamel has five bats (wufu), a rebus for the 'Five Blessings' of longevity, health, wealth, love of virtue and a good end to life. There are also ruyi clouds that resemble the shape of a lingzhi fungus, said to have life-prolonging properties. The motif can be further interpreted as a pun on the word 'cloud', yun, which is a homophone for fuyun, 'good fortune'. In an agricultural society, the rain-bearing clouds would have been perceived as a benevolent omen, for the necessary irrigation of the crops. Peaches can also be seen, which are symbols of longevity. Peaches were associated with the Queen Mother of the West who grew a peach orchard. Her peaches were said to grant Immortality, and the God of Longevity, Shoulao, is frequently depicted carrying a peach. See a lotus-leaf-shaped dish with a central roundel of a rabbit pounding an elixir of Immortality, Qianlong six-character mark and of the period, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, Shenzhen, 2006, p.28, no.17. Other related ivory, jade and wood inlaid screens, mid Qing dynasty, in the Qing Court Collection, are illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Hong Kong, 2002, nos.192-195.The elaborate and opulent combination of various prized materials in the production of the present screen can also be noted on a pair of Imperial embellished lapis lazuli 'Da Ji' double-gourd plaques, Qianlong, also made of gilt-metal, jade, and standing on zitan and ivory stands, which was sold at Christie's London, 5 November 2019, lot 116.插屏中央月洞形開光以鏨卷草紋鎏金銅帶為緣，開光內於平面松綠漆地上鑲嵌各色玉石，組成「蟾宮月兔圖」；玉兔蹲坐石上，昂首仰望蒼松，蒼松之下有靈芝一株。開光四周為掐絲琺瑯流雲五蝠花果紋。插屏背面為另一幅黑漆地嵌寶松石圖。剔紅屏框以回紋為飾，並在邊框上方兩角及上緣嵌有灰綠象牙錦地紋條。所附紫檀底座亦同樣嵌有牙雕飾件及黃楊木鏤刻纏枝花卉。本插屏造工之精細及裝飾之富麗，可堪體現乾隆時期工藝高峰。全器之製作包括了掐絲琺瑯、銅胎鎏金、雕漆等工藝，材料則囊括了從象牙、紫檀至黃楊種種珍貴之物。工不厭細，料不厭精，終成這座融匯多種祥瑞寓意之珍品。屏上精嵌的玉兔形象及月洞形開光均蘊含中秋意象。中秋為帝王祭月祈賀豐收之時。傳說中，與居於月宮的嫦娥為伴的玉兔長年不停搗製長生藥；古詩中也往往以兔指代月，如李白所之詩句「月兔空搗藥」。開光圖案之外... This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Lot 102
A LARGE JAPANESE CLOISONNÉ ENAMEL JARDINIÉREMeiji PeriodBrightly enamelled around the exterior with butterflies against a shimmering copper-brown ground and meandering floral scroll, all beneath a floral and foliate pattern border at the mouth rim. 33cm (13in) diam.Footnotes:日本明治時代 銅胎掐絲琺瑯花蝶紋罐Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今During the Meiji period (1868-1912) a boom in cloisonné production led to the creation of many high-quality works. As Japan opened up its ports to trade, such pieces became particularly popular abroad. Bought by international collectors at high prices, most of the cloisonné created during the Meiji era was therefore exported. In Japanese culture, butterflies carry a number of meanings but are most closely associated with the symbolism of metamorphosis and transformation. The imagery of butterflies is widely used on kimonos, yukata, and other clothing (both traditional and non-traditional), on family crests, in paintings and ukiyo-e woodblock prints and the decorative arts.掐絲琺瑯工藝在日本明治時代（1868-1912）蓬勃發展，並隨著日本開放門戶而大量出口，被國際藏家高價購藏。在日本文化中，蝴蝶常意味著生命形式的轉化，蝴蝶紋樣也被廣泛用於和服浴衣等紋飾、氏族武士的家紋、以及繪畫、木刻版畫與多種裝飾藝術之中。For further information on this lot please visit Bonhams.com
Lot 6
A RARE PALE GREEN AND BLACK JADE 'LINGZHI' AUSPICIOUS EMBLEM17th centurySkillfully carved in openwork as an auspicious lingzhi fungus issuing four ruyi-heads with interlocking stems, the stone of pale grey-green tone with black and brown striations and cloudy inclusions, with hardwood stand. 18.5cm (7 1/4in) high. (2).Footnotes:十七世紀 青玉黑褐沁靈芝擺件Provenance:Spink & Son Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 31 July 1928, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1928年7月31日購自上者，並由後人保存迄今The present lot, symbolising the wish for longevity, was used as an auspicious symbol atop a vase as part of a five-piece garniture. See a pair of bronze and champlevé enamel gu vases with gilt-bronze lingzhi-shaped finials in the Pavilion of the Rain Flowers, Yuhua ge, in the Forbidden City, illustrated by E.Rawski and J.Rawson, eds., China: The Three Emperors 1662-1795, London, 2006, p.131; see also ornamental lingzhi finials atop a pair of cloisonné enamel vases, Kangxi marks and of the period, in the National Palace Museum, Taipei, illustrated in A Garland of Treasures: Masterpieces of Precious Crafts in the Museum Collection, Taipei, 2014, p.33, no.1.10.青玉琢制，呈靈芝形，象徵吉祥長壽，或作五供等佛前供器的頂飾之用。參考北京故宮雨花閣四樓供器中，一對鏨胎琺瑯花觚之上各飾一隻鎏金銅靈芝形飾件，圖見E.Rawski與J.Rawson編著，《China: The Three Emperors 1662-1795》，倫敦，2006年，頁131。另有台北國立故宮博物院館藏一組清康熙掐絲琺瑯冰梅紋五供，兩具小爐之上皆有靈芝形頂飾，圖見《集瓊藻: 院藏珍玩精華展》，台北，2014年，頁33，編號1.10。This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 96
A FOLDING FAN WITH IVORY, FILIGREE, ENAMEL, TORTOISESHELL AND BOXWOOD STICKS19th centuryPainted on one side with a central topographical panel depicting a mountainous river landscape with a distant pagoda, possibly representing Whampoa, flanked by a pair of panels depicting figures gathering in pavilion gardens, the reverse with a continuous similar figural scene, the sticks carved and decorated in a variety of materials. 54cm (21 1/4in) wide.Footnotes:十九世紀 雜骨紙面人物紋摺扇Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Compare a folding fan with similar mixed sticks of different materials, circa 1830-1840, illustrated by S.Kwan, Folding Fans, Hong Kong, 2011, pp.198-199, no.50.參考約1830-1840年制一例雜骨紙面人物紋摺扇，收錄於關善明著，《中國扇具》，香港，2011年，頁198-199，編號50。This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Lot 40
AN EXCEPTIONALLY RARE AND IMPORTANT IMPERIAL BEIJING ENAMEL MELON-SHAPED TEAPOT AND COVERQianlong blue enamel four-character mark and of the periodThe elegant lobed panels each exquisitely enamelled with various scenes of mountainous or lakeside landscapes and flowers with butterflies and insects, all on a dappled light-blue ground, separated by pink bands of floral scrolls and between ruyi-shaped borders at the foot and shoulder, set with a gilt-bronze handle issuing at each end from a dragon head, the curved gilt-bronze spout also issuing from a dragon head, the domed and lobed cover decorated with further floral motifs and fishermen and sages within mountainous landscapes, separated by scrolling acanthus leaves, reserved on a rich yellow ground, surmounted by a gilt-bronze finial, the mark on the base surrounded by a painted mythical beast, with a zitan stand. 15cm (5 7/8in) long. (3).
Lot 16
A FINE AND RARE CLOISONNÉ ENAMEL SCREEN AND STANDThe screen first half 17th century, the hardwood frame and stand 18th/19th centuryThe rectangular screen brightly enamelled with a scene of three sages beneath a rocky cliff rising to the wispy clouds and gnarled pine tree, all beside billowing green waves with white foam, with further blue mountains in the distance, all beneath a turquoise blue sky, set within a carved and pierced hardwood frame and stand. Overall 49.4cm (19 3/8in) high x 48.5cm (19 1/8in) wide. (2).Footnotes:十七世紀上半葉 銅胎掐絲琺瑯高士圖插屏 鑲十八/十九世紀硬木邊框Provenance:Spink & Son Ltd., London,E. A. Parry (1879-1946), London, acquired from the above on 31 December 1923, and thence by descentPublished, Illustrated and Exhibited: Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-1936, p.169, no.2002.來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1923年12月31日購自上者，並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935-1936年，頁169，編號2002This rare screen was included in the International Exhibition of Chinese Art held at the Royal Academy of Arts, Burlington House, London, in 1935-1936. This seminal exhibition had the patronage of their Majesties King George V and Queen Mary, and the President of the Chinese Republic. It included over 3,000 objects. These were loaned by the Chinese Government, including pieces shown for the first time outside China, objects from the collection of Sir Percival David, which were exhibited for the first time in public, pieces from the British Royal Collection, and from many important museums including the British Museum, V&A, the Louvre, Guimet, Cernuschi, Topkapi Saray, the Metropolitan Museum of Art, Cleveland, Kansas City, Cologne, Dresden, and from notable private collectors including HRH Crown Prince of Sweden, Alan Barlow, R.C. Bruce, Buchanan-Jardine, Mr & Mrs Alfred Clark, Dr Leonard Gow, C.T. Loo, Carl Kempe, H.J. Oppenheim, Oscar Raphael, F. Schiller, Mr & Mrs Walter Sedgwick, A. Stoclet , S.D. Winkworth and Prof. W. Perceval Yetts - the roll call of the greatest collectors of Chinese art in the west in the 20th century. E.A. Parry loaned 6 pieces to the Exhibition, demonstrating the superb quality of the Collection and the high esteem in which it was held by the exhibition committee, which was directed by Sir Percival David. These pieces were admired to this date in the Parry family homes and this is the first time since the 1935-1936 Exhibition that they are seen in public once again. The enamel decoration on the present lot is exceptional for the high quality of its execution with subtle application of mixed tones of translucent enamels over opaque ones, notably in the depiction of water and rocks, simulating painting.Compare the treatment of the sky and figures with that on a cloisonné enamel incense burner, Ming dynasty, 17th century, in the Musée des Arts Décoratifs, Paris, illustrated by B.Quette, ed., Cloisonné: Chinese Enamels from the Yuan, Ming and Qing Dynasties,New York, 2011, p.308, no.160, which was exhibited in 1935-1936 in the Royal Academy Exhibition alongside the present lot. See also a related cloisonné enamel panel with a scene of the lonely angler Jiang Ziya in a rugged mountainscape by water, first half 17th century, illustrated by A.Lutz, and H.Brinker, Chinese Cloisonné: The Pierre Uldry Collection, London, 1989, no.150.本拍品曾借展1935至1936年於倫敦皇家藝術學院伯靈頓宮舉辦的中國藝術國際展覽會。這一史無前例的展覽得到了中英政府及雙方人士的大力支持，由雙方元首擔任名譽主持人，英王喬治五世和瑪麗王后為監理。展品共計三千餘件，中國政府應邀出借包括故宮文物在內的近千件藏品，也是藏品首次在中國境外展出；展覽還包括了英國皇室的中國文物收藏，以及來自世界各地重要博物館（如大英博物館、維多利亞和阿爾伯特博物館、盧浮宮、吉美博物館、賽努奇博物館、託卡比皇宮博物館、大都會藝術博物館、克利夫蘭藝術博物館、堪薩斯城納爾遜-阿特金斯藝術博物館、科隆博物館、德累斯頓博物館等）與著名私人藏家（如瑞典王儲、Alan Barlow爵士、R.C. Bruce、Buchanan-Jardine男爵、克拉克伉儷（Mr & Mrs Alfred Clark）、Leonard Gow博士、盧芹齋、卡爾·坎普（Carl Kempe）、H.J. Oppenheim、Oscar Raphael, F. Schiller、Walter Sedgwick伉儷、A. Stoclet、S.D. Winkworth、W. Perceval Yetts教授等）的公私收藏精品，名單幾乎囊括了二十世紀西方世界最為重要的中國藝術收藏家。 E.A. Parry向本次展覽出借了六件藏品，這也顯示了其收藏品味之卓越及展覽籌備委員會對其之激賞。展覽結束後，Parry氏藏品淡出公眾視野，僅供家族成員賞玩；本次拍賣是1936年以來本品首次出現在ࠤ... This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 146
A nice early 20th century Chinese cloisonne circular box, 30cm diameter, with dragon chading flaming pearl to cover, some scratching but overall good surface scratches all over, some very minor knocks, no obvious missing enamel, fits together well, generally good condition, no obvious signs of significant damage or repair
Lot 91
FOUR ENAMEL FLAG AND BURGEE BROOCHES comprising a base metal hoist with cut glass and brightwork mount indicating 'AVF'; a base metal trio for 'NZX'; a burgee for the Royal London YC and one for the House flag of the Zeeland Steamship Company of Flushing within a green circular enamel field (4)
Lot 131
A WHITE STAR LINE MATCH CADDY engraved to the front with White Star burgee to match holder attached to tray inscribed White Star Line with Elkington Plate marks for 1929; together with a silver napkin ring with enamel burgee for John Holt & Co. Ltd with Sheffield marks for 1928/9 and a sterling bottle opener for Maersk Lines (3)
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