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Lot 394
19th Century Victorian silver hallmarked tea service to include coffee pot, teapot, sugar bowl and creamer jug. Each piece of canted baluster form with engraved foliate scrolls, the finial handles moulded as a seated Indian and Chinese gentleman. Hallmarked to the bases 1870, Richard Harper. Tallest measures 29.5cm.
Lot 398
Collection of assorted silver to include a lidded mustard pot (hallmarked Sheffield 1901), silver hallmarked spoon with cross finial, a pair of pepper pots in fitted box (Birmingham 1898), a set of six boxed teaspoons (Sheffield 1932), silver shell butter dish and knife (hallmarked Birmingham), and a serving jug (hallmarked Birmingham 1927).
Lot 253
LARGE PAIR OF BLUE AND WHITE BALUSTER VASES WITH COVERS QING DYNASTY, 19TH CENTURY 清 青花鳳穿牡丹紋帶蓋對瓶 (共兩件)each painted with confronting phoenixes alternated by large sprays of peonies, with domed cover topped with lion-finial (2) 64cm high each From Penicuik House, Midlothian, Scotland. Penicuik Estate, situated to the southwest of Edinburgh at the foot of the Pentlands, has been owned by the Clerk family since the middle of the 17th century. Sits at the heart of this designed landscape is Penicuik House, the finest and most influential example of Palladian architecture in Scotland. The 18th-century Palladian mansion was built by Sir James Clerk, 3rd Baronet, in 1761. It was devastated by fire in 1899. During the fire, a great deal of effort was channelled into salvaging the furnishings. The once magnificent building has stood as a roofless shell for over 100 years. The stables and coach house of the original Penicuik House, converted after the fire into the ‘new’ Penicuik House where the Clerk family reside to this day. A significant selection of property from Penicuik House was sold in this saleroom, 27 March 2024, lot 1-69; A smaller selection of Asian Art from Penicuik House was also sold in this saleroom, 13 March 2024, lot 189-198.
Lot 287
TWO YIXING STONEWARE TEAPOTS AND COVERS QING DYNASTY, JIAQING AND DAOGUANG MARK, 19TH CENTURY 清 嘉慶款及年代 宜興朱泥素面梨形小茶壺 及 道光款及年代 宜興朱泥詩文梨形茶壺each elegantly potted with tapering sides rising to a domed cover, the stoneware of a rich red colour applied with a glossy stained slip, one teapot of plain sides with its base impressed with four-character Jiaqing mark within a double square, the other teapot inscribed with a poetic verse around the shoulder and plant-shape finial on the cover has its base impressed with a four-character Daoguang mark within a double square (2) 10.2cm and 11cm wide A closely related teapot from the Qing court collection, of similar form and clay colour, with similar impressed Jiaqing mark is in the Palace Museum, Beijing, and illustrated in Yixing Zisha Wares in the Palace Museum, Beijing, 2009, p.111, pl.51 (fig.1). Two comparable teapots with Jiaqing mark were sold at Bonhams Hong Kong, 28 November 2011, lot 253 and Christie's Paris, 23 Jun 2020, lot 170.
Lot 342
FINE SATSUMA KORO WITH COVER BY KINKOZAN, MEIJI PERIOD 明治 錦光山款 薩摩燒博古及花卉雄鷄圖蓋爐exquisitely painted on one side with a flowering garden and a pair of chickens, reverse with an arrangement of ‘one hundred antiques’ motif, further with moulded details of a floral band on the shoulders, the cover with a shishi as finial, the base with an impressed ‘Kinkozan Zo’ mark 23.5cm high Private Scottish collection, Renfrewshire
Lot 47
SMALL SILVER-INLAID BRONZE HE-FORM 'PHOENIX' WATER-DROPPER SHISOU MARK, QING DYNASTY, 18TH CENTURY 清 石叟款 仿古銅錯銀鳳首三足水滴of archaistic bronze ritual pouring vessel he form supported on three legs, the spout and the finial of the cover in the form of a phoenix head, the loop tail as the handle, the body decorated with two bands of archaistic geometric pattern in silver inlaid, the base inlaid in silver with a two-character ‘Shi Sou’ mark 8cm wide; 176g Compare to a similar silver-inlaid bronze water-dropper in the Palace Museum, Beijing, illustrated in Small Refined Articles of the Study, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2009, p. 193, no. 180. A further comparable small gold and silver inlaid water dropper of similar design, was sold at Christie's Hong Kong, 4 Oct 2016, lot 43
Lot 366
MIXED-METAL SILVER AND GILT DECORATED 'CRANE' KORO WITH COVER MEIJI PERIOD, KYOTO KURODA ZO MARK 京都黑田造 金銀鑲嵌仙鶴銅香爐of rectangular form supported on four bracket feet, one long-side decorated with a crane resting by the river bank under a willow tree, three other sides adorned with large chrysanthemum, reed and small blossoming flowers, the domed cover with prunus flowers and bamboo form finial, the base inscribed with a five-character ‘Kyoto Kuroda Zo’ mark 5.2cm wide x 6.2cm high x 4.2cm deep
Lot 143
PAIR OF TWO-HANDLED FLUTED AGATE CUPS AND COVERS 20TH CENTURY 二十世紀 瑪瑙雙龍柄百條紋杯及蓋 後嵌西式百寶金屬音樂盒及時鐘 帶木座each with a fluted body tapering down supported on a short ring foot, flanked by a pair of sinuous dragons as handles, the cover similarly decorated with a button finial, both mounted later with British/European style gold-coloured metals further inlaid with coloured beads, one as a music box and the other a clock, unmarked, with wooden stands (2) 8.8cm wide each across handles The Estate of Sir John and Lady Clare Keswick at Portrack House, Dumfriesshire.Sir John Henry Keswick, KCMG (1906–1982) was an influential Scottish businessman in China and Hong Kong. He was the tai-pan of Jardine, Matheson & Co., the leading British trading firm in the Far East, and had established friendships with many Chinese politicians, including Zhou Enlai, Premier of the People's Republic of China, and Madame Soong Ching-ling, wife of Sun Yat-sen during his stay in China. He was also a representative of the Special Operations Executive, a British intelligence service during the Second World War. Sir John spoke fluent Chinese. He was a Chinese art collector, particularly contemporary paintings.He married Clare Mary Alice Cynthia Catherine Celia Elwes (1905–1998) in 1940 and had a child Margaret Keswick (1941–1995) who founded Maggie's Centres for those suffering from cancer.
Lot 224
(A Private English Collection from Brighton, lots 224-230)TWO YIXING STONEWARE TEAPOTS 19TH-20TH CENTURY 十九至二十世紀 潤記等款 宜興紫砂茶壺（共兩件）one teapot of trapezoid-form with angled looped handle, one side moulded with sixteen script-style characters, the underside of the cover stamped with ‘Run Ji’ mark, the base with a six-character ‘Yi Xing Zi Sha Ming Hu’ mark in square; the other teapot of melon form, one side incised with blossoming prunus on branches, the other side inscribed and dated to Gengwu year, corresponding to 1930, the cover with a fu-dog finial, the base with a four-character mark, with two wooden bases 16.2cm and 19.5cm wide Private English collection, Brighton; one teapot purchased from The Union Trading Co. (合成行), Hong Kong on 23 May, 1998, with an original receipt stating that the teapot is dated to the Qing dynasty, Daoguang period; the other purchased from the same as above, on 1 March 1995, with an original receipt stating that the teapot is dated to the Qing dynasty, Tongzhi period.
Lot 259
(From Penicuik House, Midlothian, Scotland, lots 252-262) FAMILLE VERTE HANDLED BOWL WITH COVER QING DYNASTY, KANGXI PERIOD 清康熙 綠彩花鳥紋雙師耳大碗連蓋the deep rounded body with four panels of birds among floral sprays, green gaping mask handles, the domed cover with four floral panels and moulded Buddhist lion finial, the base painted with a double-circle in underglaze blue 26cm wide across handles From Penicuik House, Midlothian, Scotland. Penicuik Estate, situated to the southwest of Edinburgh at the foot of the Pentlands, has been owned by the Clerk family since the middle of the 17th century. Sits at the heart of this designed landscape is Penicuik House, the finest and most influential example of Palladian architecture in Scotland. The 18th-century Palladian mansion was built by Sir James Clerk, 3rd Baronet, in 1761. It was devastated by fire in 1899. During the fire, a great deal of effort was channelled into salvaging the furnishings. The once magnificent building has stood as a roofless shell for over 100 years. The stables and coach house of the original Penicuik House, converted after the fire into the ‘new’ Penicuik House where the Clerk family reside to this day. A significant selection of property from Penicuik House was sold in this saleroom, 27 March 2024, lot 1-69; A smaller selection of Asian Art from Penicuik House was also sold in this saleroom, 13 March 2024, lot 189-198. See a pair of highly comparable export famille verte bowls with covers, sold at Christie's New York, 27 Jan 2014, lot 349.
Lot 115
Two Chinese seals, comprising:one jade, Ming dynasty (1368-1644), of rectangular form, surmounted with a carved chilong,3.3cm high, and the other of rock crystal, Qing dynasty (1644-1911), of oval form, the finial carved with a Buddhist lion, 4.5cm high (2)明 螭龙钮玉印章 及 清 水晶佛狮钮印章 一组两件Condition ReportBoth with small chips to edges.
Lot 100
A late 19th century French Ormolu and porcelain mounted mantel clock, with urn finial and painted porcelain dial. The body inset with further matching porcelain panels, raised on scroll cast feet. The two train brass movement with hammer striking a single bell. 44cm high (key and pendulum)Condition Report: crack through porcelain dial.
Lot 1625
Early XIX Century Oak Mahogany Thirty Hour White Dial Longcase Clock, (D Moore, Coventry) hood with a swan neck pediment, brass final, square door, trunk with crossbanded doors, reeded pilasters, on a plinth base, white dial with date aperture, 210mc high.untested, has one weight and pendulum, base to top of finial 210cm
Lot 423
A French Continental 19th century wrought / cast iron & glass farmhouse lantern ceiling light. The light having a ring holder over a scrolled dome top with floral shaped finials to each corner. Faceted body below with curved hand etched glass panel to each side. Acanthus leaves detailing to base with further scrolled bands below, ending in decorative finial to base. Measures approx. 105cm long (without chain) x 45cm in diameter.
Lot 416
A pair of French inspired early 20th century brass desk table candelabras. Each candlestick having a turned finial atop over four arm candle holders. Each arm having scrolled & geometric shaped with glass drops detailing. All raised on reeded column over circular moulded base below. Each measures approx. 45cm tall x 26cm in diameter.
Lot 14
This antique mantle clock, meticulously crafted from brass, boasts a square silhouette. Adorned with intricate Arabesque patterns and topped with a finial, it stands as a striking focal point in any room. The refined porcelain face is delicately detailed. Notably, the Mascaron features a lion's face, symbolizing strength and majesty. Complete with a key for winding. Pendulum and key included on the side. Dimensions: 10"L x 5.75"W x 17"HCondition: Age related wear.
Lot 15
This antique mantle clock, meticulously crafted from brass, boasts a square base topped with an hourglass silhouette. Adorned with intricate Arabesque patterns and topped with a finial, it stands as a striking focal point in any room. The refined porcelain face is delicately detailed. Notably, the Mascaron features a cherub's face. Complete with a key for winding. Dimensions: 10.25"L x 7"W x 18.5"HCondition: Age related wear.
Lot 149
ATTRIBUTED TO NAMIKAWA YASUYUKI (1845-1927) OF KYOTOA Pair of Cloisonné-Enamel Jars with En-suite Covers Meiji era (1868-1912), circa 1880sComprising two lidded jars worked in silver wire with a matching design, the body decorated with three panels enclosing either a bird or butterflies in flight over seasonal plants and flowers including chrysanthemums, hisbicus and kobushi (Kobus magnolia) on either a speckled light-brown, lime-green or yellow ground, all reserved on a reddish-brown ground of chrysanthemum heads and stylised foliage, the shoulder and foot with a band of formal foliate motifs, applied with a gilt-bronze rim and foot, each cover surmounted by a finial in the form of a chrysanthemum bud, each unsigned, each jar approx. 13.2cm (5 1/8in) high; together with a cloisonné-enamel koro (incense burner) and cover, of squat ovoid form raised on tripod feet, worked in silver wire and polychrome enamels and goldstone with cartouches depicting confronting pairs of phoenixes on a midnight blue ground; with chrysanthemum heads interwoven among karakusa ('Chinese grasses') on the shoulder and cover; unsigned, 10.5cm (4 1/8in) high. (6).For further information on this lot please visit Bonhams.com
Lot 124
IZUMI SEIJO (1865-1937)An inlaid Bronze Monumental Three-Legged Koro (Incense Burner) and En-Suite Cover Meiji (1868-1912) or Taisho (1912-1926) era, early 20th centuryThe bronze body decorated in gold, silver, bronze, copper and shakudo high relief inlays with three carp swimming beneath overhanging branches of hagi (bush clover) on one side and five geese in flight, diving or wading among reeds and fuyo (cotton rose mallow) on the other, the cover carved with simulated waves and surmounted by a silver and shibuichi finial in the form of a bird of prey attacking a seagull, the upright bracket handles, the edge of the cover and stand pierced with a narrow band of repeated shippo-tsunagi (linked-cash) patterns, the base with three lobed panels pierced with dense kiri mon (paulownia crests) interwoven among karakusa ('Chinese grasses'); signed within a square reserve Izumi Seijo iru with a kao. 95.5cm x 35cm (37 5/8in x 13¾in). (2).This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 150
NAMIKAWA YASUYUKI (1845-1927) OF KYOTOA Cloisonné-Enamel Miniature Ovoid Vase and Cover Meiji era (1868-1912), late 19th/early 20th centuryIntricately worked in silver and gold wire with an all-over design of overlapping stylised foliate roundels and scrolling floral vines scattered over eight differently coloured vertical panels, the domed cover surmounted by a chrysanthemum finial, and decorated with matching foliate and geometric motifs mirroring the design on the shoulder, applied with a gold rim and foot, signed on the base with chiselled characters Kyoto Namikawa on a silver plaque; with a plain wood storage box. 10.8cm (4¼in) high. (3).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 122
YANO KATSUMINE (SHOHO) FOR KAWAGUCHI YOHEI OF TOKYOA Superbly Inlaid Iron Jar and Cover with Birds and Flowers of the Four Seasons Meiji era (1868-1912), circa 1890Of rounded-square bombé form with a flush-fitting cover, supported on a rectangular, scallop-edged integral stand, the body with curved slightly convex sides inset with four silver-outlined lobed panels, representing the four seasons, the front and back panels with decoration executed in repoussé work and high relief of gold, silver, shakudo, shibuichi and copper, the front showing Sei Shonagon wearing a traditional court junihitoe (12-layered kimono) drawing up the bamboo blinds to reveal snowflakes drifting to the ground, the reverse with a crane perched on the branch of a pine tree preparing to feed her young, the side panels each richly inlaid in flat relief of gold with a butterfly hovering among peony blooms on one and two bees among flowering stalks of chrysanthemums on the other, all reserved on a ground decorated in nunome zogan flat gold inlay with overlapping chrysanthemum heads of different sizes, the domed cover similarly decorated and surmounted with a finial in the form of two standing cranes, the remainder of the surfaces also decorated in flat gold relief with foliate or geometric motifs, the stand with roundels enclosing stylised bird and flowers on a hanabishi-mon (flowery diamond) ground, the shoulder applied with two vertical bracket handles, one panel signed for the decoration with chiselled characters Katsumine with an inlaid gold kao, signed on the base Dai Nihon Tokyo-shi Kawaguchi sei on an inlaid gold plaque; with the original wood stand elaborately carved in high relief with a flock of chidori (plovers or dotterels) skimming over tumultuous waters beneath a narrow band of hares leaping among waves. The jar and cover: 38.5cm (15 1/8in) high; the wood stand: 9.7cm x 21cm (3 7/8in x 8¼in). (3).Footnotes:The commissioner of this magnificent jar and cover was Kawaguchi Yohei of Tachibanacho, Tokyo, known to have also worked with Kashima (Kajima) Ikkoku (1846-1925) and other leading Tokyo metal artists, see Hida Toyojiro, 'Exporters of Meiji Decorative Arts', in Oliver Impey and Malcolm Fairley eds., The Nasser D. Khalili Collection of Japanese Art, vol. 1, Selected Essays, London, Kibo Foundation, 1995, pp.70-96, p.90, note 7, taken from Tokyo meikokan an official list compiled in 1877. The individual responsible for the decoration, Katsumine (or Shoho), receives only the briefest of mentions in Wakayama Homatsu (Takeshi), Kinko jiten (A Dictionary of Metalworkers), Tokyo, Yuzankaku, 1972, p.62, where his surname is given as Yano and his period of activity as the Meiji and Taisho eras; a few Meiji-era works marked Katsumine can be found online. For examples of comparable work in iron by Kajima Ikkoku, see Oliver Impey and Malcolm Fairley, The Nasser D. Khalili Collection of Japanese Art, vol. 2, Metalwork, London, The Kibo Foundation, 1995, part 1, cat. nos.45 and 46 and Joe Earle, Splendors of Imperial Japan: Arts of the Meiji Period from the Khalili Collection, London, Khalili Family Trust, 2002, cat. no.42.For the court lady Sei Shonagon's (born circa 965) appreciation of morning snow, see the much-quoted opening section of her celebrated Pillow Book: Fuyu wa yuki no furitaru wa iubeki mo arazu shimo nado no ito shiroku ('In winter the early mornings. It is beautiful indeed when snow has fallen during the night, but splendid too when the ground is white with frost' [translation by Ivan Morris, The Pillow Book of Sei Shonagon, Harmondsworth, 1971, p.21)]).For further information on this lot please visit Bonhams.com
Lot 125
KOMAI OTOJIRO (1842-1917) OF KYOTO A Finely Inlaid Iron Vessel and Cover in the Form of a Squat Lobed Gourd Meiji era (1868-1912), probably circa 1895-1905The Persian-inspired shape raised on four stubby feet, the melon-shaped, silver-rimmed lobed body cast and chiselled in typical Komai silver and gold relief overlay, scattered with eight silver-outlined round or fan-shaped panels, each enclosing different scenes of kacho-ga (bird-and-flower), famous landmarks or legendary episodes, the upper section with (1) Three butterflies hovering among peonies (2) Kosekiko standing on a dragon offering the 'recovered shoe' (3) Two tsubame (swallows) in flight among trailing wisteria (4) Kinkakuji Temple; the lower section depicting (5) Sailing boats on the lake at Miyajima (6) A bugaku court dancer performing the kocho no mai A 'butterfly dance' (7) A kamakiri (praying mantis) among kuzu (kudzu vine) and flowering nadeshiko (pinks) and (8) Boats sailing towards the pine-tree lined shores at Miho no Matsubara, Mount Fuji in the distance, reserved on a typical Komai dense ground of kiku-mon (chrysanthemum crests) interwoven among karakusa ('Chinese grasses') or on a ground of converging narrow bands of repeated textile, keyfret, diaper and other geometric patterns, formal foliate motifs and stylised bats, the tall, conical lobed cover also inlaid with vertical bands of the same lavish decoration to match the body, surmounted by a finial in the form of overlapping lotus leaves, the feet similarly inlaid in gold with floral medallions, signed on the base in gold nunome-zogan in seal form Saikyo no ju Komai sei on a silver eight-petal panel inlaid in silver numome-zogan with repeated geometric and fragmented rinzu (textile-weave) patterns; with double wood storage boxes, the outer box black-lacquered. 26.5cm x 22cm (10 3/8in x 8 5/8in). (4).Footnotes:Around 1873 Komai Otojiro, son of a sword-fitting maker from Higo Province, started selling his richly decorated wares in the international port of Kobe. Before long, his chargers, vases, and other items of iron overlaid with gold and silver, sold under an exclusive contract with the Ikeda Company, were in international demand and by 1881 he was wealthy enough to buy a mansion in Kyoto. Following a difficult trading period during which he was forced to work as Ikeda's employee, in 1894 Komai set up a business catering to wealthy European and American travellers and began to promote his wares at international expositions under his own name. He retired in 1906 and was succeeded by his son Komai Seibei (1883–1970)Saikyo ('Western Capital') was an alternative name for Kyoto (corresponding to Tokyo, 'Eastern Capital') widely used during the early part of the Meiji era.For further information on this lot please visit Bonhams.com
Lot 138
ATTRIBUTED TO THE KOMAI COMPANY OF KYOTOAn Inlaid Iron Finial Meiji era (1868-1912), late 19th/early 20th centuryWorked throughout in the typical Komai-style of gold overlay, decorated with four circular panels, each enclosing a different design comprising (1) A flock of cranes in flight (2) Fishing nets (3) Wisteria trailing over a bamboo fence (4) Thatched buildings on the shores of a lake, all on a ground of densely-clustered vine leaves; unsigned. 9cm (3 9/16in) high, 12cm (4 11/16in) circumference. For further information on this lot please visit Bonhams.com
Lot 61
A LARGE CHINESE BLUE AND WHITE PORCELAIN JAR AND COVERS, 19/20TH CENTURY. White enamel on a blue ground with eight elephant handles around the shoulder decorated with various birds and flowering branches. 56cm tall. The jar with brass mount at rim. One elephant handle with repair. Loss to finial of the cover. No major cracks or hairlines.
Lot 111
A CHINESE HARD RATTAN HAT WITH ROCK CRYSTAL FINIAL, QING DYNASTY. Heavy woven rattan hat of conical form hat, possibly for armoured military use, with bronze mount and rock crystal finial. 30cm diam.Rock crystal finial loose to top of metal mount. Rattan in good order with no signs of damage or loose sections.
Lot 121
A CHINESE PAINTED ENAMEL SNUFF BOTTLE, QING DYNASTY. Tall ovoid form decorated with cartouche panels featuring magpies and pheasant perched on rockwork in floral settings on a blue enamel ground with flower heads. With a bronze mounted blue enamelled cover with baroque pearl finial and bronze spoon. 8.3cm tall.Provenance: From a private local Bath collection1.5cm section of overpaint to lower side. No other signs of damage or repair.
Lot 179
A LARGE AND IMPRESSIVE VIETNAMESE SILVER AND COPPER INLAID BRONZE CENSER ON STAND, 19/20TH CENTURY. The censer heavily cast of rectangular form set on four scroll legs with separately cast, elaborate cloud scroll handles, to each side are four auspicious characters above figural scenes inlaid in silver and copper. The pierced cover surmounted by a large 'Nghe' lion dog finial. The stand with central rectangular pierced section further decorated with inlaid decoration of various flowers, supported on four scroll feet. Total height 56cm tall. Weight 17.8KGIn good overall condition with no signs of damage. loss or repairs. Minor surface wear throughout.
Lot 86
A FINE CHINESE SILVER TEAPOT, NANKING BAO QING, CIRCA 1900. Of globular form with two faux bamboo handles, decorated to the body with two figures in a boat in a landscape scene and auspicious 'Fu Gui Shou kao' characters. The cover with fruit finial and 'Yan nian yi shou' wishing long life. 14.5cm length. Weight 348.3 grams.Good overall condition with no obvious signs of damage. No repairs. Two very minor dents to body to note.
Lot 829
A Chinese famille rose jar and cover and two celadon vaseslate 19th - 20th centuryThe jar of ovoid form, painted to the front and back with archaistic vessels containing blossoming flower branches, with inscriptions to each side, mark in iron red to base, 28cm high; a modern celadon crackle glazed gu vase, 27.5cm high; a late 20th century moulded celadon twin handled vase of flattened form, 31cm high (3).十九世紀晚期 - 二十世紀 粉彩蓋罐及青釉瓶兩件Condition Report: The jar missing a finial, with a drilled hole to the base and the cover previously mounted as a lamp, a chip to the underside of the rim of the cover of approx. 0.8cm across, a tiny dented area to the mouth rim of the jar, wear to the enamel and glaze, nibbles to the rims, commensurate with age. Firing imperfections.The gu vase with significant crazing in the glaze, firing imperfection including pitting and iron spots, otherwise good condition.The celadon twin handled vase, with a shallow chip to the mouth rim of approx. 0.8cm across, a chip of approx. 4cm across to the underside of the rim.
Lot 27
A WUCAI TRIPOD BOWL AND COVERKangxiThe cover finely moulded with lotus petal panels, surmounted by a lotus spray finial, the sides decorated with flowering lotus amongst rockwork, resting on three beast mask and paw feet. 11.2cm (4 1/2in) diam. (2).Footnotes:清康熙 五彩獸足花卉紋蓮葉鈕蓋盒Provenance: S. Marchant & Son, London, 14 August 2003 (invoice and label)John E. Bodie OBE (1930-2023), London, collection no.37Published, Illustrated and Exhibited: The Oriental Ceramic Society, China Without Dragons, London, 3-9 November 2016, p.309, no.183. John E. Bodie loaned 7 pieces to the exhibition.來源：倫敦古董商S. Marchant & Son，2003年8月14日（據收據和標籤）大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號37展覽著錄：東方陶瓷學會，《China Without Dragons》，倫敦，2016年11月3-9日，第309頁，編號183，John E. Bodie曾借展7件藏品給該展覽This covered box stands out for its unique form, design, and colour scheme. The prominent use of cobalt blue suggests a resemblance to late Ming dynasty pieces, as during the Kangxi period, underglaze blue was less common in the famille verte palette. The box's shape bears similarities to Japanese vessels. The inclusion of applied flowers, fruits, or leaves is uncommon for Chinese pieces of this period and brings to mind early European porcelains, such as those produced at Meissen in the 1710s, as well as contemporaneous Japanese ceramics. See a Kakiemon-style porcelain tripod incense burner and cover, 17th/18th century, illustrated in China Without Dragons: Rare Pieces from Oriental Ceramic Society Members, London, 2016, p.308, no.182.For further information on this lot please visit Bonhams.com
Lot 75
A GROUP OF FOUR ARCHAIC BELT HOOKSEastern Zhou/Han DynastyComprising a large iron belt hook, inlaid in gold and silver with geometric patterns, 25.3cm (10in) long; a bronze belt hook inlaid in silver with archaic and abstract patterns, 13.4cm (5 1/4in) long; a bronze belt hook inlaid with turquoise, silver and gold forming a pattern of ovoid lozenges, 19cm (7 1/2in) long; a bronze belt hook decorated with turquoise stones and traces of gilt, 18.8cm (7 3/8in) long; each cast with a beast-head finial and a raised button on the reverse of the arched body. (4).Footnotes:東周/漢 錯金銀鐵帶鉤 錯銀銅帶鉤 鎏金嵌綠松石帶鉤 及錯金銀嵌綠松石銅帶鉤 一組四件Originally used by the Northern grassland ethnic groups, belt hooks entered the Central Plains during the Spring and Autumn period. They soon became popular among the elites, evolving into a symbol of social status by the Warring States period. Compare the bronze belt hook inlaid in silver with a similar one, Warring States, illustrated in The Complete Collection of Bronzes Unearthed in China: Henan II, vol.10, Beijing, 2009, p.463, pl.505. See four related belt-hooks, Zhou dynasty, illustrated by P.K.M. Kwok, Dialogue with the Ancients: 100 Bronzes of the Shang, Zhou, and Han Dynasties, Hong Kong, 2018, pp.346-352.See also a related silver-inlaid bronze belt hook, Warring States Period, which was sold at Bonhams London, 9 May 2022, lot 265.For further information on this lot please visit Bonhams.com
Lot 144
A MUGHAL-STYLE WHITE AND RUSSET JADE EWER AND COVER18th centuryThe body of rounded square shape supported on a short flared foot to a waisted neck, carved on each side in low relief with panels of lotus blooms amidst scrolling leafy stems, flanked by a handle and a spout in the form of leafy lotus bloom sprays, the cover carved with a band of leafy lappets radiating from a finial crafted in the form of a mythical beast. 11.5cm (4 1/2in) high. (2).Footnotes:十八世紀 白玉雕痕都斯坦式蓮花紋扁壺帶蓋Provenance: Harry and Isabel Johnston, Liverpool, purchased in London in the early 1900s, and thence by descent來源： Harry和Isabel Johnston伉儷，利物浦，1900年代初期購於倫敦，並由後人保存迄今The refined craftsmanship evident in the current lot is known as 'Hindustan' or 'Mughal' jade-carving style renowned for its intricate detailing, naturalistic designs and delicate execution. These Mughal-style jades captivated the Emperor Qianlong for their exceptional quality, and were traded and gifted as tributes to China via Yarkand, in Central Asia. Due to the emperor's admiration, this exotic style of carving was also meticulously replicated by Chinese carvers in the Imperial workshops.See a related Mughal-style white jade vase with floral decorations and handles in the form of leafy floral sprays, Qing dynasty, in the Qing Court Collection, in the Palace Museum Taipei, illustrated in Exquisite Beauty-Islamic Jades, Taipei, 2007, p.213.For further information on this lot please visit Bonhams.com
Lot 779
A Chinese café-au-lait and famille rose bowl and cover with European gilt-bronze mountsThe porcelain 18th centuryEnamelled with leaf-shaped floral medallions on the resist-decorated glazed ground, 33cm high overall, the porcelain 22.5cm high.清十八世紀 嵌歐洲銅鎏金醬釉開光粉彩繪花卉圖紋蓋罐Condition Report: The cover with at least four pieces broken off and reglued, with a small rim chip, and two further hairlines. The finial has been drilled through the centre of the cover.The porcelain is unexamined under mounts at the mouth and foot, however the line where the glaze finishes at the mouth is still visible, suggesting some integrity to the mouth rim. Please refer to photographs.
Lot 919
A Chinese Yixing bamboo decorated cylindrical teapot20th centuryAtop a double ruyi finial to the cover, signed Chen Yan to the bottom corner of bamboos, with four lines of inscriptions to the reverse, chen, yan mark to inside the cover, stamped Chen Yan zhitao mark to base, 10.5cm high.二十世紀 宜興紫砂蓋壺，「陳」、「岩」、「陳岩製壺」款
Lot 1022
A Chinese archaic bronze ritual food vessel and cover, guiHan dynastyThe globular body with a pair of circular loop handles, the cover with flared finial, fitted box, 23.5cm wide across the handles.The Property of a Lady. Purchased in Hong Kong throughout the 1980s and 1990s. 漢 青銅食器連蓋女士藏品。二十世紀八十至九十年代間購置於香港。 Condition Report: The finial of the cover has been slightly pushed in, resulting in some cracking visible to the interior of the cover, and the finial being now slightly lopsided. Further very fine hairline just above the foot, approx. 20mm long.Expected old wear consistent with age include general malachite and dirt encrustations, and insignificant scattered nicks.
Lot 1044
A pewter-encased hexagonal teapot and five bronze weights from a setLate Qing dynasty/Republic period, apocryphal Yang Pengnian mark to teapotThe teapot with jade handle, spout and finial to cover, the sides with incised decoration, the base with cast seal mark, 12.5cm long; the five bronze weights in the shape of mythical beasts, 7.2cm - 3.7cm high (6).晚清/民國 錫茶壺及象形秤砣五件
Lot 915
A Chinese Yixing 'dragon' teapot20th centuryThe teapot of compressed pear shaped form with a domed cover atop with a finial in shape of a scrolling cloud, moulded with dragon amidst clouds to the front and back, with a impressed mark to the inside of the cover, and two marks to base, 9.5cm high.二十世紀 宜興模印龍紋蓋壺
Lot 1026
A Chinese bronze incense burnerMid Qing dynasty, 18th/19th centuryStanding on four mythical beast mask and paw legs, cast around the body with phoenixes and flaming pearls amidst clouds beneath a pair of everted S-shape handles, the reticulated cover surmounted by a Buddhist lion-and-brocade ball finial, 43cm high overall x 30cm wide at the handles.Provenance: formerly in an English private collection (letter from the editor of Country House magazine, dated 24 March 1964).清中期 十八/十九世紀 銅鳳紋三足蓋爐來源：前英國私人收藏。（信札）
Lot 877
A pair of Chinese blue and white 'peonies' jars and coversQing dynasty, 19th centuryEach raised on short tapered foot, painted to the body with alternating peonies and butterflies below a band of peonies, all on scrolling ground, the cover with a compressed finial, 23cm high. (2)清十九世紀 青花繪花蝶紋蓋罐一對
Lot 849
A Chinese Nyonya famille rose jar and coverRepublic periodDecorated to the body between a band of ruyi heads and lotus petals with a phoenix within quatrefoil panels to the front and back on a turquoise ground decorated with peonies, the cover similarly decorated and with a lion dog finial, with a mark in iron read to base reading Zhonghua Minguo (Republic of China),14.5cm high.民國 松石綠地粉彩繪鳳紋娘惹瓷湯蓋盌
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