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Lot 558
A group of coin packs, comprising Coinage of Great Britain 1966., Celebration Medal to Commemorate the Marriage of HRH Prince of Wales to Mrs Camilla Parker-Bowles., Elizabeth II Pound Shilling and Pence coin set 1967., 1985 Isle of Man Year Set., three albums of Britain's First Decimal Coins., The Great Britain Halfpennies Collection 1902 - 1936 and 1937 (incomplete). (a quantity)
Lot 461
Royal Copenhagen blue and white porcelain dinnerware, with painted floral decoration, including meat plate, length 44.5cm, and 3 egg cupsComprises of: 1 x 45cm oval meat dish and 31cm oval meat dish - both have unglazed bases, probably 2nds; 1 x 21cm square dish; 5 x 26cm plates - all have slight scores through back stamp, possibly 2nds, one similar design; 6 x 25cm soup bowls - one chipped, appear to be first in quality; 6 x 17cm plates - one chipped, rough score through back stamp; 6 x 22.5cm plates - all with scratches through back stamp; 1 x 17cm 2 handles plate/dish - again, scratched through back stamp; 1 x 33cm plate; 1 x 29cm shallow dish - scratched through back stamp; 3 x egg cups - one chipped. All generally good condition unless stated, some surface scratches and light wear through use.
Lot 109
Russian school, XVIII-XIX centuries."Portable Iconostasis of five levels".Tempera, gold leaf on board.Measurements: 43 x 120 cm. 51 x 128 cm (frame).Iconostasis as a religious object is one of the most important phenomena of Russian medieval culture.The iconostasis of the XV-XVI century can be divided into four types according to the number of levels, or rows it has, from two to five levels. Also reaching its full development by the 16th century with five rows. There are iconostases both for public use, in churches, and for domestic use, as is the case of the present lot. In their structure they are practically the same as the ecclesiastical iconostases, undergoing slight changes that are linked, above all, to the convenience of use.The reading of any iconostasis starts from the bottom up. The lower level is called local. In the case of the lot of interest, it is imitating the structure of an ecclesiastical iconostasis, since it has a door, called "sacred", central. It lacks any functional use, but serves to respect the structure. It is decorated with six miniatures, of annunciation, and below this scene appear the miniatures of the four evangelists. On both sides of the door rest the representations of the Virgin and St. John the Baptist, archangels Michael and Gabriel, and other local saints. Unlike the fixed iconostasis, this one lacks the south and north doors, located at both ends of the iconostasis.The second row is called "the festive level".In it are located the important celebrations of the Gospel. It usually contains the images of the Crucifixion, Resurrection, Descent into Hell, The Passion of Christ, The Last Supper. In the case of this image, scenes of Marian themes can be appreciated.In the fourth row rests the level of Deésis. It is the most important level of the whole iconostasis from which its construction really begins. Deésis from the Greek means prayer. In the center of this level is always Jesus Christ, different versions are admitted. In the case of the iconostasis that concerns us, the author opts for an unusual composition. In the central register of the iconostasis, just above the fictitious door appears a triple representation of the Christ in the form of the Last Supper, and above this miniature, there is the Crucifixion and the miniature of the Deesis in a single image, unlike the traditional structure, when the Virgin, Jesus Christ and St. John the Baptist, the three protagonists of the scene, are represented in individual icons, in the form of a triptych. On the two sides of the third and fourth levels are miniatures of various saints, apostles and prophets.The iconostasis culminates with the fifth level that belongs to the antediluvian Patriarchs. They are the characters of the Old Testament, the ancestors of Christ, including the first humans, Adam, Eve and Abel.This iconostasis is a religious work of very high level, both at the compositional and chromatic level, as well as at the iconographic level.
Lot 14
Spanish school; following XVII century models; XX century."The Stigmata of St. Francis".Oil on pine board.It has a frame made of carved and gilded wood, following ancient models.Measurements: 29 x 48 cm; 45 x 64 cm (frame).In this work of devotional character is represented the episode in which San Francisco, being retired in the mountain, had a vision in which Christ appeared to him, of whose wounds rays arose that caused to the saint stigmata in the hands and feet. The scene is situated in the foreground, with the saint standing, dressed in the Franciscan sackcloth, receiving the rays. It is remarkable the presence of the figure located in the lower left corner. Saint Francis (Assisi, Italy, 1182 - 1226) was the son of a wealthy Italian merchant. Baptized as John, he was soon known as "Francesco" (the little Frenchman), because his mother came from that country. His youth was joyful and carefree until the age of twenty-five, when he changed completely and began to dedicate himself to the service of God, practicing the Gospel ideal: purity, detachment and joy in peace. Francesco renounces the great inheritance received from his parents and decides to live poorly, giving an example of authentic Christianity. He soon had several young disciples, called by the saint "order of the Friars Minor". In 1210, Pope Innocent III granted them the foundation of the new order and encouraged them in their evangelical tasks. During a retreat on the mountain, Christ appeared to him, and legend has it that from his wounds came rays that caused Francis various stigmata. His iconography is abundant, only surpassed by that of St. Anthony of Padua. He always wears the Franciscan sackcloth, with a three-knotted cord tied around his waist. The three knots represent the three vows of poverty, chastity and obedience. He also usually shows the stigmata on his hands and feet, and sometimes these are highlighted by rays of light coming out of the wounds, although this is not the case here. At first the saint was depicted in art with a beard, until the painter Giotto, who devoted much of his work to this saint, painted him without it. At the time of the Counter-Reformation he was painted again with a beard, less smiling and more suffering.
Lot 36
Italian school; 18th century."The reunion between Jefte and his daughter".Oil on canvas.It presents repainting and jumps in the painting.Measurements: 67 x 48 cm; 82,5 x 63,5 cm (frame).In this work the story of Jefte and his daughter is narrated, which is collected in the Book of Judges, chapters 11-12. The Israelites "did evil again in the sight of the Lord... they forsook the Lord and did not serve him. So the anger of the Lord was kindled against Israel, and he sold them into the hand of the Philistines and into the hand of the Ammonites.... ". It was then that the elders of Gilead asked Jephthah to be their leader in the campaign against the Ammonites, but he expected a more permanent position, and the elders agreed that, if Jephthah succeeded in defeating Ammon, he would be their permanent leader. On behalf of Israel as a whole and trusting in the power of God, Jephthah challenged the Ammonites and made an oath: "...and whatever comes out of the gates of my house to meet me when I return in peace from the Ammonites shall be the Lord's, and I will offer it."In this particular case this image shows the exact moment in which the young woman, together with other ladies receives her father, who looks up to the sky in sorrow. It is interesting to mention the composition of the work that allows an easy reading of the main theme. First of all, the author has structured two planes, placing the men coming from the war on the right and the group of women on the left.
Lot 51
English school of the XVI century. Circle of ROBERT PEAKE (1551-1619).Portrait of a lady.Oil on panel.Measurements: 39 x 29 cm; 65 x 55 cm (frame).Robert Peake, called "the old man" was an important English painter active throughout the end of the reign of Elizabeth I and the first years of the reign of his successor, James I. He trained with the painter Laurence Woodham, beginning in 1565, and with the miniaturist Nicholas Hilliard a few years later. It seems that by the late 1580s he was well established in London, and had a large clientele composed of the upper class and the court. He enjoyed royal favor and devoted himself to the creation of works for Prince Henry Stuart and for King James I, eventually obtaining the position of royal painter, which he shared with John De Critz. In fact, Peake worked in collaboration with De Critz and with another painter, Marcus Gheeraerts the Younger, and with the miniaturist Isaac Oliver, so that sometimes the final authorship of the works attributed to this circle is controversial.The portrait of shows a style, both in terms of composition and pictorial workmanship, closely linked to that of Robert Peake. The woman is depicted bust-length, looking directly at the viewer but with her face slightly tilted. She is dressed in black, although her face is haloed by a splendid white lace ruff characteristic of the Elizabethan period. The red-haired hair, pulled back and covered by a hood richly adorned with pearls, underlines the oval of a heart-shaped face. The attitude is serene, somewhat blasé, as befits. The Virgin Queen, Gloriana or Good Queen Bess (Greenwich, 1533 - Richmond, 1603) was queen of England and Ireland from 1558 until her death. Elizabeth was the fifth and last monarch of the Tudor Dynasty. Daughter of Henry VIII, she was born a princess, but her mother, Anne Boleyn, was executed when she was three years old, so Elizabeth was declared an illegitimate child. However, after the death of her siblings Edward VI and Mary I, Elizabeth assumed the throne. One of the first measurements she took was to establish a Protestant church independent of Rome, which would later evolve into the present Church of England, of which she became the highest authority. Elizabeth was expected to marry, but despite several requests from Parliament, she never did. As Elizabeth grew older, her virginity made her famous and a cult grew up around her, celebrated in portraits, pageants and literature of the time. The queen took charge of a country divided over religious issues in the second half of the 16th century. During her reign, England enjoyed great cultural splendor, with figures such as William Shakespeare and Christopher Marlowe; also important figures such as Francis Drake and John Hawkins. He maintained frosty relations with Philip II, with whom he waged a war that ruined both countries economically. His 44-year reign was the fifth longest in English history, behind those of Elizabeth II, Victoria I, George III and Edward III.
Lot 65
Andalusian school of the second half of the seventeenth century."The adoration of the shepherds".Oil on canvas. Relined.Presents repainting, restorations and jumps.With frame of the twentieth century.Measurements: 169 x 126 cm; 193 x 151 cm (frame).This canvas represents a classic theme in the History of Art, that of the shepherds adoring the newborn baby Jesus in the portal of Bethlehem. It is a scene that, as in this case, lends itself to be interpreted as a large composition with numerous characters, worked in a costumbrista key, so it was very much to the taste of the Baroque painters, who sought above all a natural and close art, which moved the mood of the faithful and made them feel close to what was represented on the canvas, to the sacred story. In this way, the divine elements are reduced to a minimum, only to a breaking of Glory in the upper part, with two child angels attending the event. As is typical of the first baroque, this celestial space appears clearly differentiated from the earthly, a clear separation that, however, will disappear in the second baroque. As for the rest of the characters, all are arranged in the lower part of the composition, and stand out for the gestural emphasis and the individualized clothing of each one. All of them are presented around the Child Jesus, arranged in the center of the composition as the absolute protagonist, directly illuminated by a divine light. In short, we see in this canvas a theme very repeated throughout the History of Art, and that during the Andalusian baroque knew a remarkable boom. The humanity that permeates the scene made the faithful identify with it, an intention that would characterize Spanish religious art from the Counter-Reformation onwards.
Lot 28
BRIDGET RILEY (b.1931)Untitled (Fragment 7)Screenprint in black and white on plexiglass, 48.3 x 96.5cmSigned and dated (19)'65; edition 59/75Provenance: From the collection of Michael ScottMichael Scott (1905 – 1989), described as ‘just one of a small band of young Irish architects who adopted the International Style during the 1930s’, he came to be perceived as the leading pioneer and exponent of modern architecture in Ireland. Internationally he was by far the best-known Irish architect of the post-Second World War era. As a fixture of the artistic establishment in Ireland he founded ROSC, whose first exhibition of international modern art took place at the RDS in Dublin in 1967. As Chairman of the Board he called upon the curatorial expertise and connoisseurship of Irish-American James Johnson Sweeney, who became a life-long friend, to assist with the selection of the exhibits. Sweeney’s and other jurors’ input and international reputations insured that the exhibitions, which continued every four years until 1988, contained work by many of the leading artists of the day including Mark Rothko, Cy Twombly, Jim Dine, Brigid Riley, Pablo Picasso and Roy Lichtenstein.We are delighted to have works included in this sale by Bridget Riley (lot 28), Patrick Scott (lot 38), Mary Fitzgerald (lot 64), Jim Dine (lot 93) and Terry Frost (lot 110) from Michael Scott’s collection.
Lot 96
CECIL BEATON (1904-1980)Portrait of a Young Boy (Nicholas Pascoe Grenfell)Oil on canvas, 88.5 x 67cmSignedProvenance: Commissioned by the family; hence by descent. The Grenfells were family friends and neighbours of the artist.This portrait was executed in the 'Red House', which was Beaton's home in Wiltshire. It was then brought to Ireland by the Grenfells where it was hung in Clobemon Hall, Ferns, Co. Wexford.Sir Cecil Beaton was a distinguished photographer but he is best referred to as a Renaissance man as his many talents also saw him comfortably dip into interior design, costume and set design and painting. Growing up, Beaton’s nanny had a Kodak 3A camera and, sensing his interest, she took it on herself to teach him the basics of photography and film development. From here, his artistic eye was nurtured and his first image was published in Vogue while he was still in college. His debut exhibition was held with the aid of Osbert Sitwell at the Cooling Gallery, London. The show raised some eyebrows and Beaton temporarily relocated to New York where he felt his work would be better received. The end result was a contract with Condé Nast to take photographs exclusively for them. As his reputation grew, so did the renown of his clients and Beaton was employed to take the official wedding photos of the Duke and Duchess of Windsor. He was subsequently honoured with photographing Queen Elizabeth II on her coronation day. He similarly excelled in his work with film and theatre and won two academy awards for his costume designs in Gigi (1958) and My Fair Lady (1964). Cecil Beaton is hailed as someone who acknowledged his sitter’s imperfections but then did his very best to hide them. Beaton would choose flattering angles and carefully placed light in order to hide or misrepresent his subject’s flaws. This approach led to captivating images of beautiful people, whether in photograph or paint. Helena Carlyle, October 2021
Lot 214
A VERY LARGE RARE GREY STONEWARE HUMAN-HEADED PILLARHan DynastyThe hollow rectangular pillar with two canted corners, moulded with panel of stylised foliate and archaic motifs, surmounted by a crouching human headed figure, the arms held together at the front and legs tucked in at the sides. 123cm (48 1/2in) high.Footnotes:漢 石雕人像柱Provenance: a distinguished UK Private collection, according to the owner the pillar has been in their collection from circa 1975來源：英國傑出私人收藏，據稱於約1975年入藏The present pillar would have been positioned before the entrance to a multi-chambered underground burial belonging to a high-ranking member of the Han dynasty. The various scenes of entertainment, parades, protective guardians and mythical figures formed part of an elaborate setting aimed at sustaining the tomb occupant in their afterlife. The ancestors in China were believed to be active participants to the life of their living offspring, which they could positively influence if provided with continuous nourishment and all the right necessities for their afterlife existence. A miniature universe was thus presented to the tomb occupant in the form of multi-chambered burials, constructed underground, which mimicked the large estate inhabited by the owner before death. These included parades of officials entering the gate, banqueting and hunting scenes, reception halls, musical scenes. Heavenly realms were also part of this elaborate settings and normally depicted in the form of spirits riding clouds, unusual birds and the four animals, symbolising the four quadrants of the sky and earth; see J.Rawson, 'The Eternal Palaces of the Western Han: A New View of the Universe' in Artibus Asiae, vol.59, 1999, pp.5-58; see also ibid., 'Creating Universes: Cultural Exchange as Seen in Tombs in Northern China Between the Han and Tang Periods', in Between Han and Tang. Cultural and Artistic Interactions in a Transformative period, Beijing, 2001, pp.113-152.Compare with a nearly identical stoneware pillar, first century AD, in the British Museum, London, illustrated by S.Vainker, Chinese Pottery and Porcelain: From Prehistory to the Present, London, 1991, p.46, fig.33.This lot is subject to the following lot symbols: TPTP Lot 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 216
A very rare massive sancai-glazed model of a Bactrian camelTang Dynasty The beast powerfully modelled in mid-striding pose with its tall hair-lined neck reared back, the head raised and mouth open as if bellowing, exposing its teeth and prominent tongue, the cream-glazed body surmounted by a square fringed blanket finely decorated in green, chestnut and straw-glazes, the carved details of the fur glazed in brown. 88cm (34 5/8in) high x 74cm (29in) wide x 27cm (10 5/8in) deep.Footnotes:唐 三彩駱駝俑Provenance: Tai Sing Fine Antiques Ltd., Hong Kong A distinguished American private collection, acquired from the above in January 2002來源：香港大成古玩有限公司美國私人收藏，於2002年購自上者Finely modelled with an arched neck and mouth open wide as it bellows, the present camel is an exceptional example of sancai sculptures created during the Tang dynasty. The extraordinary sense of realism, conveyed by the forward moving posture of the creature, enhanced by the strong and slender legs, highly detailed with naturalistic tufts of dark fur, and the tall humps, gently swaying to either side of the body, shows a remarkable degree of observation on the sculptor's part which is rarely otherwise encountered on animal models of this period to this high degree.The creature would have been individually sculpted and extremely expensive to produce at the time. It would have been commissioned for internment in a burial belonging to an elite member of Tang society and deemed to become alive for the benefit of its owner. Ancestors in China were deemed active participants in the life of their living offspring, which they could positively influence if provided with continuous care. Miniature universes were thus presented in burials and filled with a variety of necessities as painted, carved or moulded images, which were believed to function like their real counterpart if provided with the correct features. Forming an analogical relation with daily forms, these figures and models embodied important social and ideological aspects of their own time; see J.Rawson, 'The Power of Images: The Model Universe of The First Emperor and Its Legacy,' Historical Research, 2002, vol.75, no.188, pp.123-54. By the Tang dynasty, the burials constructed for the highest-ranking members of society were decorated in a way that suggested a Courtly architectural compound through painted designs of receiving halls, garden settings and official gatherings, and a large amount of pottery figures of courtiers, attendants, entertainers, horses and camels; E.L.Johnston, 'Auspicious Motifs In Ninth-Thirteenth-Century Chinese Tombs', Ars Orientalis, 2005, vol.33, no.2, pp.33-75; see also J.Rawson, 'Creating Universes: Cultural Exchange As Seen In Tombs In Northern China Between the Han and Tang Periods', Between Han and Tang: Cultural and Artistic Interactions in a Transformative Period, Beijing, 2001, pp.113-152. These referred to frivolous moments of daily life and appeared in conjunction with a variety of extravagantly shaped vessels and personal ornaments made of gold, silver, and other precious materials, which reflected the prosperity of the Empire.In appearance, the present camel represents the Bactrian camel, which was imported into China from the areas of the Tarim Basin, eastern Turkestan and Mongolia. This species was highly regarded by the Tang Emperors who established dedicated offices to oversee the Imperial camel herds. Referred to as the 'ships of the desert', camels endured hot temperatures and were the essential method of transport for merchants wishing to conduct trade with the oasis cities of Central Asia, such as Samarkand, Bukhara and Isfahan, along the trading routes of the Silk Road; see E.R.Krauer, The Camel's Load In Life & Death, Cambridge, 1998, pp.50-120.Vast riches poured into the Tang capital, Chang'an, from the Silk Road. Merchants came from far afield to acquire silk, bamboo and lacquer wares, and imported perfumes, horse and jewels; see E.Schafer, The Golden Peaches of Samarkand: A Study of Tang Exotics, Berkeley, 1963, pp.7-40. Different types of food, spices, and wines were also imported into Tang China, as well as exotic musical genres, fashions and literary styles. In the arts, many foreign shapes such as amphorae, bird-headed ewers and rhyton cups, and decorative motifs, such as hunting scenes, floral medallions, garlands, swags, vines and Buddhist symbols, were imported from Central Asia and the Middle East; see B.Mater, De Gouden Eeuw Van China: De Tang Dynastie (618-907AD), Assen, 2011, pp.16-68. The recent excavation of thirty-seven tax receipts, recording approximately 600 payments, made in a year at a tax office outside Turfan (present-day Xinjiang), testifies to the fast pace of trading activities during the Tang dynasty. Chang'an had two main markets, referred to as the Eastern and the Western Market, both filled with shops, eateries and tea houses, and additional trading centres were established in the proximity of its main gates; see V.Hansen, The Silk Road: A New History, London, 2012.The animated attitude of this remarkable camel is reminiscent of the running camels vividly depicted on the walls of Crown Prince Zhuanghuai's tomb (d.684), excavated in Qianxian near Xi'an, Shaanxi Province, dated to 706 AD, illustrated in Out of China's Earth: Archaeological Discoveries in People's Republic of China, Beijing, 1981, pl.258.Compare also with a large sancai camel, Tang dynasty, similarly modelled in mid-stride, in the collection of the British Museum, London, illustrated in Sekai toji zenshu, vol.11, Tokyo, 1976, p.148, no.136.A related sancai-glazed camel, Tang dynasty, was sold at Bonhams London, 8 November 2018, lot 28.For further information on this lot please visit Bonhams.com
Lot 224
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
Lot 232
A PALE GREEN JADE 'NORTH STAR' BRUSH WASHER16th/17th centuryOf tapering square form, carved in openwork relief to one side with Kuixing, the Star Lord, forming the handle of the dipper, a scarf billowing about his body, the tapering square vessel divided by a central strap, the stone of pale green tone with faint mottled grey inclusions, set on a recessed square base. 10.5cm (4 1/8in) long.Footnotes:十六/十七世紀 玉雕北斗筆洗Kuixing (魁星), sometimes known as Great Kui the Star Lord is the God of Examinations, and an associate of the God of Literature, Wenchang. Kuixing literally means 'Chief Stars' however, and refers to the four stars in the first section of the Northern Dipper (北斗). The present lot, therefore, cleverly forms a rebus for the North Star.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 254
A COPPER-ALLOY COPPER-INLAID FIGURE OF A SAKYA LAMATibet, 16th centurySeated on a double-lotus throne, the hands raised in mudra in front of the chest, the robes sweeping around the body in rhythmic folds and fluttering across the top of the base, the hem incised with a scrolling brocade, the face of serene expression beneath finely-incised hair. 11cm (4 3/8in) high.Footnotes:十六世紀 薩迦喇嘛銅像Published and Illustrated: O.Hoare, Portraits of the Masters: Bronze Sculptures of the Tibetan Buddhist Lineages, Part II, private publication, p.55, no.29.出版著錄：O.Hoare，《Portraits of the Masters: Bronze Sculptures of the Tibetan Buddhist Lineages》，卷二，頁55，編號29The present lot can be identified as belonging to the general field of Sakya imagery by the lotus throne and costume. The Sakya School has a strong tradition of sculpted portraiture and encouraged individually-cast portraits of the great Sakya masters, commissioned by themselves, their disciples, or spiritual disciples of later centuries. They were considered to have such well-known facial features and iconography (for those who made up their intended audience), that an inscription naming them would have been seen as unnecessary. The present lot is similar to another group of uninscribed Sakya imagery, illustrated in the first volume of Portraits of the Masters, Chicago, 2003, pls.79-82. Traditionally, those that have a youthful cast, such as the present lot, have suggested identification with Chogyal Pakpa (1235-1280) who achieved dazzling heights in scholarship, practice and career before dying at the age of 45.Compare with a related copper-alloy figure of a Sakya Lama, Tibet, 15th century, which was sold at Bonhams New York, 14 March 2017, lot 3280.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 264
A famille verte 'Lady and boy' saucer-dishKangxiFinely enamelled to the interior with an elegant lady holding a book in her right hand and seated on a garden stool beside a table supporting a square vase holding branches of prunus, the lady's tiny lotus foot exposed slightly from underneath her long gown cascading in neat pleats, a boy beside her stands attentively gazing over the terrace with gnarled rocks, all surrounded by a diaper-pattern band around the rim, the base with channelled foot and a leaf within a double circle. 35.1cm (13 3/4in) diam. Footnotes:清康熙 五彩教子圖盤Provenance: Warmington & Co., Inventory & Valuation of the Furniture at Mersham Le Hatch, May 1926 (Knatchbull Papers, Kent Archives, Maidstone, U951 E14 U951 Z54-4) Countess Mountbatten of Burma (1924-2017)來源：Warmington & Co.，《Mersham Le Hatch大宅之家具陳設估值清單》，1926年5月（英國梅德斯通肯特郡檔案處，Knatchbull文件，U951 E14 U951 Z54-4）緬甸的蒙巴頓女伯爵（1924-2017）舊藏Patricia Edwina Victoria Knatchbull, 2nd Countess Mountbatten of Burma, Lady Brabourne, CBE, MSC, CD (1924– 2017) was a British peeress and the third cousin of Queen Elizabeth II. She was the elder daughter of heiress Edwina Ashley, a patrilineal descendant of the Earls of Shaftesbury, first ennobled in 1661, and Admiral of the Fleet the 1st Earl Mountbatten of Burma. Lady Mountbatten succeeded her father when he was assassinated in 1979, as his peerages had been created with special remainder to his daughters and their heirs.Dishes decorated in the famille verte palette with elegantly-dressed women in gardens were popular during the Kangxi period. Dishes of this type appear to represent the idealised concept of a cultured lady instead of a historical person, although the motifs were probably inspired by popular stories, paintings and prints. See a related dish, Kangxi, illustrated in China Without Dragons: Rare Pieces from Oriental Ceramic Society Members, London, 2016, p.315, no.187.For further information on this lot please visit Bonhams.com
Lot 267
A CORAL-GROUND SILK WOVEN 'DOUBLE BUDDHIST MANTRA' PANELMid-15th/early 17th centuryThe panel of rectangular shape, finely interwoven in brocade weave with Lanca characters in Kinran technique, flat strips of double-layered paper faced with gold leaf, all within a gilded border on a deep coral-red ground, selvage on one edge showing, mounted.45cm (17 6/8in) long x 35cm (13 6/8in) wide.Footnotes:十五世紀中期至十七世紀早期 珊瑚紅地梵文織金錦Provenance: Linda Wrigglesworth, London來源：倫敦Linda WrigglesworthBoth the text and the framing band on the present panel are brocaded in gold against a tightly woven ground of rust-red silk. The selvages along the left and right weft edge indicate that this panel preserves the full breath of the loom width.The characters depicted on the present panel represent the transliteration of a Sanskrit invocation or prayer; they are written in Lanca script, which was used in Nepal and Tibet for Buddhist mantra, and also in China for Tibetan-style Buddhist invocations and prayers. The first six syllables comprise a mantra that, from left to right, reads Oh mani padme hum which is conventionally translated as 'Oh, the jewel in the lotus remain in my heart'. The seventh syllable, reading hri, is a 'seed-character' symbolising the Bodhisattva Avalokiteshvara, with whom this mantra is traditionally associated. Although the shape of the present lot suggests that it may have served as cover for a Buddhist sutra or holy text, this panel may have probably been part of a vertical banner hung from a Tibetan Buddhist or Lamaist temple in China; see C.Brown, 'The Amy S.Clague Collection of Chinese Textiles', in Orientations, vol.31, no.2, February 2000, p.35.Compare with a similar silk woven Buddhist mantra panel, mid 15th/early 17th century, illustrated in Weaving China's Past. The Amy S.Clague Collection of Chinese Textiles, Seattle, 2001, pp.38-39.For further information on this lot please visit Bonhams.com
Lot 274
AN EMBROIDERED IMPERIAL SILK 'DRAGON' ROUNDEL, BUZIEarly 19th century The circular badge finely embroidered depicting a front-facing five-clawed dragon worked in couched gold and silver threads embracing a flaming pearl, all against a dense ground of vaporous clouds interspersed with red bats above jagged mountains emerging from crested waves.28.5cm (11 1/8in) long. Footnotes:十九世紀早期 御製彩繡雲龍紋圓補Provenance: Linda Wrigglesworth, London, 1994A British private collection來源：倫敦古董商Linda Wrigglesworth，1994年澳洲私人收藏Richly embroidered with a front-facing striding five-clawed dragon pursuing the flaming pearl, the present roundel would have been worn on a ceremonial surcoat belonging to a member of the Imperial family. The origin of Imperial surcoats gunfu appears to date to the Zhou dynasty (circa 1050-265BC). The name continued to be used throughout the Qing dynasty, suggesting the Emperors' intention of representing themselves as custodians of ancient China's heritage. The Emperor's surcoat was decorated with four or eight roundels each centred with a five-clawed dragon, long. The Emperor's roundels positioned at the shoulders were also decorated with the symbols of the sun and the moon, two of the most important Twelve Symbols of Imperial Authority. One of the first references to the garment in the early eighteenth century Court regulations specifies the wearing of the gunfu on the occasion of the first day of the annual sacrifices at the Altar of Heaven; see S.V.R.Camman, China's Dragon Robes, New York, 1952, p.28. By the mid eighteenth century, wearing a surcoat over a semi-formal dragon robe jifu, was widespread throughout the Court.Compare with a similar silk 'dragon' embroidered roundel, early 19th century, which was sold at Christie's Hong Kong, 26 November 2014, lot 3417.For further information on this lot please visit Bonhams.com
Lot 275
An exceptionally rare Imperial embroidered chestnut-ground silk 'dragon' robeYongzhengMeticulously worked on the front and back in couched gold thread, satin stitch tiny detail of seed stitch with nine powerful, five-clawed dragons clutching or pursuing flaming pearls amidst a profusion of hovering cranes vividly depicted in different poses, some holding a tally in their beaks, all on a densely deep blue-patterned ground of stylised wan emblems and above a lishu hem beneath a sea of tumultuous waves interspersed with elaborate pavilions, with original sleeve extension and midnight-blue cuffs and collar decorated with further dragons and clouds.205.3cm (80 6/8in) wide x 138.5cm (54 1/2in) long.Footnotes:清雍正 御製香色地繡彩雲金龍「海屋添籌」紋袍Provenance: Linda Wrigglesworth Ltd., London, 1994An Australian private collection來源：倫敦古董商Linda Wrigglesworth Ltd.，1994年澳洲私人收藏This remarkable robe, notable for its exquisite and complex embroidery, vivid depictions of cranes and most unusual terrestrial diagram, made of elegant pavilions floating above rolling waves, was probably made for a First Rank Prince, one of the sons of the Emperor. A closely-related embroidered chestnut-ground robe, dated to 1738, excavated from the tomb of Prince Guo (1797-1738), seventeenth son of the Kangxi Emperor, is similarly embroidered with vivid designs of five-clawed dragons, cranes carrying tallies in their beaks and pavilions on lattice ground, illustrated by J.Vollmer, Imperial Silks. Ch'ing Dynasty Textiles in the Minneapolis Institute of Arts, Chicago, 2000, p.143, no.42.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, the brown colour for garments, qiuxiangse, was one of the five Imperial shades of yellow which could only be used by the innermost family circle of the Emperor; see J.Vollmer, Ruling from the Dragon Throne: Costumes of the Qing Dynasty (1644-1911), Berlekey, CA, 2002, pp.85.This exceptional robe may have been worn by the Imperial family member during birthday celebrations. The auspicious combination of the sea hai, the pavilions wu and the tallies chou carried by the cranes underscore the auspicious wish for long life, forming the rebus Haiwu Tianchou 海屋添籌, which can be translated as 'Adding tallies to the Immortal's abode above the sea'. The literary origin of the scene originated in 'Conversations of Three Old Men', from the 'Collected Writings by Su Dongpo' Dongpo zhilin 海屋添籌, by the Northern Song scholar Su Shi (1037-1101 AD). During one chance meeting of three Immortals, the topic of age was broached. Each one of the sages tried their best to exaggerate their own great age. The second sage famously boasted, 'After every cycle of the sea drying up and becoming mulberry fields, I put a strip of bamboo in my house as a counter and now the tallies have already filled ten houses'. By the Qing dynasty, when pun rebus design became increasingly popular and the character chou 筹 for bamboo strip counter acquired a pun on shou 寿 meaning longevity, the Haiwu Tianchou 海屋添籌 phrase became a popular allusion conveying the birthday wish 'May the length of your life be eternally prolonged 'Hai wu tian shou 海屋添寿'.The term 'sea house', haiwu, probably referred to Kunlun, the fabled fairyland of the Immortals, rising from the Oceans of Eternity which is often represented by a pavilion or mansion built atop an isle, with refined caves and lavish gardens full of propitious flowers and plants, ponds made of gold and trees made of gemstones. Imperishable and magnificent in its loftiness, this land was the perfect goal of the adept's quest for Immortality; see Wu Hung, 'Mapping Early Daoist Art: The Visual Culture of Wudoumi Dao', in S.Little, Taoism and the Arts of China, Berkeley, 2000, p.85. Cranes were also considered important constituents of Kunlun. As birds with a long life span, they were deemed celestial beings, symbolising longevity, wisdom and divine grace; see M.Wan, 'Emperor Jiajing and His Auspicious Words', in Archives of Asian Art, vol.57, pp.95-120 and P.Sturman, Cranes above Kaifeng: The Auspicious Image at the Court of Huizong, in Ars Orientalis, 1990, p.33-68. Reinforcing the wish for extended happiness to last for eternity, the blue fret ground, so finely embroidered on the present robe, is an endless pattern incorporating the leiwen designs, meaning ten-thousand, thus forming the pun for 'May ten-thousand generations be granted happiness'.The combination of cranes carrying tallies, pavilions and Immortal figures became a popular subject decorating objects destined for use by the Qing Court during the Yongzheng reign. See a doucai bowl, Yongzheng mark and period, in the Victoria and Albert Museum, London, illustrated by R.Kerr, Chinese Art and Design, London, 1997, p.57; see also a blue and white dish, Chenghua mark but Yongzheng period, from the Cleveland Museum of Art, acc.no.1989.315. See also an 18th century kesi silk panel, Ming dynasty, embroidered with cranes carrying tallies, hovering above pavilions floating in waters, in the National Palace Museum, Taipei, acc.no.GU-SI-000068-00000.'Dragon robes' were supreme significant social markers representing access to power. The right to wear such garments depended 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 ruler's possessions and symbolic conveyers of power.Stylistically, the five-clawed front-facing dragons and trailing wispy clouds of the present robe closely compare with their counterpart woven on an Imperial yellow-ground kesi robe, Yongzheng, in the collection of the Minneapolis Institute of Art, Minneapolis, acc.no.42.8.11.For further information on this lot please visit Bonhams.com
Lot 279
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
Lot 282
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
Lot 285
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
Lot 286
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
Lot 287
A FINE GROUP OF SIX SILK BROCADE SUTRA COVERS16th to 18th centuryThe first with a profusion of multi-coloured double gourds issuing from leafy vines and florets, all on a vibrant emerald-green ground; the second with a flying phoenix amidst blossoming lotus and foaming waves, all on a coral-red ground; the third with flying cranes interspersed with flowering shrubs on a deep-green ground; the fourth with seven dragon roundels alternating with cruciform clusters of ruyi clouds on a rich orange ground; the fifth with gilt designs of five-clawed dragons striding amidst vaporous ruyi clouds on a red ground; the sixth with blossoming lotus interspersed with flowering branches on a dark blue ground.34cm (13 3/8in) long x 13.5cm (5 2/8in) wide. (6).Footnotes:十六至十八世紀 織錦經面 一組六件Provenance: a distinguished New York private collection, 1990's來源：紐約顯赫私人收藏，於二十世紀九十年代入藏Elegant covers composed of paperboard wrapped in decorative silk protected Buddhist scriptures, sutras, which were bound accordion-style. The covers thus protected the sacred words and presented the sutras in beautiful envelopes that signalled the importance of the contents within. The use of silk for sutras covers dates back to at least the Tang dynasty, but most extant examples are from the Ming dynasty and later, when the printing industry grew in China. Sutra covers were typically made of lustrous silk, often highlighted by metallic thread, which made possible a wide array of patterns and designs including floral scrolls, Buddhist emblems, traditional Chinese symbols of blessings, and Chinese auspicious characters with auspicious meanings.Compare with a related plain-weave silk sutra cover, 16th century, decorated with gilded designs of dragons and clusters of ruyi clouds, from the Metropolitan Museum of Art, New York, acc.no. 2011.221.36. See also eight further related silk sutra covers, 16th/17th century, decorated with various designs, illustrated by Xu Zheng and Zhao Feng, A Study of the Collection of Sutra Covers at the Philadelphia Museum of Art, Shanghai, 2019, pp.136-139.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 288
A RARE EMBROIDERED PALE-BLUE-GROUND SILK DAOIST PRIEST'S ROBE, JIANGYICirca 1880Of rectangular form with a central opening at the front, the heather-blue brocade woven with intricate pale pink designs of sinuous dragons striding chasing flaming pearls amid clusters of vaporous clouds and leafy vines, the back elaborately decorated with the square Daoist diagram incorporating symbols of the sun and moon (cockerel and rabbit), the constellations and the symbolic forms of the Five Sacred Mountains, all surrounded by cloud fronds, cranes and phoenix, all worked in a fine net pattern of metallic couched threads, all within borders incorporating five-clawed dragons, cranes, carps and heavenly horses striding above rolling waves at the hems and back and front sleeve openings, worked in very fine couched gold, multi-coloured threads and gold leafed paper on a deep blue ground.158 (62 2/8in) wide x 136cm (53 1/2in) long.Footnotes:約1880年 淺藍緞地繡鬱羅蕭台瑞獸紋道教絳衣Provenance: a distinguished New York private collection來源：紐約顯赫私人收藏Finely embroidered in multi-coloured silk, couched gold wrapped thread and gold-leaf paper, this exquisite garment was made for a Daoist Priest of the First Degree. Daoist garments, also known as robes of descent, jiangyi, evoked the meditative transcendence of the wearer and are among the most sumptuous and visually spectacular works of Daoist ritual art.Jiangyi robes worn by the grand master consisted of two main lengths of yardage, sewn together up the back, with the front-left open. The most important decoration appeared on the back of the garment as this was seen by the supplicants as the priest faced the altar to perform his rites. However, the grand master also faced outward, sometimes descending to the lay people's level, hence the translation 'robe of descent'. Symbolically, the wearers of garments decorated with such cosmic designs were thought of becoming the animators of rituals and promoting harmony with Heaven and stability on Earth. The symbolism underscored by the subjects depicted on Daoist robes combined in richly orchestrated displays related to Daoist vision of an ordered cosmos, harmonious existence with nature, and heavenly paradise. The principal features include a central pagoda within a circle or ovoid, surrounded by stars, clouds, and a rainbow pattern representing paradise. The circle itself is often ringed with flames, with the symbols of the sun and the moon, containing respectively the three-legged cockerel and the rabbit pounding the elixir of longevity, positioned at the top. Surrounding the circle are plain disks representing the stars. The Jade Emperor sat within his palace as the focus of the glowing arch formed by the stars around him. The side and hem borders include a a version of the celestial landscape populated by dragons and other mythical creatures; see J.Vollmer, Imperial Silks. Ch'ing Dynasty Textiles in the Minneapolis Institute of Arts, Minneapolis, MA, 2000, p.354-357.The formula of portraying the cosmos with the Daoist palace at the centre, flanked by the sun and the moon, dates from at least the Han dynasty and an early form may be noted on the famous banner excavated from tomb 1 in Mawangdui, Changsha, Hunan, which depicted the deceased's journey toward the Daoist Immortal realm. A similar depiction of the Immortal land as an icon survives in 14th century wall frescoes in the Yonglegong, Shanxi Province and others preserved in the Royal Ontario Museum, Toronto, illustrated by C.Brown, Chinese Scholars' Rocks and the Lands of Immortals: Some Insights from Paintings, in R.D.Mowry, Worlds Within Worlds: The Richard Rosenblum Collection of Chinese Scholars' Rocks, Cambridge, MA, 1997, p.67, fig.4.Compare with a related pale blue-ground embroidered silk Daoist Priest's robe, late Qing dynasty, illustrated in Heaven's Embroidered Cloths. One Thousand Years of Chinese Textiles, Hong Kong, 1995, pp.186-187, no.48.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 289
FIVE PAIRS OF EMBROIDERED SILK SLEEVEBANDS AND A SINGLE 'SUZHOU EMBROIDERY' 'PEACOCK' BAND19th centuryAll finely embroidered in multi-coloured satin stitch and Peking knot, the first pair with colourful butterflies fluttering amidst a profusion of blossoming flowers, all on a rich cream ground, the second pair with Court figures in luxuriant gardens dotted with elegant pavilions, on a pearl-white ground, the third pair with lively crickets amidst fruiting branches of pomegranates and blossoming magnolias on cream ground; the fourth centred with large peaches above a standing deer carrying an auspicious vase on its back and beneath hovering cranes carrying a tally in their beak over an immortal land, all on a vibrant sky-blue ground, the fifth with gold thread designs of butterflies hovering over blossoming peonies, the single band with a crane and a pair of peacocks besides jagged rocks and flowering peony shrubs and prunus branches on a pale acqua ground. Embroidered area of the largest sleeveband, 59cm (23 2/8in) long. (11).Footnotes:十九世紀 各式緞地刺繡袖帶五對 及蘇繡花鳥圖一件Provenance: Linda Wrigglesworth, London來源：倫敦Linda WrigglesworthFor further information on this lot please visit Bonhams.com
Lot 292
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
Lot 294
A Yellow-glazed incised 'Dragon' bowlTongzhi six-character mark and of the periodThe rounded sides rising from a short straight foot to a slightly everted rim, incised around the exterior with two five-clawed dragons chasing flaming pearls amidst wisps and billowing waves, applied overall with a rich egg-yolk-yellow glaze, the base glazed white. 14.3cm (5 5/8in) diam.Footnotes:清同治 黃釉刻雲龍戲珠紋盌 青花「大清同治年製」楷書款Provenance: Douglas R.A. Spankie (1929–1974), British First Secretary and Acting Consul-General, Shanghai (1962-1964), acquired during his service in Shanghai, and thence by descent來源：道格拉斯·史本基（1929–1974），1962-1964年任英國駐上海一等秘書及代理總領事，於其任內購自上海，並由後人保存迄今Douglas Spankie was one of an unusual and privileged group of British diplomats who served Her Majesty's Government in China between the time when the Shanghai Consulate was officially closed in 1949, and when it formally reopened in 1985. Based in the diplomatic compound in Shanghai, during his tour he was able to collect a small but interesting group of paintings and works of art. He and his young family were permitted to visit other parts of China; his daughters remember travelling to Beijing to visit the Forbidden City, and attracting great interest from the residents. The girls learned to speak fluent Chinese, the Shanghai dialect, while Spankie spoke Mandarin.Spankie was born in 1929 and posted to Shanghai in 1962. Returning to the UK in 1964, he just missed the extreme violence of the Cultural Revolution. During his tour, he was lucky enough to be able to share in the (admittedly restricted) social and cultural life of Shanghai, even though many of his diplomatic functions were exercised through Scandinavian diplomatic intermediaries since the UK Consulate had no formal position in the PRC. Nevertheless, some of the old pre-Revolution diplomatic niceties were still observed. Low-key celebrations to mark the Queen's Birthday attracted Chinese government attendees and there was a vibrant social life for the Western diplomatic community. Sadly, Douglas Spankie died from cancer at the very young age of 45, before his considerable talents as a diplomat could be redeployed into a full ambassadorial posting after he completed his tour in China. Compare with a very similar pair of yellow-glazed incised 'dragon' bowls, Tongzhi six-character marks and of the period, which was sold at Bonhams London, 10 November 2016, lot 22.For further information on this lot please visit Bonhams.com
Lot 299
AN EXCEPTIONALLY RARE LARGE IMPERIAL RU-TYPE 'EIGHT TRIGRAMS' MOONFLASK, BIANHUQianlong seal mark and of the periodSuperbly potted with a flattened circular body rising elegantly from a short spreading foot to a cylindrical neck collared with a raised ring and a lipped rim flanked by a pair of archaistic scroll handles, moulded in high relief on each side with a central domed medallion enclosing a yinyang motif encircled by the Eight Trigrams, ba gua, the ends decorated with raised bosses, covered overall in an attractive and unctuous bluish-green glaze with a network of fine crackles. 51.5cm (20 1/4in) high.Footnotes:清乾隆 仿汝釉太極八卦紋抱月瓶 青花「大清乾隆年製」篆書款Provenance: Alfred Speelman Ltd., London An important British private collection, acquired from the above on 5 October 1970, and thence by descent來源：倫敦古董商Alfred Speelman英國重要私人收藏，於1970年10月5日購自上者，並由後人保存迄今The present vase is exceedingly rare and no other example from the Qianlong reign appears to have been published. A tour-de-force of craftsmanship, it is an exceptional example of the technical zenith achieved by potters working at the Imperial kilns in Jingdezhen during the celebrated Qianlong period. The imposing size and rare glaze would have presented multiple challenges: the first of balancing the weight of the porcelain; the second, of successfully imitating the prized Northern Song dynasty Imperial Ru glaze with its bluish tinge and fine craquelure. Both would have been affected by the kiln temperature and control of its firing conditions, requiring the most exacting standards to accomplish this ambitious feat.In form, the impressive moonflask is inspired by an early Ming dynasty design, which in turn drew on an Islamic metal prototype; see J.A.Pope, 'An Early Ming Porcelain in Muslim Style', in R.Ettinghausen, ed., Aus der Welt der Islamischen Kunst, Festschrift für Ernst Kühnel, Berlin, 1959, pp.357-375. In glaze, the flask imitates the rarest of the 'Five Great Wares' of the Song dynasty, the Ru glaze, used on wares made for the Imperial Court during the Northern Song dynasty. In design, the Eight Trigrams, bagua, introduces a religious dimension of Daoism, whereby the trigrams - Qian, Kun, Zhen, Xun, Kan, Li, Gen and Dui, which stand for heaven, earth, thunder, wind, water, fire, mountain and marsh respectively - provided the means of assessing the present state of the world and a basis for decision-making for the future; both of great bearing to the Emperor.The vase, although based on earlier prototypes in form, glaze and decoration, is a direct continuation of the previous Yongzheng reign; see a celadon glazed 'Eight Trigrams' moonflask, Yongzheng seal mark and of the period, illustrated in The Prime Cultural Relics Collected by Shenyang Imperial Palace Museum: The Chinaware Volume, vol.II, Liaoyang, 2008, p.61; and see also an 'Eight Trigrams' ge-type moonflask, Yongzheng seal mark and of the period, in the National Palace Museum, Taipei, Museum no.ZC003964N. The Daoist design of the present vase is a manifestation of the previous Yongzheng Emperor's known attraction to Daoist longevity practices, which included indulging in consumption of lead-based 'elixirs of life'. The Imperial Court provided patronage to the White Cloud Monastery in Beijing, and elaborate Daoist celebrations were also regularly staged around the Qianlong Emperor's birthdays. The grandest of Daoist rituals, the jiao rite of communal renewal, also received Imperial support. However, the Yongzheng Emperor's immersion in Daoist practices was an exception, as most of the Qing Emperors followed Buddhism alongside Confucian rituals of the state; see P.Berger, 'Religion', in E.S.Rawski and J.Rawson, eds., China: The Three Emperors 1662 - 1795, London, 2005, pp.132-133.Compare with a related Ru-type archaistic hexagonal vase, hu, Qianlong seal mark and period, which was sold at Sotheby's New York, 23 March 2011, lot 736. See also a related Ru-type glazed vase, cong, Qianlong seal mark and period, which was sold at Christie's Hong Kong, 3 June 2015, lot 3108.For further information on this lot please visit Bonhams.com
Lot 309
A RARE CINNABAR LACQUER CARVED THREE-TIERED DOUBLE-LOZENGE-SHAPED BOX, COVER AND STANDQianlong The cover meticulously carved with two five-clawed writhing dragons in pursuit of a flaming pearl in the form of a stylised Shou character, on a ground of swirling waves, all within key-fret borders, the straight sides of the boxes and cover decorated with six cartouches enclosing various antiques and scholar's objects, divided by leafy blooming lotus, the interior and base covered with black lacquer, with a cinnabar lacquer stand supported on six ruyi-shaped feet. 31cm (12 1/8in) wide. (5).Footnotes:清乾隆 剔紅雕博古圖龍紋方勝式多層蓋盒The double-lozenge, also known as fang sheng 方勝, is one of the Eight Treasures, babao 八寶, which was a much favoured design used in decorations during the Ming and Qing dynasties. Lozenge-shaped lacquer examples first appeared in Ming dynasty; see for example a qiangjin polychrome and gilt-lacquer lozenge-shaped box and cover, Jiajing mark and period, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Lacquer Wares of the Yuan and Ming Dynasties, Shanghai, 2006, no.151. The inspiration from previous generations was in line with the Qianlong Emperor's instructions to his Court and craftsmen to look to China's past for moral guidance and artistic inspiration. A similar double-lozenge shaped cinnabar lacquer tiered box and cover, Qianlong, decorated with dragons pursuing a Shou pearl of wisdom on the cover, and 'Precious Objects' around the sides, is in the collection of the National Palace Museum, Taipei (museum no.Gu-Qi-000261N000000000). See also a related cinnabar lacquer lozenge-shaped box and cover, 18th century, in the National Palace Museum, Taipei, illustrated in Carving the Subtle Radiance of Colors-Treasured Lacquerware in the National Palace Museum, Taipei, 2008, no.152.For further information on this lot please visit Bonhams.com
Lot 334
Manner of XU BEIHONG (1895-1953)Galloping HorseBlack ink and white pigment on fibrous paper, signed Xu Beihong, one seal of the artist, framed and glazed 56.5cm (22 1/2in) high x 50cm (19 6/8in) wide. Footnotes:徐悲鴻（款） 奔馬 紙本水墨 鏡框裝裱Provenance: Max Morris (1910-2017), acquired in China in 1957, and thence by descentPublished and Exhibited: Herbert Art Gallery and Museum, Modern Chinese Paintings from the Hafkin and Other Collections, Coventry, 11 July - 9 August 1964, no.42.來源：Max Morris（1910-2017）舊藏，於1957年購自中國，並由後人保存迄今展覽著錄：赫伯特藝術博物館，《Modern Chinese Paintings from the Hafkin and Other Collections》，考文垂，1964年7月11日-8月9日，編號42 Max Morris was born in London's East End to Russian immigrant parents. In his youth, he began working in his family's shoe business, P.Morris & Sons based in Shoreditch High Street. He served in the RAF during World War Two, as a French interpreter for air support crews in France, reaching the rank of sergeant. In August 1957, Morris was part of a small trade delegation to China with the aim of fostering better understanding and trade between China and the UK. During this time, he visited some artists' studios and acquired paintings, some of which were later exhibited at the Herbert Art Gallery and Museum, Coventry.In the 1980s he taught English at Toynbee Hall to primarily immigrants and was an active patron of the arts and charities. Two days before his 106th birthday he was awarded the British Citizen Award for his charitable work in a ceremony at the House of Lords on 7 July 2016.Xu Beihong is widely recognised as the father of modern Chinese painting, both for his innovative ink works that revitalised the traditional Chinese form, and for his willingness to embrace Western techniques.Winning high acclaim for their bold and lively styles, the horse paintings by Xu Beihong were highly admired amongst collectors and connoisseurs for their strength and vivacity, whilst also expressing Xu's desire to show his own feelings of patriotism.Born in Yixing, Jiangsu Province, in 1895, Xu grew up in an artistic family and showed talent at an early age. In 1915, he moved to Shanghai, then a melting pot of Chinese and Western cultures, to begin his studies. There he met Kang Youwei, the scholar and political reformer, who became his mentor and greatly influenced Xu's thinking about the need to incorporate Western practices and ideas into Chinese art.Throughout his life, Xu Beihong championed the revitalisation of Chinese painting through the integration of Western-style realism and Chinese brush techniques. Here, using sharp tonal contrasts between black ink and white paper, Xu's swift rendition of the noble steed embodies the spirit of traditional 'ink play'. The horse's natural pose is deftly captured in abbreviated brushwork, however, the horse's accurate anatomy and the convincing foreshortening of its body reflect Xu's solid grounding in Western academic art. The powerful demeanour of the unleashed unmounted animal may convey a Western influence, but its mane and tail, blowing unnaturally in opposite directions, testify to the artist's ultimately subjective approach.Xu employed freehand strokes, only outlining the critical parts, such as the nose, the chest and the hooves. Xu Beihong studied the anatomy of horses and observed their postures and expressions in great detail; the shape of the large muscles at the neck, breast and back is accentuated with ink washes executed in various tones, giving life to a remarkably robust figure, whilst, at the same time, reinstating Xu Beihong's position as a leader of one of the first generation of innovative artists seeking to reinvigorate the long tradition of Chinese aesthetics.Xu's powerful and passionate images of horses, a traditional symbol of Chinese martial spirit, were intended to inspire patriotic resistance during the Sino-Japanese War (1937–1945).See a related ink on paper depiction of a 'Heavenly Horse' by Xu Beihong, in the Metropolitan Museum of Art, New York, published by Shi-yee Liu, Straddling East and West: Lin Yutang, a Modern Literatus, New York, 2007, p.52.For further information on this lot please visit Bonhams.com
Lot 365
A pair of huanghuali 'meditation' chairs, chanyiEach with an elegant plain frame forming a low back and slender arms supported at right angles on straight front posts, the large hard-mat square seat above humpback stretchers with pillar-shaped struts. 86cm high x 74cm wide x 74cm deep (2).Footnotes:黃花梨禪椅一對Provenance: a distinguished European private collection來源：歐洲顯赫私人收藏Notable for their understated elegance conveyed by their linear beauty and geometric simplicity, the present chairs are clearly inspired by an earlier prototype in the Ming dynasty. Chairs of similar form had been used since the sixth century. The low-back armchair serving as seat for the abbot or high prelate depicted on a mid-sixth century stele on the wall of a Buddhist cave in Dunhuang, for example, has a similar design to the present chairs, except for the higher back; see S.Handler, The Austere Luminosity of Chinese Classical Furniture, Berkeley and Los Angeles, 1992, p.14, fig.1.6. Surviving literature dating from the sixth century refers to these 'meditation' chairs as 'woven seats' shengchuang or shengzuo. According to the 'Record of Buddhist Monasteries', completed in AD 547, Buddhist monks practiced stillness, eating the wind and submitting to the Way as they sat cross-legged on rope seats shengzuo, in quiet meditation rooms nestled amidst luxurious gardens containing exotic fruit trees and fragrant azaleas; see W.J.F.Jenner, Memories of Loyang, Yang Hsuan-chich and the Lost Capital', Oxford, 1981, pp.493-534. A devotional handscroll of Buddhist images by Zhang Shengwen, executed between AD 1173 and 1176, depicts Bodhidharma, the first patriarch of the the Chinese Chan Buddhist sect, seated on a similarly-shaped chair but fashioned from gnarled branches.Because of their deep seat and horizontal back rails, 'meditation' chairs made it difficult to sit comfortably on them, therefore, they were often used with separate backrests. In addition, judging from the contexts in which they were depicted, these chairs could be used in religious as well as secular contexts. See a woodblock illustration to 'Efficaceous Charms from the Tianzhu' Tianzhu lingqian, and 'Ximen Encounters a Barbarian Monk', a woodblock illustration to 'The Plum in the Golden Vase, dating to the Ming dynasty, depicting a scholar meditating in his garden in the lotus position, illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley and Los Angeles, 1992, p.33, figs.2.8 and 2.9.A similarly-shaped huanghuali 'meditation' chair, 17th century, formerly in the Museum of Classical Chinese furniture in Renaissance, California, is illustrated by S.Handler, The Austere Luminosity of Chinese Classical Furniture, Berkeley and Los Angeles, 1992, p.26, fig.2.2.This lot is subject to the following lot symbols: TP YTP Lot 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.Y 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 61
An Original 1973 Poster Of Bruce Lee's Enter The Dragon, The First American Produced Film And Arguably His Most Popular Film Condition The Poster Is In Good Overall Condition And Shows Slight Signs Of Creasing And Signs Of Being Folded, Slight Marks And Slight Signs Of Yellowing To The Back. Measures At 102CM Width . 76Cm Height Approximately
Lot 100
A VERY LARGE PAIR OF EMBROIDERED SILK 'HUNDRED BIRDS' PANELS INSET INTO HONGMU SCREENS19th centuryThe panels finely embroidered with a multitudinous variety of birds fluttering in luxuriant, flowering gardens, all on cream silk grounds, the reticulated frames and stands skillfully carved with lotus blooms and entwined scrolling foliage, set on recumbent Buddhist lion feet. Overall 190cm (74 7/8in) high x 117.5cm (46in) wide x 47.5cm (18 5/8in) deep. (2).Footnotes:十九世紀 紅木邊框鑲緞地粵繡「百鳥朝鳳」圖座屏一對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 scene depicts numerous birds, in tribute to the popular and auspicious design of the 'Hundred Birds Paying Tribute to the Phoenix'. According to Chinese legend, the phoenix is the Queen of all feathered creatures, appearing only in times of prosperity and peace. Birds also played a prominent part in the visual culture of rank and hierarchy, as the various ranks of the civil bureaucracy were represented on official robes with badges depicting a bird. Thus, the first rank badge was a Manchurian crane; the second rank, a golden pheasant; the third, a peacock, etc., down to the eighth and ninth ranks represented by quails and sparrows. Screen depicting the multitudes of birds, in an Imperial context, would suggest the harmonious gathering of officials at court: the bird kingdom mirroring the Son of Heaven's human realm.A similar single 'hundred-birds' silk embroidered wood framed panel, 19th century, is in Greenway House, Devon, but without the lower wood section (acc.no.NT118793). A single similar large blue-ground embroidered 'hundred-birds' panel inset within a wooden screen, 19th century, was sold at Christie's London, 6 November 2018, lot 319.本品繡花木山石，鳳棲其間，仙鶴、錦雞、孔雀、鵪鶉等各式禽鳥散佈其中，一派花開富貴、百鳥來朝之盛景。鳳為百鳥之王，傳說會在太平盛世降臨人間。而禽鳥在中國官階體系的視覺文化中舉足輕重，明清文官官服皆以禽鳥為補子紋樣，從代表一品的仙鶴、二品錦雞、三品孔雀，直到八品鵪鶉、九品練雀等等，以彰賢德。百鳥朝鳳則像徵君主聖明而天下依附，喻德高望重者眾望所歸。英國國家名勝古蹟信託會員之德文郡格林威大宅所藏一件十九世紀「百鳥朝鳳」圖繡屏，藏品編號NT118793，與本例相似惟無底座。倫敦佳士得曾於2018年11月6日售出一件十九世紀石青地粵繡百鳥圖插屏，拍品編號319，可為參考。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 49
A MAGNIFICENT AND VERY RARE PAIR OF ZITAN-FRAMED KINGFISHER FEATHER-INLAID 'LANDSCAPE' SCREENSQianlongEach exquisitely decorated with lavish use of turquoise-blue kingfisher feathers and other materials reserved against a luxurious velvet ground, depicting rugged mountain and lake landscapes dotted with pavilions and pagodas, the leaves, tree trunks and rocks all made from kingfisher feathers, one screen depicting a boy-attendant carrying a guqin to a seated sage below pine trees, with swirling clouds amidst the tall craggy peaks, the other screen with figures in a house gazing out to the lake with a sampan, all set in a shaped skillfully carved zitan frame carved with archaistic scrolls in low relief and stand pierced with floral sprays. 111.2cm (43 3/4in) high x 56.7cm (22 1/4in) wide x 31.2cm (12 1/4in) deep (2).Footnotes:清乾隆 紫檀邊座點翠山水人物圖插屏一對Provenance:H.E. Monsieur Aleksander Vlangali (1823-1908), Russian Ambassador Extraordinary and Minister Plenipotentiary in China (1863-1873)Spink & Son Ltd., LondonMrs E. A. Parry (1879-1977), London, acquired from the above on 31 July 1926, and thence by descentPublished, Illustrated and Exhibited: Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-1936, pp.215-216, nos.2500 and 2511.來源：俄駐華公使亞歷山大·弗蘭加利（1823-1908）旧藏倫敦古董商Spink & Son Ltd.倫敦E. A. Parry夫人（1879-1977）舊藏，於1926年7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215-216，編號2500与2511Aleksander Vlangali descended from nobility of St. Petersburg. He participated as an officer in the Crimean War of 1853-1856. In the late 1850s he entered the Imperial Russian diplomatic service and was promoted in July 1863 to the position of the Russian Ambassador Extraordinary and Minister Plenipotentiary in China, a position which he held until November 1873. In 1865 he was made Major General. 亞歷山大·弗蘭加利（Aleksander Vlangali）為出身於聖彼得堡的俄國貴族。曾作為軍官參加了 1853-1856年的克里米亞戰爭。十九世紀五十年代後期，任職俄羅斯帝國外交部門，並於1863年7月任命為俄駐華公使，直至1873年11月。1865年，亞歷山大被擢升為少將。This important pair of screens 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 remarkable screens demonstrate the exceptional artistry of the 18th century craftsmen reproducing idyllic landscapes in variety of materials and in the case of the present pair, utilising the brilliant enduring colours of kingfisher feathers meticulously inlaid within the design. Kingfisher feathers were admired and prized in ancient China, and as early as the Spring and Autumn period (770-475 BC) they adorned clothes and accessories. A Tang dynasty poem by Chen Zi'ang, 661-702 AD) reads: The halcyon kingfisher nests in the South Sea realm;Cock and hen in groves of jewelled trees; How could they know that the thoughts of lovely women; Covet them as highly as yellow gold?' The popularity of the use of the prized feathers in appliqué technique continued into the 18th century, with the majority of workshops specialising in utilising the feathers for decoration and in carving the precious zitan wood, located in Guangzhou. Such works were commissioned by the Qing Court and made as Imperial-tribute. Compare with a pair of related screens with kingfisher feather decoration, Qianlong, in the Shengyang Palace Museum, and a further panel in the Forbidden City, illustrated by B.Jackson, Kingfisher Blue: Treasures of an Ancient Chinese Art, Berkeley, Toronto, 2001, pp.30-31 and 186. See also three other screens decorated with kingfisher feathers, mid Qing dynasty, made in Guangzhou as Imperial-tribute, illustrated by Hu Desheng, Ming Qing Gu Gongting Jia Zhu Da Guan, vol.1, Beijing, 2006, nos.388, 394 and 396.The remarkable screens showing idyllic mountain landscapes and an attendant carrying a wrapped guqin to a scholar, were inspired by literati paintings and ideals. Images of the private retreat proliferated among the scholar-officials from the early Song dynasty, when visions of the natural hierarchy became metaphors for the well-regulated state. The scholars extolled the virtues of self-cultivation and asserted their identity as literati through poetry, calligraphy, and painting. The images of old trees, bamboo, rocks, and retirement retreats created by these scholar-artists became emblems of their character and spirit. Pine trees, for example, remaining green even during the winter, came to represent the sturdy and morally upright scholar. The conquering Manchu Emperors desired very much to show themselves as the custodians of Han Chinese culture and adopted it fully, including the ideals of literati from the Yangzi delta region. In addition to literati landscape paintings, the Qianlong Emperor also showed himself as a custodian and connoisseur of China's ancient heritage by championing archaism as both an aesthetic and intellectual movement. The superbly carved and prized zitan frames and stands follow the Qianlong Emperor's taste for archaism, utilising motifs seen on early ritual bronze vessels, such as taotie masks and S-shaped scrolls.With its smooth and silk-like texture, fine and dense grain and ... 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 83
AN INSIDE-PAINTED GLASS 'WANG ZHAOJUN' SNUFF BOTTLESigned Meng Zishou, dated to the Summer of the Jiyou year corresponding to 1909 and of the periodPainted with two warriors on horseback jousting with each other in a mountainous landscape, with inscription and signature of the artist, the reverse with Wang Zhaojun on horseback led by a groom and with a banner lady in attendance, stopper. 6.8cm (2 5/8in) high. (2).Footnotes:1909年 孟子受作玻璃內畫人物圖鼻煙壺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 present lot depicts Wang Zhaojun, one of the 'four beauties of ancient China', being escorted to the frontier to marry Chanyu Huhanye of the Xiongnu empire in order to establish friendly relations with the Han dynasty. According to legend, along the way, the horse neighed, making Zhaojun extremely sad and unable to control her emotions at being sent to marry a barbarian. See a related Meng Zishou bottle illustrating a scene from 'The Romance of the Three Kingdoms', illustrated by H.Moss, V.Graham and K.B.Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, Inside Painted vol.4, part II, Hong Kong, 2000, pp.512-513, no.636, which was later sold at Sotheby's Hong Kong, 26 May 2014, lot 1142. According to the authors 'from 1910 onwards Meng painted a series of figural subjects illustrating scenes from popular books', which therefore makes the present bottle a rare early example of Meng's work; see ibid., p.512.Meng Zishou, who also went by the name Meng Zhaoxun, is another of the artists of the Beijing School of Zhou Leyuan. As a rule, Beijing school artists were influenced by Zhou Leyuan in their early years and then, later, might borrow from any of the other popular artists who were painting. Meng is no exception and he soon settled down to the influences of the Zhou Leyuan School. During his career, the influence of Ma Shaoxuan and Ye Zhongsan become obvious from 1905 onwards, but in his first year he seems to have been the only artist to hark back to the literati beginnings of the art for his inspiration.壺呈扁瓶形，直口，溜肩斂腹。一面內畫昭君出塞，另一面內畫李陵大戰番將，並署「己酉夏日寫於京師習古山房孟子受作」款。參考一例孟子受作內畫三國人物圖鼻煙壺，見於H.Moss、V.Graham、與K.B.Tsang著，《A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, Inside Painted》，卷四，香港，2000年，頁512-513，編號636，後於2014年5月26日售於香港蘇富比，拍品編號1142。依據上書第512頁，1910年起，孟子受創作了一系列以通俗故事人物為題材的內畫鼻煙壺，而本例無疑是孟氏存世較少的早期精品之一。孟子受，又名孟昭勳，京派鼻煙壺內畫大師。京派畫師早期往往受週樂元繪畫風格影響，後逐漸博取眾家之長，孟氏亦不例外；其1905年後的作品逐漸體現出馬少宣、葉仲三等藝術風格，也是為數不多的回溯到文人藝術中尋求靈感的藝術家。For further information on this lot please visit Bonhams.com
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