A VERY RARE PAIR OF IMPERIAL INSCRIBED CINNABAR LACQUER CARVED TEA BOWLSQianlong seal marks and of the period, the inscription dated Bingyin year, corresponding to 1746Each vessel with deep rounded sides rising from a straight foot to a gently flaring rim, carved to the exterior through layers of cinnabar lacquer to a black diaper-pattern ground with an Imperial poem, 'Three-Purity Tea,' Sanqing Cha, dated to the Bingyin year (corresponding to 1746) followed by the seals Qian and Long, all between two borders of ruyi designs encircling the rim and foot, against matching leiwen grounds around the foot and rim, the red-lacquered base intaglio-carved with a six-character seal mark within a recessed square, the interior lacquered brown. Each 11cm (4 3/8in) diam. (2).Footnotes:清乾隆 御製剔紅御題詩三清茶盌一對 「大清乾隆年製」、「乾隆丙寅小春御題」款 「乾」、「隆」印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 pair of tea bowls was part of a tea set used by the Qianlong Emperor at tea ceremonies held during New Year celebrations. The vessels are both inscribed with one of his favourite poems, Sanqing cha ('Three-Purity Tea'), which he wrote during the Bingyin year (1746), on the occasion of his 36th birthday while sipping tea in his studio on a cold winter's day. The poem refers to the tea made from plum blossoms, finger citron and pine nut kernels, which was offered to the Emperor during his visit to the sacred mountain Wutai. When brewed together in snow water, these three ingredients gave the tea a unique flavour and purity. The poem further describes the virtues of tea making and drinking, which reminded one of the Buddhist values of simplicity, austerity and purity. As a consummate connoisseur, The Qianlong Emperor combined art and tea at intimate gatherings within the Palace walls. A party hosted by the Emperor was a remarkable experience, an aesthetic convergence of artwork and tea leaf. The Qianlong Emperor brewed and tasted tea using the finest objects in the Palace Collection, a great treasure of implements and wares dating back to the eleventh century. During a gathering, the talk flowed from the age and glaze of a tea vessel to the specific number of buds and leaves plucked for a particular tea. Brewed and served, the tea itself was appreciated for its hue, scent and flavour, prompting a new yet leisurely stream of comments and observations. On the occasion of the New Year celebrations, the Emperor held a tea-drinking banquet in the Palace of Cherished Glory, Chonghua Gong, in the Forbidden City, where he asked his guests to compose poetry, and as a token of his appreciation, he rewarded the best poet with a 'Sanqingcha' bowl.The famous poem is recorded in the 'Anthology of Imperial Qianlong poems and prose' Qing gaozong yuzhi shiwen quanji, 'Imperial Poems' Yuzhi shiwen chuji, vol.1, chapter 36, p.17, and may be translated as:The plum blossom in appearance not ostentatious,The finger citron, scented and fresh, Pine nuts of most fragrant aroma,Three ingredients of outstanding purity.An infusion is brewed in a shallow tripod vessel,And the ingredients steeped in snow-water collected in a bamboo casket.After coming to a boil, bubbles like the eyes of fish or crabs can be seen in the surface of the water,Steam rises from the tripod appearing to alternate between Utpadanirodha birth and death. Teacups from the kilns of Yue sprinkled with Immortals' milk,The warmth of my yurt is agreeable to the joy of the mystic trance.The five Buddhist Skanda purify the greater part of all things,Spiritual awakening may occur but cannot be spoken of.The sweet smelling ingredients are dealt with and suitably delivered,Silky smooth the Immortals' wine, clear and limpid. Wo Quan's offering may be eaten.Lin Bu can admire the change of seasons.Nonchalantly the Koan of the Zhaozhou monk may be uttered,And the eccentricity of Yu Chuanzi laughed at heartily. On a cold night in winter, listening to the sound of the water clock,From the Guyue Studio I observe the moon, hanging in the sky like a jade archer's ring. I take advantage of what remains to drink my fill,And chant deliberately so that I might arise without exhaustion. Composed by the Emperor in the tenth lunar month of the Bingyin year [corresponding to 1746] during the reign of the Qianlong Emperor. The poem contains numerous literary and Buddhist allusions. The Manchu Imperial family were followers of the teachings of Tibetan Buddhism but much of the terminology used - to fit with Chinese poetic practice - relates to Chan Buddhism. Wo Quan was a mythical being who lived in the mountains, where he collected herbs for his own sustenance. He was particularly fond of pine nuts and was said to have presented some as a gift to the legendary Emperor Yao. Yao, however, did not eat them, and so missed out on their long life-giving properties. The Qianlong Emperor implies in the poem that, unlike the legendary Emperor Yao, he would not have hesitated. Another reference in the poem is made to 'the Monk of Zhaozhou'. This was Congshen (778-897), a Tang dynasty Chan Buddhist monk. In Chan Buddhism, a koan is a question, story or statement which may appear contradictory but after greater meditation upon, can lead to enlightenment. The koan of the Monk of Zhaozhou refers to the following story: when two monks visited Congshen, he asked if they had visited this temple before. When the first said yes, Consghen invited him to drink tea; when the second said no, Congshen also invited him to drink tea. When asked by the head monk why he had asked this seemingly pointless question, Congshen also invited him to drink tea. The reference echoes the Qianlong Emperor's enlightened generosity in hosting tea parties with his ministers. Compare with a very similar carved lacquer bowl, with the same poem, Qianlong seal mark and of the period, in the Qing Court Collection in the Palace Museum, Beijing, illustrated in The Emperor's Private Paradise: Treasures from the Forbidden City, New Haven and London, 2011, no.57. For a similar pair of lacquer bowls also carved with the Qianlong Emperor's poem Sanqing cha ('Three Purity Tea'), see a pair in the Tianjin Municipal Art Museum, illustrated in The Complete Series of Chinese Lacquer Zhongguo qiqi quanji, vol.6, Fuzhou, 1993, pl.211; and see another example in the Victoria and Albert Museum, London, which is illustrated by H.Garner, Chinese Lacquer, London, 1979, pl.93. Bowls inscribed with the Sanqing Cha poem were also produced in porcelain; see a blue and white bowl, Qianlong seal mark and of the period, illustrated in Special exhibition of K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware from the Ch'ing Dynasty in the National Palace Museum, Taipei, 1986, no.142; see also an iron-red example, Qianlong seal mark and of the period, also in the National Palace Museum, illustrated in Empty Vessels, Replenished Minds: the Culture, Practice, and Art of Tea, Taipei, 2002, no.129. Two further iron-red bowls, Qianlong seal mark and period, are illustrated in Late Chinese Imperial Porcelain, Art Gallery of New South Wales, Sydney, 1980, no.1.See a single very similar lacquer tea bowl with the same poem, Qianlong seal mark and of the period, which was sold at Christie's Hong Kong, 2 December 2015, lot 3163. See also a similar pair of Imperial inscribed cinnabar lacquer tea bowls, Qianlong mark and period, which were sold at Sotheby's Hong Ko... For further information on this lot please visit Bonhams.com
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A VERY PALE GREEN JADE 'LEAPING CARP' VASEQianlongCrisply carved as a mythical fish with whiskers and incised scales leaping out from the tempestuous foaming waves, emanating from lingzhi vapour, the stone of even pale-green tone, with hongmu stand. 10.5cm (4 1/8in) high. (2).Footnotes:清乾隆 青白玉雕魚龍紋花插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 carp or liyu transforming into a dragon long is associated with the passing of the Civil Service examinations, hence forming the pun yutiao longmen. According to traditional folklore, carp swim upstream in the Yellow River at Hunan towards the Dragon Gate waterfall at Longmen. It is said that the first carp which successfully overcomes the rapids will transform into a fish-dragon yulong. Such legend has led to the common saying that, 'a student facing his examinations is like a carp attempting to leap through the Dragon Gate', which bears the metaphor for a poor scholar who passes the Civil Service examinations and becomes a high official.For related examples of jade vases in the form of a carp, Qing dynasty, see one illustrated in Masterworks of Chinese Jade in the National Palace Museum, Taipei, 1970, no.25; and two examples illustrated in the Compendium of Collections in the Palace Museum: Jade 8, Qing Dynasty, Beijing, 2011, nos.167 and 168.Compare with a jade carp vase, Qianlong, which was sold at Bonhams Hong Kong, 28 May 2019, lot 157. See also a 'burnt' jade 'leaping carp' vase, Qianlong, which was sold at Bonhams London, 11 May 2017, lot 258.「魚躍龍門」的典故據傳最早出自漢代典籍，河津一名龍門，黃河自中流下，每逢春之際，有黃鯉魚逆流而上，得過者便化為龍；後以此喻舉業成功，奪冠登科。以鯉為題材的玉雕花插在明清十分盛行，兩岸故宮都有類似的清代玉雕魚龍形花插可作參考，見《故宮玉器精粹》，台北，1970年，圖版25；及《故宮博物院藏品大系：玉器篇8，清》，北京，2011年，編號167及168。香港邦瀚斯曾於2019年5月28日售出一例清乾隆/嘉慶青白玉雕魚龍戲珠花插，拍品編號157，以及倫敦邦瀚斯於2017年5月11日售出一例清乾隆雞骨白玉魚龍幻化花插，拍品編號258，可資參考。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
A PAIR OF FAMILLE VERTE 'LI BAI' WINE CUPSKangxi/early YongzhengEach of conical form rising from a short foot to the flared sides, delicately enamelled around the exteriors with the famous Tang dynasty poet, variously in a semi-reclining pose holding a wine cup and seated leaning against a qin, amongst wine jars and vessels, with boys in attendance, two wood stands, possibly zitan. Each 6.7cm (2 5/8) diam. (4).Footnotes:清康熙/雍正早期 五彩太白醉飲圖笠式盃一對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 present pair of cups is rare and part of a small group of exquisitely enamelled polychrome wares, including cups, small bowls and saucer-dishes, finely decorated with scholars in idealised natural retreats, dating to the late Kangxi and early part of the Yongzheng reigns, circa 1720-1725. Compare with two closely-related bowls, Yongzheng marks and period, the first decorated with a scholar and attendant by a riverbank gazing at geese, and the second with a scholar leaning on a pine tree, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, nos.155-156. See also a related polychrome enamelled bowl and cover, Yongzheng mark and period, enamelled with the Daoist Immortals Zhongli Quan seated near a pine tree and Zhang Guolao with his mule, in the Victoria and Albert Museum, London, acc.no.597&A-1907.The Tang poet Li Bai (701-762), or Li Taibai, has an almost divine status in Chinese culture, being considered one of the greatest poets in a five-thousand year classical tradition. In one hagiographic account, while Li Bai's mother was pregnant with him, she had a dream of a great white star falling from heaven. Indeed, he was within his own lifetime considered to be a banished Immortal, a myth he no doubt encouraged, explaining his courtesy name of 'Taibai' or 'Venus'. Apart from his literary brilliance, he was known as a tippler who eventually drowned after falling from his boat one night having become very drunk before trying to embrace the reflection of the moon in the Yangzi river. He is thus often depicted dozing beside a large vat of wine. Compare with a very similar famille verte cup, Kangxi/early Yongzheng, decorated with a continuous scene of a scholar seated on the bank of a river, which was sold at Christie's New York, 24 March 2011, lot 1723. See also a pair of related polychrome cups decorated with scholars, Yongzheng marks and period, which was sold at Bonhams London, 13 May 2010, lot 340.盃敞口，直壁，呈斗笠式，外壁以五彩繪通景人物圖。對盃小巧玲瓏，輕盈適手，筆法瀟灑，素雅清新，繪工細膩，極富文人氣息，應屬於康熙晚期至雍正早期，即約1720至1725年間製作之精品。北京故宮博物院藏兩件清雍正五彩人物圖小盃，其釉彩施用及繪畫風格均為類似，見《故宮博物院藏文物珍品大系：五彩·鬥彩》，香港，2007年，編號155及156；另對比英國維多利亞及阿爾伯特博物館藏一件清雍正五彩繪八仙人物蓋盌，其用彩及繪畫風格相類，館藏編號597&A-1907。器身所繪人物或為「飲中八仙」主題，其一手持酒盃、袒胸露腹者應為詩仙李白。李白字太白，號青蓮居士，是中國歷史上最偉大的浪漫主義詩人，以豪飲聞名，且文思敏捷，常以酒助詩興。據載，賀知章、李適之、李璡、崔宗之、蘇晉、李白、張旭、焦遂八人俱善飲，性情豪放曠達，被稱為「酒中八仙人」；杜甫曾作《飲中八仙歌》一詩，描寫他們無拘無束的灑脫性格。參考一例康熙晚期/雍正早期五彩人物圖笠式盃，外壁通景繪一高士倚坐岸邊，售於紐約佳士得，2011年3月24日，拍品編號1723。另見清雍正五彩「蒼松高仕」及「鷸蚌相爭」圖小盃兩件，售於倫敦邦瀚斯，2010年5月13日，拍品編號340，可資比對。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
A VERY RARE IMPERIAL TWO-COLOUR CINNABAR-LACQUERED YIXING TEAPOT AND COVERQianlongThe purple clay teapot covered in red lacquer and finely carved with confronted phoenix amongst a profusion of leafy, flowering peony stems, reserved on a black floral diaper ground, the foot, rim and finial with bands of key-fret design, the spout and handle with ruyi motif borders, the domed cover similarly decorated and surmounted by a spherical finial. 18.3cm (7 1/4in) long. (2).Footnotes:清乾隆 御製紫砂胎剔紅鳳穿牡丹紋壺Provenance:Spink & Son Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 30 October 1919, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1919年10月30日購自上者，並由後人保存迄今The present lavishly carved two-colour cinnabar lacquer Yixing teapot and cover, was made for use at the Imperial Court. The design on each main side of a pair of phoenix flanking a blossoming tree peony, indicates it was likely made for use by the Empress or one of the Imperial consorts. Carved cinnabar lacquer teapots were first made during the late Ming dynasty; see from the Qing Court Collection, an ovoid octagonal 'dragon and phoenix' teapot and cover, Jiajing mark and period; a further development of combining carved lacquer on an Yixing body, can be seen in a rectangular teapot and cover, bearing the mark of Shi Dabin, late Ming dynasty, also from the Qing Court Collection, decorated with figures in landscape; see The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Yuan and Ming Dynasties, Hong Kong, 2006, nos.145 and 198.Embellished Yixing teapots continued during the Qing dynasty from the reign of the Kangxi Emperor, with the Imperial Ateliers also experimenting with other methods of decoration such as famille rose enamels. During the Yongzheng and Qianlong reigns, Yixing teapots were also decorated in gilt lacquer; for examples see Geng Baochang, The Complete Collection of Treasures of the Palace Museum: Purple Sandy Ware, Shanghai, 2008, nos.4, 25 and 26. A related carved cinnabar lacquer Yixing teapot and cover, Qianlong gilt seal mark and period, in the National Palace Museum, Taipei, is illustrated in Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2007, no.146. A further unmarked example, 18th century from the K.S.Lo Collection, in the Flagstaff House Museum of Tea Ware, Hong Kong, is illustrated in The Art of the Yixing Potter, Hong Kong, 1990, p.150, pl.35.The symbolism of the phoenix on the teapot, according to the 'Classic of Mountains and Seas' (Shanhai Jing), embodies benevolence, righteousness, propriety, wisdom, and sincerity: all attributes of which an Empress should possess. The subject also symbolises the wish for marital harmony by showing the phoenix as a pair. In addition to this, the peony is a symbol of wealth and prosperity and is sometimes known as the 'flower of riches and honour' (fugui hua). The ruyi lappets around the spout and handle represent the wish for long life.Compare with a related cinnabar lacquered Yixing teapot, Qianlong, which was sold at Sotheby's London, 11 May 2016, lot 78. See also a cinnabar lacquered Yixing teapot, Qianlong mark and period, which was sold at Christie's Hong Kong, 1 December 2010, lot 3097.壺紫砂胎，圓鼓腹，環柄，曲流，圈足。通體髹漆，深色錦地，壺身每側各有兩隻翔鳳飛舞於牡丹花叢之間，鳳鳥姿態靈活，牡丹枝葉婉轉，花形圓滿，整體雍容華貴，富麗堂皇。剔紅執壺最早見於明後期，可見清宮舊藏一例明嘉靖剔紅龍鳳紋八棱式執壺，底刻「大明嘉靖年制」楷書款，及一例明晚期「時大彬」款紫砂胎剔紅山水人物圖執壺，均收錄於《故宮博物院藏文物珍品全集：元明漆器》，香港，2006年，編號145與198。康熙時期大量湧現以宜興紫砂為胎，外施彩釉的紫砂壺；雍正時更以描金為飾，參見《故宮博物院藏文物珍品大系：紫砂器》，上海，2008年，編號4、25與26三例。台北國立故宮博物院館藏一例清乾隆宜興胎剔紅雜寶茶壺，收錄於《和光剔彩——故宮藏漆》，台北，2007，編號146。另見香港藝術館茶具文物館藏羅桂祥博士舊藏一例十八世紀執壺，收錄於《宜興陶藝》，香港，1990年，頁150，圖版35。鳳穿牡丹為中國傳統吉祥紋飾，鳳凰為鳥中之王，牡丹為花中之王，表明本例執壺或為皇后或宮中某位妃嬪所用。 《山海經》載，鳳凰羽毛的花紋形似「德」、「義」、「禮」、「仁」、「信」五個文字，象徵皇后五德兼備。倫敦蘇富比曾售一例清乾隆宜興紫砂胎剔紅八寶紋茶壺，2016年5月11日，拍品編號78，可為參考。另有一例清乾隆宜興紫砂剔紅蓮紋茶壼，售於香港佳士得，2010年12月1日，拍品編號3097ᦁ... For further information on this lot please visit Bonhams.com
A FAMILLE ROSE RECTANGULAR TABLE SCREENMid Qing DynastyFinely painted with a harbour scene including a walled settlement beside an ocean extending to the distance, framed by blue mountains, the harbour with various boats, inscribed with a Tang dynasty poem and with seals, hongmu stand and frame. Overall 34.9cm (13 3/4in) high.Footnotes:清中期 粉彩「滕王閣」圖硯屏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 screen depicts the pavilion of Prince Teng. The inscription confirms the identity of the building, and is a line from the Tang poet Wang Bo (650-676 AD), which may be translated as:'Teng tower, the high pavilion, facing the river isle'The Pavilion of Prince Teng, first built in 653 AD by Li Yuanying, younger brother of Emperor Taizong of the Tang dynasty, is a real pavilion in Nanchang, Jiangxi Province, on the east bank of the Gan river. It is considered one of the three great towers of southern China, along with Yueyang tower and Yellow Crane pavilion. Teng tower is frequently depicted in Chinese art, most famously by the Yuan dynasty painter Xia Yong (active 1340s-1360s); see a painting in the Museum of Fine Arts, Boston (acc.no.29.964). See also a large blue and white vase depicting the same Teng pavilion, Kangxi, which was sold at Bonhams London, 12 November 2015, lot 124.以粉彩描繪江南名勝滕王閣景色，畫面右側以墨彩書初唐詩人王勃之詩句，「滕王高閣臨江渚」。滕王閣座落於江西南昌，贛江東岸。始建於唐永徽四年（653年），為當時任洪州都督的唐高祖李淵之子李元嬰所建。與岳陽樓、黃鶴樓並稱江南三大名樓，歷代文人墨客以其為題的詩詞書畫不勝枚舉，如現藏於美國波士頓美術館之元代夏永所繪《滕王閣圖》，藏品編號29.964。另見一例清康熙青花「滕王閣序」題字棒槌大瓶，售於倫敦邦瀚斯，2015年11月12日，拍品編號124。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
AN EXCEPTIONALLY RARE IMPERIAL RED LACQUER INSCRIBED CHRYSANTHEMUM-SHAPED BOWL AND COVERQianlong seal marks and of the period, the inscription dated Spring 1776The wide elegant body supported on a spreading circular foot and curving upwards to a gently-flared rim, the domed cover with a circular knop, decorated overall with raised vertical petals, all lacquered in brilliant vermillion, the tip of the cover and the base of the bowl each with a gilt four-character Imperial zhuanshu seal mark, the central interior cartouches lacquered black and each gilt with a dated kaishu inscription. 10.6cm (4 1/8in) diam. (2).Footnotes:清乾隆四十一年 御製脫胎朱漆御題詩菊瓣式蓋盌 「乾隆年製」、「乾隆丙申春御題」篆書款Provenance:Spink & Son Ltd., London,Mrs E. A. Parry (1879-1977), London, acquired from the above on 30 June 1933, and thence by descentPublished, Illustrated and Exhibited: Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-1936, p.252, no.2957.來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry夫人（1879-1977）舊藏，於1933年6月30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252，編號2957The present lot was exhibited in one of the most historic and prestigious exhibitions of Chinese art ever held. The exhibition's importance is reflected by its patrons who not only included King George V and Queen Mary, but also the President of the Chinese Republic. The committee of honour included luminaries such as Hu Shi and Cai Yuanpei; and the executive committee counted among its members renowned collectors and scholars such as R.L.Hobson, George Eumorfopoulos and Sir Percival David. With 3077 exhibits, it was not only one of the largest exhibitions of Chinese art, but many of the exhibits, including rare objects from the Palace Museum were seen in Europe for the first time. In this extraordinary exhibition, the present lot was amongst the very few Imperial Qianlong period lacquer wares chosen to be included, alongside a red lacquer 'chrysanthemum' dish, Qianlong mark and of the period, inscribed with an Imperial poem, lent by Sir Percival David, who was the Director of the Exhibition Committee.Compare with an identical lacquer chrysanthemum-shaped tea bowl and cover, also gilt decorated with two Qianlong seal marks and an inscribed Imperial poem, in the Qing Court Collection, illustrated in Lacquer Wares of the Qing Dynasty: The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2006, pp.215, no.164. See also another identical bowl in the Victoria and Albert Museum, London, gifted by Sir Harry Garner, illustrated by H.Garner, Chinese Lacquer, London-Boston, p.150, pl.97.The present bowl and cover were made by Imperial commission by artisans in Suzhou specialising in the 'hollow dry-lacquer' technique, with the inscriptions then carved in the Imperial Workshop in Beijing. With remarkably thin and delicate walls, the 'chrysanthemum' petals of the cover perfectly fit the fluted bowl, representing the highest quality of Qing Imperial lacquer craftsmanship. The interior of the bowl and the cover both have a gilt inscription of a poem by the Qianlong Emperor, dated 1776 which compares the vessel to a chrysanthemum flower. The poems may be translated as follows: 'It is made in the form of a fragrant chrysanthemum,And yet it is even more delicate,Drinking tea from it may be likened to sipping dew,from a newly plucked blossom.Imperially inscribed in the Spring of the Bingshen year of the Qianlong reign'.The Qianlong Emperor's poem likens drinking tea from this cup to drinking dew from a chrysanthemum: a fairy-like experience reserved for poets, Immortals and sages. The chrysanthemum was long associated with the poet Tao Yuanming (365-427) who lived during the turbulent transition between the Jin and Liu Song dynasties. To escape the political turmoil, he retired in midlife to a small estate to live out his days in rustic obscurity, drinking wine and writing poetry. Private and quiet as his life was, Tao's reputation grew steadily after his death, particularly for his associations with chrysanthemums, which he grew in a small patch by the eastern fence of his retirement estate; see S.Nelson, 'Revisiting the Eastern Fence: Tao Qian's Chrysanthemums', The Art Bulletin, 2001, vol.83, no.3, pp.437-460. The chrysanthemum, an autumnal flower, together with Tao's poetry of retirement, came to encapsulate the eremitic ideal of the scholar returning to nature for quiet contemplation. Over time, the chrysanthemum, together with the bamboo, orchid and prunus was regarded as one of the 'Four Gentlemanly Flowers': flowers that represented Confucian ideals to be emulated by true gentlemen. As such, the chrysanthemum flower provided much inspiration to artists and craftsmen from as early as the Song dynasty. Bowls and vessels decorated with chrysanthemum motifs were traditional gifts bestowed at Imperial celebrations, particularly during the Double Ninth festival (occurring on the ninth day of the ninth month) or Double Yang festival, where it was customary to climb a high mountain, drink chrysanthemum liquor and wear chrysanthemum flowers. Chrysanthemums were considered to have cleansing qualities and were used in medicine to cure illness and thus were also emblematic of longevity and fertility, because of the multitude of their petals. Chrysanthemums appear to have been popular motifs decorating vessels produced during the reign of the Qianlong Emperor, and because of the flowers' association with longevity, it is possible that the Emperor took an increasing interest in the motif as he approached retirement. See also a red lacquer chrysanthemum-shaped box and cover, Qianlong seal mark and of the period, with gilt poetic inscription, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, Shanghai, 2006, p.216, no.165.The Qianlong Emperor's enthusiasm for the chrysanthemum motif may also have been inspired by a powerful predecessor of his, the Yongle Emperor. On a red lacquer 'chrysanthemum' dish, Qianlong mark and of the period, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen, London, 2016, vol.III, p.848, no.1954, there is a poem dated 1774, the title of which is 'In praise of a chrysanthemum dish made in imitation of the vermillion lacquer of the reign of the Yongle Emperor' (Yong fang Yongle zhuqi juhua pan). The Ming dynasty Yongle Emperor (1403-1424) was one of the most energetic and powerful rulers in Chinese history. Under his vibrant reign, numerous technical heights were reached in the production of porcelain and lacquer. Not to be outdone, the Qianlong Emperor also may have felt that he wished to appropriate the chrysanthemum form of lacquerware for himself, as both a homage to former glorious Emperors and also as a subtle expression of his own stature. Compare with an identical cinnabar lacquer 'chrysanthemum' bowl and cover, Qianlong seal mark and of the period, which was sold at Bonhams Hong Kong, 24 November 2013, lot 342.本拍品曾借展... For further information on this lot please visit Bonhams.com
A RARE LARGE INSCRIBED SOAPSTONE 'ODE TO THE RED CLIFFS' SEALSigned Lu Yuan Lin Ji and Ji Ren, Qing DynastySkillfully carved in the form of a mountain, decorated in low relief with a continuous scene depicting an idyllic mountainscape with Su Shi, another scholar and a boatman travelling on a sampan floating on calm waters, crossing tree-strewn riverbanks dotted with dwellings and intricate foliage, all below an extract from the poem 'Former Ode on the Red Cliffs' by Su Shi, signed Ji Ren, the reverse inscribed with an extract from the 'Second Ode to the Red Cliffs' by Su Shi, signed Lu Yuan Lin Ji between further pavilions, pawlonia trees and bamboo stalks, the base with a twelve-character inscription. 11.2cm (4 1/2in) high.Footnotes:清 壽山石浮雕「赤壁賦」印章「吉人」、「鹿原林佶」刻款Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The remarkable skill of the carver is demonstrated through his success in transcribing a landscape image, likely derived from a painting or woodblock, onto a three-dimensional object by working through the uneven surface of the stone to create a continuous, three-dimensional canvas for the relief decoration.The inscriptions on the front and reverse of the seal are carved, respectively, with the First and Second Odes to the Red Cliffs by Su Shi (1037-1102 AD), a famous poet and calligrapher of the Song dynasty. The First Ode to the Red Cliffs may be translated as: 'A cool breeze was wafting, too gentle to ripple the water. Raising my cup, I toasted my friends and chanted the stanza on the gentle and graceful orb from the verse about the bright moon. Jiren'. The Second Ode to the Red Cliffs may be translated as: 'The flowing river gurgled between cliffs that rose to a height of a thousand feet. The moon looked small over the lofty mountains. As the river fell low, the rocks came into view. It was only a few months since I last visited and now the mountains and the river were hardly recognisable! Luyuan Lin Ji'. The inscription on the base of the seal, 'wu wei qi suo bu wei, wu yu qi suo bu yu', is a famous quotation by Confucian philosopher Mencius and could be translated as:'Let a man not do what his own sense of righteousness tells him not to do, and let him not desire what his sense of righteousness tells him not to desire.'Mountainous landscape scenes carved with scholars and sages were popular during the 18th century, reflecting the ideal peaceful retirement of the literati class or a momentary escape from the quotidian world of mundane affairs to idealised pursuits taken between official posts: a dreamlike desire perhaps even more remote from the lifelong service of the Emperor. Compare with a related but smaller (6.5cm high) tianhuang seal, mid Qing dynasty, depicting the scene Qiujian daidu ('Waiting for the ferry on an autumn river'), in the collection of the Palace Museum, Beijing, published on the Museum's website: http://www.dpm.org.cn/collection/seal/228550.html; and another small (4.8cm high) tianhuang seal, Qing dynasty, decorated with scenes of the Red Cliffs, illustrated in The Complete Collection of Treasures of the Palace Museum: Small Refined Articles of the Study, Shanghai, 2009, no.249.Lin Ji (circa 1660-1720) is also known by his style name Ji Ren and sobriquets Lu Yuan and Ziwei Neishi. He was awarded the Jinshi degree in 1713 for his services at Court. He was a noted poet and calligrapher, specialising in xiaokai (small regular script), seal and cleric scripts. He had a substantial collection of rare and fine books in his library the 'Puxuezhai'.Compare with a related soapstone 'boulder' seal, Republic period, decorated with a mountainous landscape, which was sold at Bonhams London, 10 November 2011, lot 385. See also a related tianhuang boulder decorated with a riverscape and a sampan, which was sold at Christie's Hong Kong, 29 May 2019, lot 3001.壽山大料為材，隨形，薄意。以蘇軾赤壁夜遊為題材，浮雕成通景山水人物。正面刻東坡與友人泛舟江上，巨石插立江中，茂密虯松批於崖上，遠處高山重迭，雲煙縹緲。石壁上以楷書陰刻蘇軾《赤壁賦》之詞句，「清風徐來，水波不興，舉酒屬客，誦明月之詩，歌窈窕之章」，落款「吉人」。背面依皮色巧雕幾桿修竹，一輪明月懸於空中，巨石上同樣陰刻楷書「江流有聲，斷岸千尺。山高月小，水落石出。曾日月之幾何，而江山不可複識矣」，出自《後赤壁賦》，落款「鹿原林佶」。印文篆體，朱文，右上起順讀「無為其所不為，無欲其所不欲」，語出《孟子》。蘇軾於元豐五年秋遊赤壁，作《赤壁賦》，三個月後再遊赤壁，又作《後赤壁賦》，成為古典文學史上的千古名篇，其超然物外，曠達恢弘的人生態度更是歷代文人的精神像徵。後世以夜遊赤壁為題的書畫作品不勝枚舉，並逐漸脫離原始文本之意義，成為文人遊趣的圖式來源。北京故宮館藏一例清中期田黃石淺浮雕「秋江待渡」章，雕飾風格可為比對，見於故宮博物院官方網站http://www.dpm.org.cn/collection/seal/228550.html。另有一例清田黃石雕赤壁圖章，收錄於《故宮博物院藏文物珍品大系：文... For further information on this lot please visit Bonhams.com
A FINE AND RARE CLOISONNÉ ENAMEL SCREEN AND STANDThe screen first half 17th century, the hardwood frame and stand 18th/19th centuryThe rectangular screen brightly enamelled with a scene of three sages beneath a rocky cliff rising to the wispy clouds and gnarled pine tree, all beside billowing green waves with white foam, with further blue mountains in the distance, all beneath a turquoise blue sky, set within a carved and pierced hardwood frame and stand. Overall 49.4cm (19 3/8in) high x 48.5cm (19 1/8in) wide. (2).Footnotes:十七世紀上半葉 銅胎掐絲琺瑯高士圖插屏 鑲十八/十九世紀硬木邊框Provenance:Spink & Son Ltd., London,E. A. Parry (1879-1946), London, acquired from the above on 31 December 1923, and thence by descentPublished, Illustrated and Exhibited: Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-1936, p.169, no.2002.來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1923年12月31日購自上者，並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935-1936年，頁169，編號2002This rare screen was included in the International Exhibition of Chinese Art held at the Royal Academy of Arts, Burlington House, London, in 1935-1936. This seminal exhibition had the patronage of their Majesties King George V and Queen Mary, and the President of the Chinese Republic. It included over 3,000 objects. These were loaned by the Chinese Government, including pieces shown for the first time outside China, objects from the collection of Sir Percival David, which were exhibited for the first time in public, pieces from the British Royal Collection, and from many important museums including the British Museum, V&A, the Louvre, Guimet, Cernuschi, Topkapi Saray, the Metropolitan Museum of Art, Cleveland, Kansas City, Cologne, Dresden, and from notable private collectors including HRH Crown Prince of Sweden, Alan Barlow, R.C. Bruce, Buchanan-Jardine, Mr & Mrs Alfred Clark, Dr Leonard Gow, C.T. Loo, Carl Kempe, H.J. Oppenheim, Oscar Raphael, F. Schiller, Mr & Mrs Walter Sedgwick, A. Stoclet , S.D. Winkworth and Prof. W. Perceval Yetts - the roll call of the greatest collectors of Chinese art in the west in the 20th century. E.A. Parry loaned 6 pieces to the Exhibition, demonstrating the superb quality of the Collection and the high esteem in which it was held by the exhibition committee, which was directed by Sir Percival David. These pieces were admired to this date in the Parry family homes and this is the first time since the 1935-1936 Exhibition that they are seen in public once again. The enamel decoration on the present lot is exceptional for the high quality of its execution with subtle application of mixed tones of translucent enamels over opaque ones, notably in the depiction of water and rocks, simulating painting.Compare the treatment of the sky and figures with that on a cloisonné enamel incense burner, Ming dynasty, 17th century, in the Musée des Arts Décoratifs, Paris, illustrated by B.Quette, ed., Cloisonné: Chinese Enamels from the Yuan, Ming and Qing Dynasties,New York, 2011, p.308, no.160, which was exhibited in 1935-1936 in the Royal Academy Exhibition alongside the present lot. See also a related cloisonné enamel panel with a scene of the lonely angler Jiang Ziya in a rugged mountainscape by water, first half 17th century, illustrated by A.Lutz, and H.Brinker, Chinese Cloisonné: The Pierre Uldry Collection, London, 1989, no.150.本拍品曾借展1935至1936年於倫敦皇家藝術學院伯靈頓宮舉辦的中國藝術國際展覽會。這一史無前例的展覽得到了中英政府及雙方人士的大力支持，由雙方元首擔任名譽主持人，英王喬治五世和瑪麗王后為監理。展品共計三千餘件，中國政府應邀出借包括故宮文物在內的近千件藏品，也是藏品首次在中國境外展出；展覽還包括了英國皇室的中國文物收藏，以及來自世界各地重要博物館（如大英博物館、維多利亞和阿爾伯特博物館、盧浮宮、吉美博物館、賽努奇博物館、託卡比皇宮博物館、大都會藝術博物館、克利夫蘭藝術博物館、堪薩斯城納爾遜-阿特金斯藝術博物館、科隆博物館、德累斯頓博物館等）與著名私人藏家（如瑞典王儲、Alan Barlow爵士、R.C. Bruce、Buchanan-Jardine男爵、克拉克伉儷（Mr & Mrs Alfred Clark）、Leonard Gow博士、盧芹齋、卡爾·坎普（Carl Kempe）、H.J. Oppenheim、Oscar Raphael, F. Schiller、Walter Sedgwick伉儷、A. Stoclet、S.D. Winkworth、W. Perceval Yetts教授等）的公私收藏精品，名單幾乎囊括了二十世紀西方世界最為重要的中國藝術收藏家。 E.A. Parry向本次展覽出借了六件藏品，這也顯示了其收藏品味之卓越及展覽籌備委員會對其之激賞。展覽結束後，Parry氏藏品淡出公眾視野，僅供家族成員賞玩；本次拍賣是1936年以來本品首次出現在ࠤ... This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A Collection of Books of a Topic of Railway to Include 1950 First Edition of Four Main Lines by Hamilton Ellis, 1967 Edition of The Cambrian Railway Volume I: 1852-1888, Brunel's Britain by Derrick Beckett, 1956 Reprint of Hamilton Ellis's British Railway History 1830-1876, 1922 Edition of the Story of Cambrian by C. P. Gasquoine, 1959 Edition of Hamilton Ellis's British Railway History 1877-1947 etc
A Collection of Six A.A. Milne Books to Include 1927 Third Edition of Winnie The Pooh, 1929 Second Edition of The Christopher Robin Story Books, 1955 Reprint of When we were Very Young, 1960 Reprint of Now we are Six and Two 1928 First Publishing of The House at Pooh Corner. All with Varying Condition Issues to Include Binding Damage, Fading etc
Four samplers, the first a rolled school sampler by Gladys Deraguth au pensionnat des Ursulines 19 Herck La Ville 00, including darning, patching and knitted samples and dated 1901 at the end; and three English samplers, one dated 1828 by Ane Crawford; one dated 1826 by Dorothea Goodlatte; and one later sampler.
'SOUTH: THE STORY OF SHACKLETON'S LAST EXPEDITION, 1914-1917' Ernest Shackleton, colour frontispiece, plain plates, original pictorial cloth, 8vo, London, W. Heinemann, 1927; Nansen, Fridtjof, The First Crossing of Greenland, tr. H.M. Gepp, plates and illustrations, contemporary blue calf gilt, spine rather worn, lacks label, 8vo, London, Longmans & Co., 1906; and a late edition of Scott's Last Expedition (3)
'SCOTT'S LAST EXPEDITION' by Capt R.F. Scott & Dr. E.A. Wilson, two vol, first edition, photogravure portrait frontispiece, large folding map at end of vol. I, numerous plates including six photogravure sketches by Wilson, a few folding plans and maps, original blue cloth, uncut, hinges a little rubbed, large 8vo, London, Smith, Elder & Co., 1913 (2)Footnote: Vol. I contains Scott's journals and vol. II 'Being the Reports of the Journeys & the Scientific Work undertaken by Dr E.A. Wilson and the Surviving Members of the Expedition'. The preface is by Sir Clements R. Markham.
A LATE 19TH CENTURY MIDSHIPMAN'S LOGBOOKS FROM H.M.S. NILE, ETC. kept by Fabian Chapman between 25 September 1894 - 31 January 1897, 189ff., 31 watercolour drawings, 25 of a technical nature, all but seven coloured, 17 partly coloured maps and plans, original half roan, rubbed, folio -- 12½ x 8in. (31.5 x 20cm.); during this period the Nile sailed exclusively in the Mediterranean or British waters; the descriptions of the ship's activities are standard for a vessel of this period; together with another kept between 1 February -15 July 1898 onboard H.M.Ships Nile, Lark, Cruiser, Trafalgar and Volage, 85ff., 19 drawings, seven of a technical nature, all but one coloured, 16 partly coloured maps, original reverse half calf, rubbed, folio -- 12½ x 8in. (32 x 20cm.); the first half of the journal takes part in the Mediterranean, mostly in Greece, where Chapman gives us snippets of news about the Greco-Turkish war in Crete between February and May. After a voyage to Spithead the Volage sailed to Barbados, Trinidad, Grenada, St Lucia, Antigua, St Kitts returning to home waters via Bermuda; together with an odd volume and his service-pattern telescope (4)
P&O PENCILLINGS: 12 COLOURED LANTERN SLIDES each numbered and inscribed P&O Pencillings -- 3¼ x 3¼in. (8.5 x 8.5cm.); together with an original numbered key explanation; Furniss, H. P&O Sketches in pen and ink, first edition circa 1898, 202pp with index bound with green and gilt decorated boards -- 8½ x 12¼in. (21.5 x 31cm.) (12)Condition report: Top left corner of no. 3 broken
H.M.S. INVINCIBLE: GENERAL ARRANGEMENTS, 1906 manuscript on linen, large folding title with yard stamp for 'Sir W.G. Armstong, Whitworth & Co. Ltd' dated 16.3.06 and comprising 16 large 1/16in: 1ft scale folding profile plans, signature at beginning and end of Eng. Lieut. Frank Goodwin of the 'Invincible', bound with contemporary sheep (head and foot of spine worn) -- 8 x 5¼in. (20.3 x 13.5cm.)Footnote: Admiral Fisher's concept of the battle cruiser was brought to fruition by the completion of H.M.S. Invincible in March of 1908. Laid down with her sister ships Inflexible and Indomitable in 1906, Invincible was the first to enter service. Each 530 feet long, displacing 17,250 tons, these were the initial trio of battle cruisers equivalent to the Dreadnought, though the Invincible class was built for speed. A logical successor to the previous classes of armoured cruisers, these new cruisers had all-round improvements in speed, gun power and range, with no sacrifice in protection. Judged harshly later on, the only drawback was the cost to build, which was nearly 50 per cent more than the Dreadnought class. Able to reach 25 knots, these cruisers were impressively armed with eight 12in. guns. Sent to seek and destroy von Spee's squadron, Invincible and Inflexible met the opposing forces off the Falklands on 8 December 1914, when the German armoured cruisers Scharnhorst and Gneisenau were sunk. Invincible then joined the Grand Fleet in March 1915 and was made flagship to the 3rd Battle Cruiser Squadron in May. At Jutland, Rear-Admiral Hood led his ships into action just before 6.30 p.m. on 31 May and Invincible was hit several times in a few minutes. One shell hit the 'Q' turret causing the magazine to explode, which broke the ship in two. She sank immediately and only five of the ship's company of 1,031 survived.
A BRONZE BREECH-LOADING GUN RECOVERED FROM A SPANISH ARMADA WRECK OFF THE WEST COAST OF IRELAND, CIRCA 1588 OR BEFORE possibly a pedero a braga (stone thrower) with 1½in. bore tapering hexagonal bronze barrel; with trunnions and breech block with canister concreted within -- 60in. (152cm.) longProvenance: Retailed by Holland & Holland to vendor in 1980s.Footnote: Conforms closely to an example sold at Christie's South Kensington, 1st November 2001, lot 205. Another example is known to be held at the Charterhouse School Museum. The Spanish Armada, a vast fleet of 134 ships large and small commanded by the Duke of Medina Sidonia, left Lisbon on its ill-fated expedition to subdue England on 30th May 1588. Immediately heavy weather drove the fleet south and forced it to put into Corunna for repairs and it was not until 29th July that it was first sighted off the Lizard. The opening shots of what was to be a protracted action lasting almost a week were fired off the Eddystone on 31st July and, continuously harried by the English, the Armada finally arrived off Calais on the evening of 6th August. At midnight the following night, the English attacked with fireships causing the Spaniards to cut their cables and flee before the wind. After a major action at Gravelines on 8th August, the Armada's commander realised the great invasion gamble had failed and ordered his fleet to sail north around the British Isles in order to get home to Spain as best it could. To quote the legend decorating the medal commemorating the English victory, "God blew and they were scattered". Atrocious weather finished what the English fleet had begun and, by the time Sidonia's flagship arrived at Santander on 23rd September, exactly half of his ships had been lost along with innumerable Spanish lives, many of them on the inhospitable coasts of Scotland and Ireland.Condition report: some evidence of verdigris, overall pitting and wear
'WITH THE AURORA IN THE ANTARCTIC, 1911-1914' by John King Davis, first edition, maps, plans and plates, illustrations in the text, original cloth gilt, illustration of the Aurora on front cover, large 8vo, London, Andrew Melrose Ltd, [1919]; HURLEY, CAPTAIN FRANK, ARGONAUTS OF THE SOUTH BEING A NARRATIVE OF VOYAGINGS AND POLAR SEAS AND ADVENTURES WITH SIR DOUGLAS MAWSON AND SIR ERNEST SHACKLETON, two folding maps, plates, original cloth, large 8vo, New York, G.P. Putnam's Sons, 1925; and two others (4)
'SAGA OF THE DISCOVERY' by Louis Bernacchi, first edition, plates, signed and dated on the title-page, original cloth, 8to, London, Blackie & Son, 1938; Joyce, R.E.M., The South Polar Trail, first edition, plates, inscribed by Joyce to Miss A.M. Swallow, 12.9.29, on the half-title, original cloth, 8to, London, Duckworth, 1929; and two others a polar exploration. (4)
A PRESENTATION CIGARETTE CASE AND TANKARD TO A SAILOR FROM H.M.S. ESCORT FOR THE RESCUE OF SURVIVORS OF T.S.S. ATHENIA, TORPEDOED 3RD SEPTEMBER, 1939 presented to Able Seaman J.E. Chamberlain, the silver cigarette case inscribed J. Chamberlain / H.M.S. Escort / From / Athenia Survivors / 4.9.39, the tankard inscribed Presented by the Directors / Donaldson Atlantic Line Ltd / owners T.S.S. Athenia / Sunk by Enemy Submarine / 3rd September 1939; together with a cap tally from H.M.S. Escort, Chamberlain's war service medals and a quantity of ephemera pertaining to the loss of the T.S.S. Athenia and the life of Joseph Edward Chamberlain, including a handwritten copy letter from the Donaldson Line commemorating his service (a lot)Footnote: Registering 13,465 tons, Athenia was built for the Anchor-Donaldson (Donaldson Atlantic after 1935) Line by Fairfield SB in 1923. She was the first British ship sunk by U-boat in WW2 - Britain declared War on Germany at 11.15 on 3rd September, shortly after this Athenia steamed from Glasgow bound for Montreal with 1,100 passengers aboard, including 300 Americans and was spotted that afternoon by U-30 about 250 miles northwest of Inishtrahull, Northern Ireland. German U-boats were supposed to be operating under prize regulations that required them to stop and search potential targets, Lt Fritz-Julius Lemp decided Athenia was an armed merchant cruiser and fired two torpedoes without warning with the loss of 112 passengers and crew, including 28 Americans. The Germans denied they were responsible and claimed the British had sunk the ship for propaganda purposes with the truth finally being admitted by Grand Admiral Dönitz at the Nuremberg Trials.
A NAVAL PHOTOGRAPH ALBUM 1898-1903 130 assorted photographs including eleven photographs of Kobe and other places in Japan, five of Vancouver, 22 of Hawaii, ten of California, one of the executions at Candia (Crete) in 1898, seven ships' entertainments (Robin Hood and his Merrie Men, and others), views of wrecks, fleets at anchor, deck views, a triple panorama of Vancouver, shoreside excursions, torpedo boats at Malta, mostly annotated and mounted, of various sizes ranging from full-page to six to a page, the first three pages with amusing cuttings and adverts, cloth binding (rather worn) -- 12 x 9½in. (30.5 x 24cm.)
A BINNACLE AND ASSOCIATED COMPASSES FROM H.M.S RODNEY, CIRCA 1925 the liquid-filled compass bowl sitting unmounted within mahogany and brass binnacle with brass hood later inscribed H.M.S. Rodney 1927 to front, the hood with lamp housing, glazed and foul weather port lids and mirror box assembly with magnifier over; the trunk fitted with inclinometer with naval crown, Makers Hughes & Son Ltd, Patt. 196 Binnacle No. 1566H London; two magnet chambers with numbered magnet locations; brass rings with soft iron magnetic balls; Flinders bar and deck securing -- 56in. (142cm.) high; together with a spare pattern 22 liquid compass in storage box from Rodney (2)Footnote: H.M.S. Rodney was the second of the two 'Nelson' class battleships ordered under the 1922 building programme, both of which were laid down on 28 December that year. The order for Rodney went to Cammell Laird at Birkenhead and she was launched there on 17 December 1925. displacing 33,950 tons (38,000 fully loaded), she measured 710-feet in length with a 106-foot beam and had impressive armour protection ranging up to 16in. in thickness. She and her sister were the only British battleships to mount 16in. guns and, in addition to nine of these grouped in threes on her main turrets, she also mounted twelve 6in. guns, an array of anti-aircraft weapons and two 24½in. torpedo tubes submerged forward. Completed in August 1927 at a final cost of £7.6 million, she served first in the Atlantic fleet (1928-32) and thereafter in the home fleet from 1932-41. In April 1940, whilst acting as flagship to Admiral Forbes, she suffered bomb damage during the operations off Norway but was soon repaired and back in service in time to take part in the hunt for the Bismarck in May 1941. Ordered to leave the convoy she was escorting and join the chase for the German raider, her engineers achieved speeds thought to be impossible given some earlier problems with both her engines and boilers, and it was Rodney who scored the first hit on Bismarck with her third salvo. After Bismarck had been sunk, Rodney then returned to convoy escort work until laid up for a major refit (December 1941–May 1942) after which she was in action supporting the North African landings in November 1942. In June 1944, she participated in Operation Neptune, the naval contribution to the D-Day landings and later, on 12th August, she knocked out an unseen German battery on Alderney with a celebrated 16in. salvo fired over a hill. By the end of the war, she had steamed 156,000 miles since her 1942 refit and was long overdue for another; post-war financial stringency dictated economy however and it was eventually decided to scrap her in February 1948.
A COMMEMORATIVE SILVER VESTA FROM THE ROYAL YACHT MEDINA the front with enamelled P&O house flag, inscribed under Royal Yacht Medina, hallmarked for 1912 --2in. (5cm.) high; together with a brass P&O 'rising sun' boat badge (2)Footnote: Built by Caird & Co. for P & O and launched in 1911, the first duty for this 12,358-ton liner was to be chartered as a Royal 'super yacht' and between November 1911 and February 1912 when Medina took King George V, Queen Mary and the vast suite that accompanied them to India for the Delhi Durbar. Medina was later lost when she was torpedoed on 28 April 1917.
'THE VOYAGE OF THE DISCOVERY' by Captain Robert Falcon Scott, two vol, first edition, photogravure frontispiece, that in vol. II a portrait of Scott, folding map in a pocket at end of vol. I (lacking in vol. II), numerous plates (many detached), some foxing and spotting, original blue cloth, gilt decoration on front covers, very rubbed, inner hinges broken, 8vo, London, Smith, Elder & Co., 1905; and a copy of vol. II with the map in the pocket at end (2) Sold not subject to return
TWO FLINTLOCK SHIP'S PISTOLS FROM THE 1854-56 WEST AFRICA NIGER EXPEDITION STEAM YACHT PLEIAD the locks signed E & W. BOND / LONDON, brass trigger guards inscribed PLEIAD, brass-mounted walnut stocks with steel ramrods captured on muzzle stirrups -- 15¼in. (38.5cm.) overall (2) The National Maritime Museum, Greenwich, have two matched examples from the set, Object IDs AAA2432 & AAA2432.2Provenance: Private Collection, UK.Footnote: William Baikie M.D. (1825-1864) was born in Orkney and studied medicine at Edinburgh University. He joined the Royal Navy in 1848 and soon attracted the notice of Sir Roderick Murchison who secured Baikie the post of surgeon and naturalist to the Niger Expedition in 1854. One of Baikie’s most important observations was on the use of quinine to prevent malaria as no one on the expedition contracted the disease. During the expedition, the senior officer, Consul John Beecroft, died and Baikie took command. Ascending the Benue about 250 miles beyond the point reached by former explorers, he returned and reached the mouth of the Niger, after a voyage of 118 days, without the loss of a single man. The expedition was partly funded by Laird of Birkenhead -- the 266-ton screw yacht Pleiad was designed by William Laird Jr and built by John Laird of Birkenhead to meet whatever unknown challenges cropped up, and was well armed with a single 12pdr gun, four swivel guns, a number of Minie guns together with pistols, shotguns and trade muskets. Baikie also used it for his second expedition of 1857 but it was wrecked in rapids. Baikie determined to carry out the purposes of the Expedition. He first considered establishing a British Consular Agency at Kabba but faced opposition from the local king -- possibly because Baikie was against the slave trade, which still provided a generous income for some tribal leaders. Instead, he chose Lokoja as the base of his future operations, it being the site of the model farm established by the Niger Expedition of 1841, and abandoned on the death of most of the white settlers. After Baikie's death, the British government abolished the consulate (1866), but the trading post remained influential. The district where Baikie had worked so successfully was finally secured for the UK through private enterprise some 20 years later and Lokoja became the capital of the Northern Nigeria Protectorate. Baikie wrote up the 1854 Expedition in his Narrative of an Exploring Voyage up the ... Niger and Isadda published in 1856.Condition report: Good overall condition - very little sign of use, good springs etc. some old marks commensurate with age.
A FINELY DETAILED 1:100 SCALE STATIC DISPLAY MODEL OF THE MONARCH-CLASS COASTAL DEFENCE SHIP WIEN BUILT FOR THE AUSTRO-HUNGARIAN NAVY, 1898 modelled by N. Hawkins, with 36in. laminated and carved hull, with sponson booms, scuppers, companionway, covered and open portholes, twin props with brass propellers and rudders, varnished wood deck complete with polished metal and painted details as appropriate and including ventilators, anchors with chains, fitted boats swung out in davits, main and secondary armament, ventilators with red painted interiors, lifebuoys, funnel with safety valve extension pipe, searchlights, capstans, companionways and other details, loosely mounted in brass dolphin supports to felt-lined display base with glazed wooden cover, overall measurement -- 23½ x 52 x 16½in. (60 x 132 x 42cm.)Footnote: One of a class of three 5,700 ton 'Monarch' Class coastal defence ships, Wien was built by Stabilimento Tecnico Triestino between 1893-1897, was armed with two 9.4in. Krupp guns supported by 23 further guns of assorted calibres and manned by a crew of 423 officers and men. Her first task on commissioning was to take part in Queen Victoria's International Fleet Review off Spithead to commemorate her Diamond Jubilee before hurrying off to blockade Crete during Greco-Turkish War that year. After a series of training cruises, she was laid up in 1906 with only the occasional ceremonial duty to fulfil. Briefly recommissioned during the Second Balkan War, she was put back to ordinary again by March 1913. When WWI broke out she was attached to the 5th Division and sent to defend the naval base at Cattaro, but could not elevate her guns sufficiently. Remaining there anyway as a deterrent, she was eventually sent in 1917 to serve as a guard ship at Trieste. Whilst there she went and bombarded Italian gun emplacements at Cortellazo with some success. Determined to avenge this, the Italians mounted a torpedo attack and successfully sank Wien on 10th December 1917 with the loss of 45 men.
'THE NORTH POLE' by Robert E. Peary, first edition, photogravure portrait of the author, large folding colour map at end and 116 plates, original pictorial cloth, central gilt medallion portrait of Peary, 4to, London, Hodder and Stoughton, 1910Footnote: With an extremely congratulatory introduction by President Theodore Roosevelt.
WILLIAM LIONEL WYLLIE (BRITISH, 1851-1931) Showery Day, Greenwich Reach; Square-rigged ships anchored off Dartmouth Monochrome watercolour on card The first signed 'William Wyllie' (lower left) and inscribed with title First: 8¾ x 13in. (22 x 33cm.); Second 7½ x 13½in. (19 x 34cm.) (2)Condition report: Foxing, need to be cleaned.
ROSS, CAPTAIN SIR JAMES CLARK, A VOYAGE OF DISCOVERY AND RESEARCH IN THE SOUTHERN AND ANTARCTIC REGIONS DURING THE YEARS 1839-43 two vol., first edition, eight engraved maps, three folding, eight tinted lithographs, one folding (short splits to folds), illustrations in the text, a little foxing and offsetting, original blue cloth, gilt illustrations of H.M.S. Erebus on front covers, rebacked, sides a little rubbed, 8vo, London, John Murray, 1847
'THE NORTHWEST PASSAGE, BEING THE RECORD OF A JOURNEY OF EXPLORATION OF THE SHIP GJOA 1903-07' by Roald Amundsen, two vol., first English edition, photogravure frontispieces, that of vol. I a portrait of the author, folding map in a pocket at end of both vol., plates, original blue cloth gilt, t.e.g., partly unopened, large 8vo, London, Archibald Constable, 1908 (2)Condition report: A fine copy.
A NAPOLEONIC PRISONER OF WAR STYLE LAUNCHING MODEL FOR THE 74-GUN SHIP ORION the 12in. hull planked and pinned on the starboard side and open-framed to the port side, with ebonised main wales, brass guns with red-painted port lids, finely carved warrior-form figurehead, stern and quarter galleries, the deck with fittings including carved belfry with bell, wale deck gratings, bitts, companionway, deck lights, etc., with three bound cutaway masts with launching masts behind each sporting launching flags as appropriate, mounted on a bound sliding truck on angled ramp with simulated bone bricks and corner finials, contained within a glazed wooden case with bone finials, overall measurements -- 11 x 18½ x 9½in. (28 x 47 x 24cm.)Footnote: A 'Canada' Class 74-gun ship launched at Deptford in 1787, Orion quickly became one of the most distinguished ships of the age of fighting sail and was at most of the principal actions of the Napoleonic Wars: The Glorious First of June (Duckworth); Groix; Cape St. Vincent and The Nile (Saumarez); and Trafalgar (Codrington) along with several other smaller actions and prizes ensured her popularity and immortality in naval lore. By 1814 with the war all but won, she was worn out and sold for breaking.
TWO CARVERS FROM THE FIRST-CLASS DINING SALOON OF THE CUNARD LINES R.M.S. BERENGARIA (EX. S.S. IMPERATOR), CIRCA 1912 designed by Charles Frédéric Mewès in the Louis XVI style, the mahogany frames with carved and moulded backrest, carved arm support with scroll ends and fluted legs, X-stretchers, recovered in red leather -- 38 x 22 x 20in. (96.5 x 56 x 51cm.) (2)
KANE, ELISHA KENT, ARCTIC EXPLORATIONS: THE SECOND GRINNELL EXPEDITION IN SEARCH OF SIR JOHN FRANKLIN 1853, '54, '55 two vol., first edition, engraved portraits, additional titles, two folding engraved maps, 18 engraved plates and numerous illustrations in the text, plates a little foxed, contemporary half vellum, title labels on spines, 8vo, Philadephia, Childs and Peterson, 1856
'THE HEART OF THE ANTARCTIC BEING THE STORY OF THE BRITISH ANTARCTIC EXPEDITION 1907-1909' by Ernest Shackleton, two vols., first edition, photogravure frontispiece, that of vol. I a portrait of Shackleton, numerous plain plates, a few in colour, occasional very light foxing, original blue cloth, silver illustrations on front covers, vol. I rather stained, dust-jackets, t.e.g., others uncut, 4to, London, William Heinemann, 1909 (2)Footnote: Copies with the dust-jackets are scarce.
CHINESE SCHOOL, CIRCA 1890 S.S. 'Cheang Hye Teng' (ex- 'Atholl') underway Oil on linen 17 x 22½in. (43 x 57cm.)Footnote: Built by Stephens of Kelvinhaugh for J. Warrack & Co. in 1870, the Atholl registered 1,436 tons, was 245ft long and had a beam of 32ft. In 1888 she was sold to the first of a series of Singaporian and then Malaysian owners all using the name Cheang Hye Teng. She was lost in August 1897 in the China Sea carrying coal between Moji and Hong Kong.Condition report: Relined, infilling to cracks.
A WELL PRESENTED AND DETAILED 1:36 SCALE MODEL OF H.M.S. BEAGLE CELEBRATED FOR CHARLES DARWIN'S VOYAGE OF DISCOVERY, 1831–1836 the 36in. planked and pinned hull ebonised above the waterline, the white gun strake with gun ports with split lids, finely carved beagle hound figurehead, boomkins, planked decks with details including anchors with bound wooden stocks, belaying rails with pins, turntable carronade on foredeck, main deck with winches, fitted ship's boats, gratings, naval guns in carriages, deck lights, covered companionway with panelling and benches, ship's helm with turned wooden spokes, binnacle compasses, bound first stage masts with standing rigging and ebonised braced supports and top trees, mounted on candle stand to display base, overall measurements -- 26 x 45 x 14in. (66 x 114 x 35.5cm.)Footnote: One of 115 'Cherokee' Class 10-gun brigs, Beagle had already been converted to a barque rig for her first voyage of exploration between 1826-30 during which her captain, Pringle Stokes, under stress, committed suicide and command was assumed by Lt Robert Fitzroy. Fitzroy was the natural choice of commander in 1831 when the Admiralty resumed the work of the first expedition, this time accompanied by an obscure botany student called Charles Darwin whose professor considered him not a finished naturalist, but amply qualified for collecting, observing and noting anything new to be noted in Natural History... As much a scientific testbed as a voyage of discovery, the Beagle was also furnished with 22 chronometers and carried eight compasses. It was during this voyage that Darwin collated the data that would eventually become his revolutionary book On the Origin of Species in 1859. Beagle performed one more voyage (surveying Western Australia) before she was sold from the Navy in 1845 and was probably broken up around 1870.
A 1:64 SCALE STATIC DISPLAY MODEL OF THE PASSENGER-CARGO LINER S.S. ANTONIO LOPEZ BUILT BY DENNY BROS FOR COMPAÑÍA TRANSATLÁNTICA ESPAÑOLA, S.A., 1882 the 60in. carved and laminated hull with lowered companionways, fitted lifeboats swung out in davits, decorative bow and stern, planked decks with painted metal and wood details as appropriate including ventilators, capstan, companionways, panelled deck accommodation with handrails, bridge with helm and telegraph over, stayed funnel with safety valve extension pipe, engine room lights, slatted benches, glazed saloon lights and emergency helm, three racked masts with rigging, mounted to wooden display board with nameplate, overall measurements -- 27 x 70in. (68.5 x 178cm.)Footnote: Named for the founder and owner of the Spanish Line, Antonio Lopez was steel-built with a double bottom and an attractive clipper bow complemented by a barque rig. Costing £102,000, she registered 3,235 tons, was 370ft long with a 42ft beam and had accommodation for 156 first-class, 72 second-class and 27 third-class passengers and a further 1,100 for troops or steerage in portable berths, along with a cargo capacity of 97,030 cu ft. Delivered by Denny Bros on 2nd March 1882, she was able to steam at a respectable 14.85kts. She enjoyed a successful career until 1898 when she was caught up in the Spanish-American war. On 28 June 1898, two American cruisers fought with a squadron of Spanish warships consisting of one cruiser, two gunboats and the Antonio López which had a cargo of military supplies. She was pursued by U.S.S. Yosemite and, under gunfire, ran aground at Ensenada Honda. Most of the valuable cargo was salvaged from the wreck, which now lies in 1700ft of water and is the only Spanish wreck from this conflict in American waters.
Album of early USA stamps dating c1857 to 1960s (some printed by The American Bank Note Co). Including 1857 - 1861 perforated Franklin / Washington, 1861 - 1866 Franklin / Jackson / Washington, 1867 Washington, 1870 Jefferson, 1873 Taylor, 1882 Jackson / Garfield, 1888 Lincoln, 1890 regular issue presidential, special delivery, first bureau issue (watermark and no watermarks), Mississippi Exposition (other Expos), small printed state postmarks, miniature unused and used sheets, together with an album of Australia, dating 1874 - 1912 inc Western Australia 1874 to 1885 Swans, Queensland c1860, NSW 1850 - 1892, Victoria 1870 - 1901 (postage due), South Australia 1855 - 1894, Tasmania 1853 - 1912 (pictorials).
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