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KAWASE HASUI (1883-1957)Showa era (1926-1989), dated 1932An oban yoko-e print, titled Imaibashi no yudachi (Evening Shower at Imai Bridge) depicting an evening scene showing a lone woman hunched beneath an umbrella on a deserted bridge, caught in the torrential rain, dated Showa shichinen hachigatsu saku (Work of August Showa 7 [1932]), published by Watanabe Shozaburo, with a Hanken shoyu fukyo mosha Watanabe Shozaburo seal along bottom right margin; signed Hasui with Kawase seal. 26cm x 39cm (10¼in x 15 3/8in).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

KAWASE HASUI (1883-1957)Showa era (1926-1989), dated 1934A chuban tate-e print, titled Nigata, Ishizue-cho (Ishizue, Nigata), depicting a tranquil evening scene of a lone figure walking along an embankment lined with willow trees, the reflection of the moon and light from a window glimmering in the water, a moored boat and a parked cart in the left foreground, dated Showa kyunen saku (Work of Showa 9 [1934]), published by Watanabe Shozaburo (unsealed); signed Hasui. 26cm x 18.5cm (10¼in x 7¼in).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

KAWASE HASUI (1883-1957)Showa era (1926-1989), one circa 1930A yotsugiriban tate-e wood-block print and one yoko-e postcard: a print depicting a lady sheltering beneath an umbrella walking across a bridge in the snow enclosed within a paper lantern, signed with the artist's seal Hasui inside the image, with a square Watanabe seal on the margin, 19.3cm x 12.3cm (7 5/8in x 4 7/8in); a postcard titled Kan'i Hokenkyoku (Postal Life Insurance Office [ex Akabane Post Office]), commissioned to commemorate the new government building in 1930, with a seal Hasui; 9cm x 14cm (3 9/16in x 5½in). (2).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

KAWASE HASUI (1883-1957)Dated Showa era (1926-1989), 1929, 1932, 1933 and 1946, but all printed in the Heisei era (1989-2019), late 20th/early 21st centuryComprising two oban tate-e and two oban yoko-e prints, the first of Arakawa no tsuki, Akabane (Moon at Ara River, Akabane), dated on the lower left Showa yonnen saku (Work of Showa 4 [1929]), 38.3cm x 26cm (15 1/16in x 10¼in); the second of Kohan no ame, Matsue (Lakeside Shower, Matsue), dated on the lower left Showa shichinen nigatsu saku (Work of February Showa 7 [1932]), 26cm x 38.5cm (10¼in x 15 1/16in); the third of Osaka Soemon-cho no yu (Evening at Soemon-cho, Osaka), dated along the bottom Showa hachinen shigatsu saku (Work of April Showa 8 [1933]), 40cm x 26.8cm (15¾in x 10½in); the fourth of Mito Hinuma Hiroura (Hi Marsh, Hiroura in Mito), dated along bottom left Showa nijuichinen saku (Work of Showa 21 [1946]), 26.8cm x 39.7cm (10½in x 15 5/8in); each sheet published by Watanabe Shozaburo, with the long rectangular Heisei era Watanabe seal, the third and fourth also with a round Watanabe seal; all signed Hasui with Kawase seal. (4).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

KAWASE HASUI (1883-1957)Dated Showa era (1926-1989), 1930, 1934 and 1949, but all printed in the Heisei era (1989-2019), late 20th/early 21st centuryComprising four oban tate-e prints, the first of Magome no tsuki (Moon at Magome), dated on the lower left Showa gonen saku (Work of Showa 5 [1930]), 39.2cm x 27cm (15½in x 10 5/8in); the second of Tagonourabashi (Tagonoura Bridge), dated on the lower right Showa gonen saku (Work of Showa 5 [1930]), 39.7cm x 28cm (15 5/8in x 11in); the third of Kobe Nagata jinja Yakumobashi (Yakumo Bridge at the Nagata Shrine Kobe), dated Showa kyunen jugatsu saku (Work of October Showa 9 [1934]), 40cm x 26cm (15¾in x 10¼in); the fourth of Kyoto Ohara Sanzenin (Sanzen Temple in Ohara, Kyoto), dated Showa nijuyonen saku (Work of Showa 24 [1949]), 40cm x 26.7cm (15¾in x 10½in); each sheet published by Watanabe Shozaburo, with the long rectangular Heisei era Watanabe seal, the third also with a round Watanabe seal; all signed Hasui with Kawase seal. (4).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

KAWASE HASUI (1883-1957)Dated Showa era (1926-1989), 1927, 1940, 1950 and 1957, but all printed in the Heisei era (1989-2019), late 20th/early 21st centuryComprising three oban tate-e and one oban yoko-e print, the first of Tazawako Kansanomiyagu (Kansanomiya Shrine at Lake Tazawa), dated on the lower left Showa ninen saku (Work of Showa 2 [1927]), 26cm x 39cm (10¼in x 15 3/8in); the second of Tagonura no yu (Dusk at Tagonura Beach), dated on the lower left Showa jugonen saku (Work of Showa 15 [1940]), 39.1cm x 27cm (15½in x 10 5/8in); the third of Daigo Denpoin, Kyoto (Daigo Denpo Temple, Kyoto), dated on the lower left Showa nijugonen saku (Work of Showa 25 [1950]), 39.5cm x 26.5cm (15½in x 10 3/8in); the fourth of Hiraizumi Konjikido (Hall of the Golden Hue, Hiraizumi), dated Showa sanjuninen saku (Work of Showa 32 [1957]), 40cm x 27.2cm (15¾in x 10¾in); each sheet published by Watanabe Shozaburo, with the long rectangular Heisei era Watanabe seal, the second and fourth also with a round Watanabe seal; all signed Hasui with Kawase seal. (4).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

KAWASE HASUI (1883-1957)Dated Showa era (1926-1989), 1930, 1950 and 1951, but all printed in the Heisei era (1989-2019), late 20th/early 21st centuryComprising three oban tate-e and one oban yoko-e print, the first of Omori kaigan (Omori Coast), dated on the lower left Showa gonen saku (Work of Showa 5 [1930]), 26cm x 39cm (10¼in x 15 3/8in); the second of Kyomizudera no bosetsu (Evening Snowfall at Kiyomizu Temple), dated on the lower left Showa nijugonen saku (Work of Showa 25 [1950]), 39.2cm x 26.3cm (15½in x 10 3/8in); the third of Ginkakuji no yuki (Snow at the Silver Pavilion), dated on the lower left Showa nijurokunen saku (Work of Showa 26 [1951]), 40cm x 27cm (15¾in x 10 3/8in); the fourth of Shigure no ato Kyoto Nanzenji (After Autumn Rain at Nanzen Temple, Kyoto), dated Showa nijurokunen saku (Work of Showa 26 [1951]), 39cm x 26cm (15 3/8in x 10¼in); each sheet published by Watanabe Shozaburo, with the long rectangular Heisei era Watanabe seal, the first, second and fourth also with a round Watanabe seal; all signed Hasui with Kawase seal. (4).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

KAWASE HASUI (1883-1957)Dated Showa era (1926-1989), 1931, 1932, 1933 and 1951, but all printed in the Heisei era (1989-2019), late 20th/early 21st centuryComprising three oban tate-e and one oban yoko-e print, the first of Shinagawa (Shinagawa), dated on the lower right Showa rokunen sangatsu saku (Work of March Showa 6 [1931]), 39cm x 26cm (15 5/16in x 10¼in); the second of Yuki no Mukojima (Mukojima in Snow), dated on the lower left Showa rokunen junigatsu saku (Work of December Showa 6 [1931]), 39cm x 26.2cm (15 5/16in x 10 5/8in); the third of Kyoto, Kiyomizudera (Kiyomizu Temple, Kyoto), dated along the bottom Showa hachinen junichi gatsu saku (Work of November Showa 8 [1933]), 39cm x 26.2cm (15 5/16in x 10 5/8in); the fourth of Hoodoin no bosetsu (Dusk at Phoenix Hall), dated along the left margin Showa nijurokunen saku (Work of Showa 26 [1951]), 26.5cm x 39.3cm (10 3/8in x 15½n); each sheet published by Watanabe Shozaburo, with the long rectangular Heisei era Watanabe seal, the second and third also with a round Watanabe seal; all signed Hasui with Kawase seal. (4).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

UEMURA SHOEN (1875-1949), KITANO TSUNETOMI (1880-1947), AFTER TOSHUSAI SHARAKU (FL. CIRCA 1794-1795), AND OTHERSTaisho (1912-1926) and/or Showa (1926-1989) era, early 20th century; Meiji (1868-1912), Taisho (1912-1926), or Showa (1926-1989) era, early 20th century 17 oban tate-e shin-hanga prints, illustrating the works of the famous playwright Chikamatsu Monzaemon (1653-1725), by leading Taisho-era artists as follows: (1) Semimaru in Semimaru by Suga Tatehiko (1878-1963); (2) The heroine Matsukaze in Matsukaze murasame sokutai kagami by Nakazawa Hiromitsu (1874–1964); (3) Lady Hagi probably in Kanhasshu tsunagi-uma by Ogawa Usen (1868-1938); (4) The sailor Kezori Kuemon in Hakata kojoro nami makura by Noda Kyuho (1879-1971); (5) The heroine Ochiyo in Sunju yoi koshin by Kitani Chigusa (1895-1947); (6) A swordsman by Yamaguchi Sohei (1882-1961); (7) A female ghost by Uemura Shoen (1875-1949); (8) The deity Fudo and the priest Mongaku by Tomita Keisen (1879-1936); (9) The heroine Osan in Daikyoji mukashi-goyomi by Okada Saburosuke (1869-1939); (10) The heroine Yugiri in Yugiri Awa no Naruto by Shima Seien (1892-1970); (11) The heroine Umekawa in Meido no hikyaku by Kitano Tsunetomi (1880-1947); (12) A bunraku puppet in the role of Kongomaru Terutada in Shibaraku by Nishimura Goun (1877-1938); (13) The spirit of wine in Shuten Doji by Tamamura Hokuto (1893-1951); (14) The heroine Koman in Tanba Yosaku by Yamamura Kouka (1885-1942); (15) The heroine Koharu in Shinju ten no amijima by Kikuchi Keigetsu (1879-1955); (16) Princess Kinshojo in Kokusenya Kassen by Nishiyama Suisho (1879-1958); (17) The heroine Toragozen in Soga by Ishikawa Toraji (1875-1964); variously signed, originally published between 1922 and 1926 as a series of 18 prints and supplement to a set of 16 volumes of Monzaemon's work titled Dai Chikamatsu Zenshu (The Complete Works of Chikamatsu), some with an engraver and printer's names, this set probably containing both original and later editions; last a reproduction woodblock print depicting the actor Segawa Tomisaburo II as Yadorigi, the wife of Ogishi Kurando from the play Hanayama Bunroku Soga (The Iris Soga of the Bunroku Era); inscribed Toshusai Sharaku ga. The smallest: 29cm x 44cm (11 7/16in x 17 5/16in); the largest: 47.5cm x 29.8cm (18¾in x 11¾in); Sharaku: 38cm x 25.5cm (14 15/16in x 10in). (18).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

HASHIGUCHI GOYO (1880-1921)Showa era (1926-1989), circa 1950A large tate-e keyblock proof of a woman in a butterfly-decorated yukata dabbing her cheek with a towel, dated and signed Taisho kyunen jugatsu Goyo ga (October Taisho 9 [1920]), painted by Goyo). 42.5cm x 27.8cm (16¾in x 10 15/16in).Footnotes:Designed in 1920 but posthumously published by the artist's family in the 1950s.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

UEMURA ENSHU (BORN 1955)A Gold-Lacquer Three-Case Inro with Matching Manju Netsuke Showa (1926-1989) or Heisei (1989-2019) era, late 20th/early 21st centuryThe inro lacquered in gold and polychrome togidashi maki-e with a bust portrait of the famous courtesan Wakaume of the Tamaya, after a woodblock print design by Kitagawa Utamaro (1753-1806), one of her kamuro (child attendants) shown peering from behind the courtesan's back on the reverse, the interior of rich nashiji, the base of the inro signed in gold lacquer Enshu; the manju netsuke similarly lacquered with same green brocade design as on courtesan's kimono on one side and cherry blossoms on the other, unsigned; with a pale blue and green mottled glass ojime. The inro: 7.7cm (3in) high; the manju netsuke: 3.3cm (1¼in) diam.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

UEMURA ENSHU (BORN 1955)A Lacquer Three-Case Inro with Matching Manju Netsuke Showa (1926-1989) or Heisei (1989-2019) era, late 20th/early 21st centuryThe inro embellished in silver and polychrome togidashi maki-e with Yamauba and Kintoki after a woodblock print design by Kitagawa Utamaro (1753-1806), the former suckling his mother's breast on one side and a basket filled with shells on the reverse, inscribed on one side Utamaro, the interior of rich nashiji, the base of the inro signed in gold lacquer Enshu; the manju netsuke similarly lacquered with the head and shoulders of Yamauba, adjusting a comb in her coiffure, signed in gold lacquer Enshu; with a pale blue glass ojime. The inro: 7.6cm (3in) high; the manju netsuke: 3.3cm (1¼in).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

UEMURA ENSHU (BORN 1955)A Gold-Lacquer Three-Case Inro Showa (1926-1989) or Heisei (1989-2019) era, late 20th/early 21st centuryDecorated in gold and polychrome togidashi maki-e with details highlighted in Gyobu flakes depicting a full length portrait of the actor Ichikawa Danjuro IX in a Shibaraku role, brandishing a fan, the fantastically large square sleeves of the extravagant costume continuing on the reverse, the interior of rich nashiji, signed on the base in gold lacquer Enshu; with a pale blue glass ojime. 7.6cm (3in) high.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

UEMURA ENSHU (BORN 1955)A Brown-Lacquer Three-Case Inro with Matching Manju Netsuke Showa (1926-1989) or Heisei (1989-2019) era, late 20th/early 21st centuryOf oval form, decorated in silver and gold takamaki-e with a hare on each side, one seated, leaning back amid fallen cherry blossoms, the other seated upright among variously shaped snow crystals, with highlights of inlaid shell, all the sides sprinkled with shell flakes, the interior of kinji with nashiji risers, signed on the base Enshu; with an en-suite manju netsuke, lacquered in similar style with a running hare, signed on the reverse in gold lacquer Enshu and with a glass ojime; with a wood storage box. The inro: 7.3cm (2 7/8in) high; the manju netsuke: 3.2cm (1¼in) diameter. (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A SUSUDAKE BAMBOO QUIVER AND COVEREdo period (1615-1868), early/mid 19th centuryOf yazutsu form, intricately woven with various plaiting patterns and techniques, the upper section of the body with open diagonal plaiting between borders of twining, the cover with a long tasselled rope; unsigned. 93cm (36 5/8in) high. (2).Footnotes:Provenance:Purchased in these Rooms, 13 May 2008, lot 183.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

TANABE CHIKUUNSAI I (1877-1937)A Handled Basket in Chinese Style Taisho era (1912-1926), circa 1920Kanchiku (winter bamboo, Chimonobambusa marmorea), madake (timber bamboo), and rattan; yotsume-ami (square plaiting) over vertical elements; bands of twining interwoven with kanchiku verticals; wrapping; knotting; asanoha-ami (hexagonal plaiting, base); signed Chikuunsai; with lacquered bamboo otoshi (water container) and a wood tomobako storage box titled Kanchiku hanakago (Winter bamboo flower basket), signed and sealed Chikuunsai. 66cm (26in) high. (3).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

TANABE CHIKUUNSAI I (1877-1937)A Handled Basket in Chinese Style Taisho era (1912-1926), circa 1920Madake (timber bamboo) and rattan; yotsume-ami (square plaiting) over triple horizontal elements; compound mutsume-ami (hexagonal plaiting, shoulder); twining; knotting; asanoha-ami (hexagonal plaiting, base); signed Chikuunsai kore o tsukuru; with wood tomobako storage box titled Karamono utsushi hanakago (Flower basket after a Chinese original), signed Chikuunsai kore o tsukuru and sealed Chikuunsai. 46.5cm (18 13/16in) high. (3).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

SHIBATA ZESHIN (1807-1891)A Lacquer Four-Case Inro with Antique Mirror Designs Meiji era (1868–1912), circa 1870–1890With four interlocking cases and cover, of standard lenticular cross-section with straight sides, rounded corners, curved top and base, and integrated cord-runners, the roiro lacquer ground decorated in black maki-e with a continuous ground of ken-katabami mon (heraldic crests of swordblades combined with flowers of wood sorrel, Oxalis corniculata), an antique mirror on each side executed in chado-nuri takamaki-e, one of the mirrors eight-lobed with a dragon design, its carrying cord in red lacquer extending to the other side and terminating in a tassel, the other nine-lobed with a design of two ho-o birds alternating with paulownia crests, the compartments and risers gold nashiji, the shoulders and rims brightish gold fundame; the ojime of carnelian, signed in subori to the left of the handle of the smaller mirror Zeshin, 7.6cm × 4.8cm × 1.6cm (3in × 1 7/8in × 5/8in); lacquered wood manju netsuke decorated in gold, silver, and red hiramaki-e with two ho-o birds, 3.5cm × 2cm (1⅜in × ¾in); with a fitted wood storage box. (2).Footnotes:Provenance:Misumi Collection.Sold in these Rooms, 10 November 2015, lot 6.A Royal Collection.Exhibited and Published:Nezu Museum, Shibata Zeshin no shikko, urushi-e, kaiga (Shibata Zeshin: From Lacquer Arts to Painting), exh. cat., Tokyo, 2012, cat. no.94.In 1875, Zeshin paid a visit to Nara where he was able to examine items stored in the Shosoin, the eighth-century Imperial treasure house in the precincts of the Todaiji Temple (Joe Earle and Tadaomi Goke, Meiji no Takara, Treasures of Imperial Japan, Masterpieces by Shibata Zeshin [in the Khalili Collection], London, Kibo Foundation, 1996, p.46, quoting Umezawa Ryushin's 1927 biography of Zeshin). Objects from the Shosoin, until then almost inaccessible to anyone outside the imperial court, subsequently played an increasing influential role in Japanese art from early in the Meiji era. Zeshin was no exception to this trend and it is likely that the mirrors depicted on this inro were loosely modelled on originals stored in the Shosoin, either Chinese Tang-dynasty examples or Japanese copies of around the same date. He lavished typically meticulous craftsmanship both on the mirrors and on the dense background pattern of mon (crests). Takao Yo notes that although chado-nuri, used here for the mirrors, is listed as a separate technique in Sawaguchi Goichi's monumental study of Japanese lacquer, Nihon shikko no kenkyu (1933), in Zeshin's time it would simply have been regarded as a variant of seido-nuri. Chado-nuri differs from seido-nuri in that it contains bengara (red iron oxide) in addition to orpiment (arsenic sulphide), producing an effect that, as Takao comments, is ideally suited to imitating the surface of antique bronze (Takao Yo, 'Shibata Zeshin no shikko giho: Kawari-nuri giho o chushin ni (Shibata Zeshin's Lacquer Techniques, Centred on the Kawarinuri Technique)', Ishikawa-ken Wajima Shitsugei Bijutsukan kiyo (Bulletin of the Wajima Museum of Lacquer), 6, 2011, figs.14, 15).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

SHIBATA ZESHIN (1807-1891)A Small Lacquer Box with Autumn Grasses Design Meiji era (1868–1912), circa 1870–1890With a kabusebuta (overhanging lid), the body with rounded edges, likely constructed using a combination of the magemono (bentwood) and harinuki (layered-paper) techniques, the reddish-brown lacquer ground cut and engraved in subori with a design of susuki (miscanthus) and fujibakama ('purple trousers' or thoroughwort); signed with incised characters inside the lid at lower left Zeshin; with a fitted clear-lacquered wood tomobako inscribed Zeshin saku akikusa-bako (Box with autumn plants by Zeshin) and paper label from the Zeshin Hyakunijunen Tsuizen Tenran (Zeshin 120th Anniversary Display), held in Tokyo in 2011. 3.9cm × 8.5cm × 7.4cm (1½in × 3 3/8in × 2 7/8in). (4).Footnotes:Provenance:Misumi Collection.Sold in these Rooms, 10 November 2015, lot 1.A Royal Collection.Exhibited:Zeshin Hyakunijunen Tsuizen Tenran, Tokyo, 2011.Exhibited and Published:Nezu Museum, Shibata Zeshin no shikko, urushi-e, kaiga (Shibata Zeshin: From Lacquer Arts to Painting), exh. cat., Tokyo, 2012, cat. no.56.In his catalogue note for the 2012 Zeshin exhibition at the Nezu Museum, Takao Yo comments that Zeshin used a single marukebori (curved line-engraving) knife to execute this delicate composition. For a somewhat larger box by Zeshin with a related autumnal design in different techniques, see Joe Earle and Tadaomi Goke, Meiji no Takara, Treasures of Imperial Japan, Masterpieces by Shibata Zeshin [in the Khalili Collection], London, Kibo Foundation, 1996, cat. no.21.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

SHIBATA ZESHIN (1807-1891)An Urushi-e (Lacquer Painting) of a Farmer's House Meiji era (1868–1912), dated 1888Depicting a peaceful scene of a farmer's rustic dwelling, well maintained but showing its age, in early spring: to the right a straw hat and mino (raincoat) hanging on the wall of the house by a tree and a ragged sudare (roller blind) hung from the eaves, sheaves of rice straw leaning against the walls, and in front a rooster and hen pecking grains of rice from a rice-mortar standing on a straw mat, the inside of the house with details including smoke rising from the hearth with its jizai (adjustable pot hanger), cups in a basket, a pair of zori (straw sandals), a bunch of daikon radishes, a sickle, a stone grinding-mill, and an uchiwa (non-folding fan), to the left, two children, one barefoot and one wearing zori, feeding hay to the family ox, a spider's web above its head, in the foreground, a stream with a plank bridge and timber reinforcements; all executed in a range of urushi-e colours, the smaller child's kimono with fine shell decoration and the plum blossoms in silver foil; parts of the paper decorated with gold dust; signed at lower right Gyonen hachijuni-o Zeshin (Zeshin, aged 82) with a seal Tairyukyo; with a cloth-bound storage box. Overall: 61.1cm x 81.4cm (24in x 31⅞in); image: 47.5cm × 67.9cm (18¾in × 26¾in). (2).Footnotes:Provenance:Grace Tsumugi Fine Art London, 2015, cat. no.4.A Royal Collection.Exhibited:Nihon Bijutsu Kyokai (Japan Art Association), 1888.Published:Goke Tadaomi, 'Shibata Zeshin', Nihon no bijutsu (Arts of Japan), 93, Tokyo, Shibundo, 1974, pl.7.Goke Tadaomi, Shibata Zeshin eyo tebikae (Sketches and Notes by Shibata Zeshin), Kyoto, Dohosa Shuppan, 1981, pl.140.Goke Tadaomi, Shibata Zeshin meihinshu: Bakumatsu kaikaki no shikko kaiga (Lacquer and Painting in Late Edo and Early Meiji: A Collection of Masterworks by Shibata Zeshin), Tokyo, Gakushu Kenkyusha, 1981, cat. no.140.Exhibited and Published:Nezu Museum, Shibata Zeshin no shikko, urushi-e, kaiga (Shibata Zeshin: From Lacquer Arts to Painting), exh. cat., Tokyo, 2012, cat. no.122.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE GILT-COPPER-MOUNTED SHELL-INLAID NANBAN LACQUER CABINETMomoyama period (1573-1615), late 16th/early 17th centuryEmbellished predominantly in gold hiramaki-e lacquer and inlaid with shell, the front, single-hinged door decorated on the front with a rabbit among fruiting tachibana orange enclosed within an elaborately-lobed cartouche, the top surface with asagao (morning glory) and other wild flowers growing over a pond within a lobed cartouche, the right side with a profusion of overlapping maple branches and kikyo (Chinese bellflowers), the left side with abundant branches of sakura (cherry blossoms), the back with typical meandering branches of clematis and kuzu (kudzu) vine; the hinged door fitted with a copper lock plate, opening downwards to reveal an interior panel decorated with scrolling stems of tsubaki (camellia), and nine drawers of four sizes decorated with assorted matching floral designs including fruiting tachibana orange, maple leaves floating on a stream, kiri (paulownia) and a profusion of foliage, all arranged horizontally in four rows surrounding a central, deeper drawer, each drawer fitted with a gilt-copper chrysanthemum knop, all framed by narrow thin bands of gold lacquer zig-zag motifs, the sides with two copper-gilt carrying handles, the corners applied with gilt-copper fittings engraved with stylised leaves, the underside undecorated. 31.2cm x 41.5cm x 28cm (12¼in x 16 5/16in x 11in).Footnotes:Crafted in Kyoto's lacquer workshops alongside quite different wares intended for elite Japanese clients, these kinds of Nanban coffers and cabinets decorated in gold hiramaki-e and shell were among the earliest Japanese artefacts to reach Asian and European markets, starting two or three decades after the first landfall by Portuguese adventurers in the mid-sixteenth century. Celebrated today for their lavish, innovative technique and dense ornamentation (inspired in part by wares from other parts of Asia), such pieces brought the Japanese genius for design to global attention and ensured that Japan would be synonymous with 'lacquer' until the present day.Traded along newly-opened global sea routes, Japanese lacquers offered Asian and European monarchs alike a distant glimpse of the splendours of the Momoyama age, when great warlords like Toyotomi Hideyoshi (1537–1598) took overall control of the country. Hideyoshi and his rivals, vassals and successors ordered lavish use of gold—not just on lacquer wares but on folding screens and wall-painting ensembles as well—to brighten the brooding interior spaces of their magnificent palaces and castles.For a discussion about Nanban fall-front cabinets of this type, illustrating comparative examples, see O. Impey and C.J.A. Jörg, Japanese Export Lacquer 1580-1850, Amsterdam, 2005, pp.122-124.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A LACQUER RECTANGULAR DEEP MIDARE-BON (TRAY)Edo period (1615-1868), probably 18th century Decorated in gold and pewter takamaki-e with details inlaid in shell with a deer and stag grazing beneath maple branches draping across a lantern hanging beneath the eaves of the Kasuga Shrine in Nara, the exterior sides gold-lacquered with Korin-style waves, the rim pewter; with an inscribed wood storage box. 5cm x 31.5cm x 25cm (2in x 12 3/8in x 9 7/8in). (2).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

TWO LACQUER BOXES AND COVERSEdo period (1615-1868), early/mid 19th centuryEach decorated in gold and slight coloured takamaki-e, the first an oval black-lacquer suzuribako (box for writing utensils), the cover with a pair of doves, the inside of the box embellished with fern and containing a detachable baseboard for the suzuri (ink-grinding stone) and a cloisonné-enamel suiteki (water dropper) in form of a teapot, unsigned, 4.5cm x 24cm x 20.5cm (1¾in x 9½in x 8 1/16in); the second a tiered jubako (picnic box) decorated with overlapping fans enclosing seasonal bird-and-flower scenes on a polished wood ground, the en-suite removable tray embellished with autumnal plants bending against the full moon, signed on the base in gold lacquer Hotokusai Kakushu with a kao; 13cm x 19.2cm x 16.3cm (5 1/16in x 7½in x 6 3/8in). (8).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

AN INLAID LACQUER BOX AND COVER IN THE FORM OF TWO OVERLAPPING ANGLED RECTANGLESEdo period (1615-1868) or Meiji era (1868-1912), mid 19th centuryDecorated in gold and iro-e takamaki-e, the larger bottom section embellished with the Third Princess looking down at a cat playing with the hem of her robe, in a scene from Chapter 34, Wakana no jo of Genji Monogatari (The Tales of Genji), the cat and the princess's face applied in high relief inlay of shibuichi and shakudo, the top smaller section decorated with a swallow flying beneath trailing wisteria on a plain wood ground; unsigned. 6.5cm X 23.2cm X 19.1cm (2 9/16in x 9 1/8in x 7½in). (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A BLACK-LACQUER LARGE DEEP ROUNDED RECTANGULAR TRAYMeiji (1868-1912) or Taisho (1912-1926) era, late 19th/early 20th centuryDecorated in gold hiramaki-e, gold, silver and iro-e togidashi maki-e with two confronting ho-o birds in flight against a ground of black lacquer, their feathers trailing over wisps of clouds, the underside decorated with a single gold maru ni-kaga-umebachi crest in gold hiramaki-e, applied with a silver rim, unsigned; with a wood storage box 5.5cm x 54.6cm x 39.2cm (2 1/8in x 21½in x 15 3/8in). (2).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

THREE GOLD-LACQUER KOGO (INCENSE BOXES) AND COVERSEdo period (1615-1868) or Meiji era (1868-1912), mid 19th centuryEach decorated in gold takamaki-e, comprising one in the form of a Heian lady wearing wearing a traditional courtly junihito-e (12-layered robe), the sides with fragmented hanabishi-mon (flowery-diamond crests), 3.2cm x 11.3cm (1¼in x 4 3/8in); the second a rectangular box lacquered with windswept hagi (bush clover), 2.5cm x 6.9cm (1in x 2 7/8in); the third a six-petalled box embellished with butterflies hovering over large hydrangea blooms, some of the butterflies inlaid in shell, 4cm x 9cm (1 9/16in x 3½in); each unsigned. (6).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

AN INLAID GOLD-LACQUER RECTANGULAR DEEP SUZURIBAKO (BOX FOR WRITING UTENSILS) AND COVEREdo period (1615-1868) or Meiji era (1868-1912), 19th centuryThe inrobuta (flush-fitting lid) predominantly decorated in gold takamaki-e and heavy pewter with turbulent waves in Rinpa style, embellished here and there with water droplets applied with gilt-metal studs, the design continuing over all four sides of the box, the exterior of the lid also scattered with four characters Yume no kayoiji (see below) in gold takamaki-e, the interior lacquered in gold mura-nashiji, with an en-suite detachable fitted tray and ita (baseboard) containing the suzuri (ink-grinding stone) and bronze suiteki (water dropper) in the form of a rat seated on a fundo (balance weight), the rims mounted with pewter, unsigned; with a plain lacquered-wood storage box. 8.3cm x 23.6cm x 19.2cm (3¼in x 9¼in x 7½in). (6).Footnotes:The four characters incorporated in the lid design are from a well-known poem that formed the literary theme for earlier lacquer boxes including one (now lost) designed by Honami Koetsu (1558-1637) and a copy made by Ogata Korin (1658–1716)—from whom the Rinpa style takes it name—in the Seikado Foundation, Tokyo, with an inscription by Korin saying that he saw the original box in Koetsu's home in Takagamine, Kyoto.The poem goes as follows, with elements of the design supplying some of the nouns (kishi [shore] and nami [wave]) in lieu of written words: Suminoe no / kishi ni yoru nami / yoru sae ya / yume no kayoiji / hitome yoguramu (At Suminoe / the waves break upon the shore / even in the night / Like them will you soon draw near / along the pathway of dreams?).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Brown Bess flintlock musket, early 19th century, with a 39" barrel, the lock stamped Tower and a crowned GR, the butt stamped 20 and with a broad arrow mark over BO, dated 1838, overall length 138.5cm (54 1\2").Lot 111The hammer cocks correctly, holds and fires.

A Victorian Snider Enfield three band percussion musket, the 36 1/2" sighted barrel with hinged ladder rear sight, various proof marks and War Department markings, the lock plate stamped 1862 Enfield and a crowned VR, overall length 138cm (54").Lot 117The hammer does not appear to cock.

A LARGE CLOISONNÉ ENAMEL AND GILT-BRONZE TRIPOD BOWLMid Ming Dynasty, the mounts QianlongRobustly cast with deep curving walls enamelled around the exterior with large lotus heads issuing from meandering scrolls, the interior similarly decorated but the well with two fish leaping from swirling waves around a lotus cluster, the vessel raised on three elephant-head legs with long tusks and decorated with beaded jewellery.28.2cm (11 1/8in) diam.Footnotes:明中期 銅胎掐絲琺瑯纏枝蓮紋盌 配鑲清乾隆鎏金象足Provenance: a European private collection來源：歐洲私人收藏Compare with a very similar cloisonné enamel bowl with similar lotus blossoms with three petals beneath the central section, 15th/16th century, in the Metropolitan Museum of Art in New York, illustrated by B.Quette, Cloisonné: Chinese Enamels from the Yuan, Ming, and Qing Dynasties, New York, Paris, New Haven and London, 2011, pp.70 and 238, fig.4.12 and no.27. See also a cloisonné enamel dish, with a very similar design of fish in the well, second half 15th century, illustrated by H.Brinker and A.Lutz, Chinese Cloisonné: The Pierre Uldry Collection, New York and London, 1989, no.33. The elephant mounts are a direct continuation from the early Ming dynasty; see for example an incense burner with elephant feet, early Ming dynasty, in the Qing Court Collection, illustrated in Compendium of Collections in the Palace Museum, Enamels 1, Cloisonné in the Yuan and Ming Dynasties, Beijing, 2011, p.103, pl.34. However, the mounts were added during the Qianlong reign.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A CORAL AND JADEITE-INLAID GILT-BRONZE INCENSE BURNER AND COVERQianlongOf oval four-lobed form, incised with lotus and inlaid beneath the galleried rim with jadeite lappets, each lobe inlaid with a shou medallion, flanked by a pair of archaistic scrollwork with ruyi heads, all supported on four cabriole feet, the domed cover pierced with ruyi-head shaped panels, and surmounted by a large openwork foliate finial. 17cm (6 3/4in) high (2).Footnotes:清乾隆 銅鎏金嵌寶四足蓋爐Provenance: a European private collection來源：歐洲私人收藏This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE THREE-COLOUR CINNABAR LACQUER CARVED BOX AND COVERQianlongCrisply carved in varying depths through cinnabar, green-black and ochre layers with a central cartouche of a bearded sage and boy-attendant carrying a qin, all within a mountainous landscape with wutong trees issuing from craggy rocks, beside a greenish-black lacquer lake carved with diamond-pattern, the sky of yellow-ochre and cinnabar clouds, all surrounded by lappet band and dense clusters of peonies, the box carved ensuite. 21.5cm (8 1/2in) diam (2).Footnotes:清乾隆 剔彩山水人物圖圓蓋盒See a related three colour cinnabar lacquer carved box and cover, Qianlong six character mark and of the period, at the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, Shenzhen, 2006, pp.42-43, no.26.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A CINNABAR LACQUER PEACH-SHAPED 'SANDUO' BOX AND COVERQianlongFinely carved in varying levels through red, with a central cartouche of an Immortal followed by a demon carrying a double-gourd, standing on a shore beside pine issuing from rockwork, all encircled by scrolling peaches, finger citron and pomegranate amidst dense branches and leaves, the box decorated en suite, the interior and base lacquered black. 216cm (6 1/4in) high.Footnotes:清乾隆 剔彩道教人物「三多」紋桃式蓋盒Compare with a similar pair of peach-shaped boxes and covers with Daoist Immortals, Qianlong, which was presented by the Qianlong emperor to Lord Macartney's Embassy of 1792-1794, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, London, 2016, p.865, nos.1988-1989.See a single related cinnabar lacquer peach box and cover with an Immortal on the cover, 18th century, which was sold at Sotheby's London, 18 May 2018, lot 458.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A VERY LARGE CLOISONNÉ ENAMEL TURQUOISE-GROUND VASE19th century Of baluster form, brightly enamelled around the exterior with various flowers, birds and insects, supported on a tapering foot and rising to a waisted neck decorated with pendant ruyi-heads beneath a floral band and upright plantain leaves beneath foliate scrolls, all reserved on a turquoise blue ground. 73cm (28 3/4in) high. Footnotes:十九世紀 銅胎掐絲琺瑯花鳥紋大瓶Provenance: a European private collection來源：歐洲私人收藏This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A LARGE SILVER TRIPOD BOWLWang Hing stamped mark, circa 1900The bowl exquisitely decorated with shaped panels containing birds and flowers such as peacocks and peony, the foliate rim with a band of blossoming flowers borne on gnarled branches, applied with a pair of elaborate winged-dragon handles, all supported on three dragon-shaped feet. 35.5cm (14in) diam. Footnotes:約1900年 銀製花鳥紋雙龍柄三足大盌「WH」、「求記」、「90」錘印款WH is the maker's mark for Wang Hing, who was a well-known silversmith, based in Hong Kong at 10 Queen's Road Central, famous for specialising in gold and silver during the late Qing dynasty to the Republican period. Wang Hing's wares were considered to be of very high quality and he once supplied silver articles for Tiffany & Co.; see The Silver Age: Origins and Trade of Chinese Export Silver, Hong Kong, 2017, p.212.See also a related large Chinese export silver trophy bowl, Wang Hing mark, late Qing dynasty, which was sold at Bonhams London, 8 November 2018, lot 272.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE MIDNIGHT-BLUE-GROUND EMBROIDERED SILK WOMAN'S INFORMAL JACKET, WAITAO19th century Finely embroidered with the front overflap closing to the right in gold-wrapped thread and satin stitch with numerous scenes from the 'Romance of the Western Chamber', depicting court figures engaging in various leisurely pursuits in garden settings dotted with colourful shrubs of blossoming flowers, all on a deep-midnight-blue ground, the pale blue satin collar and edges embroidered in gold thread with the Eight Buddhist Emblems, the sleeve-bands meticulously embroidered with the Hundred Boys. 126cm (49 1/2in) wide.Footnotes:十九世紀 石青地繡西廂故事圖馬褂Provenance: Linda Wrigglesworth Ltd., London, 17 March 2003A European private collection來源：倫敦古董商Linda Wrigglesworth Ltd.，2003年3月17日歐洲私人收藏Superbly embroidered in wrapped gold and multicoloured threads with elegant designs of court figures and boys at play, the present robe would have been worn by a high-ranking Han Chinese woman.The present lot depicts specific scenes from the popular 13th century drama Xixiang Ji 西廂記, or 'The Romance of the Western Chamber'. The play narrates a secret love affair between the young scholar Zhang Sheng, and Cui Yingying, daughter of a chief minister. One scene, for example, depicts Zhang Sheng playing the guqin, attracting the attention of the admiring Cui Yingying: this scene is regarded as the highlight of the entire story; see Hsu wen-Chin, 'Illustrations of Romance of the Western Chamber on Chinese Porcelains. Iconography, Style and Development, in Ars Orientalis, vol.40, 2011, pp.39-107.Although scholar Zhang and Cui Yingying fell in love with each other at a Buddhist monastery, Cui Yingying's mother disapproved of the match because of Zhang's low status. Yingying's maid Hongniang, however, took pity on them and arranged to bring them together in a secret union. When Yingying's mother discovered what had happened, she reluctantly agreed to a formal marriage on the condition that Zhang must pass the Civil Service examination. To the joy of the young lovers, Zhang Sheng passes, is appointed to high office, and the two are finally married.Compare with a related embroidered midnight-ground silk woman's informal jacket, waitao, 19th century, which was sold at Bonhams London, 13 May 2021, lot 93.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A GREY JADE TWO-HANDLED CUPMing Dynasty The cup carved around the exterior in low relief with a continuous scene of Immortals amidst wispy clouds, a crane, deer and pine tree, flanked by a pair of large handles formed as sprigs of auspicious lingzhi fungus, the stone of even pale grey tone, with dark speckles. 15.1cm (6in) wide.Footnotes:明 青灰玉雕人物紋耳盃See a related white jade cup with flower-shaped handles, Ming dynasty, illustrated in the Compendium of Collections in the Palace Museum: Jade, 7, Beijing, 2011, p.162, no.142.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A PALE GREEN AND RUSSET JADE CARVING OF PEACHESQianlongThe two large peaches crisply carved borne on gnarled branches issuing further blossoming flowers and leaves amidst swooping bats, the stone of pale green tone with dark caramel-brown patches. 16cm (6 1/4in) long. Footnotes:清乾隆 青玉帶皮桃蝠擺件See a related jade carving of two peaches and a bat, early Qing dynasty, illustrated by A.Forsyth and B.McElney, Jades from China, Bath, 1994, p.398, no.328.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A GREY JADE GOLD-MOUNTED 'MALLOW' BOWLThe jade 18th centuryWith deep rounded sides, the interior carved with an elaborate Mughal-style flower-head with finely-incised swirling petals, later gold mounts with Faraone mark, the stone of greyish-green tone with dark speckles. 23cm (9in) diam. Footnotes:十八世紀 玉雕葵花形盌 後鑲Faraone金質箍圈Provenance: Faraone collection (label)來源：Faraone舊藏（標籤）See a related mallow-shaped dish carved on the interior with chrysanthemum flowers, Qing dynasty, in the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Jade, vol.10, Beijing, 2011, pl.183.Compare also the carving of the central flower with a spinach-green jade 'mallow' bowl, 18th century, which was sold at Sotheby's New York, 17 September 2013, lot 147.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A JADE, TURQUOISE AND CORAL-INLAID GILT-BRONZE-MOUNTED DAGGER AND SCABBARDLate Qing DynastyWith broad slightly curved single-edged blade cut with a narrow fuller along the back on each side, the hilt comprising shaped jade guard and mottled green/grey nephrite grip of khanjar form, in its gilt scabbard with elaborate mounts variously embossed, pierced and chased in relief with foliage inhabited by chilong set with turquoise and other stones, the suspension mount formed in the round as a chilong and carrying two rings for suspension. 41cm (16 1/8in) long. (2).Footnotes:清晚期 痕都斯坦式玉柄匕首 及鎏金嵌寶鑲玉板鞘Provenance: a European private collection來源：歐洲私人收藏This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A BLANC-DE-CHINE FIGURE OF GUANYINImpressed Huijiang Shanren seal mark, 17th centuryThe deity finely modelled standing, draped in long flowing robes open at the chest to reveal beaded jewellery and cascading to the rockwork plinth, her feet exposed, her delicate hands held in front of her belly, the face with contemplative expression beneath finely moulded tiara and hood, covered in a yellowish-white glaze,, the back impressed with a four-character sealmark.44.2cm (17 1/2in) high.Footnotes:十七世紀 德化白釉觀音立像模印「茴江山人」篆書款Blanc-de-Chine pieces by Huijiang Shanren are extremely rare. Robert Blumenfield notes that the Huijiang Shanren ('Mountain Hermit of the Hui River') excelled at sculpting Buddhist figures, in Blanc de Chine: The Great Porcelain of Dehua, Berkeley, 2002, p.139. A seated figure of Guanyin with a similar mark is illustrated by P.J.Donnelly, Blanc de Chine, London, 1969, pl. 82A. Donnelly places the potter in the second half of the seventeenth century, ibid., p.283.See a related blanc-de-Chine figure of Guanyin, attributed to Huijiang Shanren, late Ming dynasty, which was sold at Sotheby's New York, 13 September 2016, lot 293.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A SANG-DE-BOEUF SQUARE PEAR-SHAPED VASE, FANGHUGuangxu incised six-character mark and of the period The form inspired by the early bronze prototypes, with indented corners, applied with rectangular lug handles, and set on raised feet, moulded to each side with peach -shaped panels, covered in a lustrous red glaze with darker striations and paling to a creamy-blue tone at the edges, handles and interiors, attached to late ormolu mount stand. 36cm (14 1/4in) high. Footnotes:清光緒 紅釉貫耳尊「大清光緒年製」楷書模款See for a vase of similar form, Guangxu incised six-character mark and of the period, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum, Shanghai, 1999, p.207, no.186. See also a related pair of flambé-glazed rectangular vases, Guangxu incised six-character mark and of the period, which was sold at Bonhams London, 2 November 2021, lot 348.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE PALE BLUE GLAZED ARCHAISTIC VASEJingyuan tang zhi seal mark, Republic PeriodOf flattened pear-shape rising from a short tapering foot to a waisted neck with lipped rim, flanked by a pair of lug handles with taotie masks, the body with archaistic strapwork, covered overall in a pale sky-blue glaze. 31cm (12 5/8in) high.Footnotes:民國 天藍釉仿古紋雙耳尊青花「靜遠堂製」篆書款The hall mark Jingyuan tang zhi ('靜遠堂製' Hall of Tranquillity and Remoteness) was used by Xu Shichang, who served as the President of the Republic of China from 1918 to 1922.The present vase is based on ancient bronzes from the Spring and Autumn period, such as an archaic vase with strapwork, illustrated in Bronzes in the Palace Museum, Beijing, 1999, p.246.See a claire-de-lune pear-shaped vase, also with Jingyuan tang seal mark, which was sold at Bonhams Hong Kong, 26 May 2013, lot 263.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A FAMILLE VERTE 'JIA SIDAO' DISHKangxiBrightly enamelled with female equestriennes within a pavilion garden, overlooked by attendants and the Minister Jia Sidao with a fan, his foot on the balcony rail as if to jump over in excitement. 54.5cm (21 1/2in) diam. Footnotes:清康熙 五彩月下跑馬圖盤Provenance: Highfield Jones collectionSotheby's London, 30 November 1954, lot 113Eskenazi Ltd., London, 1986來源：Highfield Jones舊藏倫敦蘇富比，1954年11月30日，拍品編號113倫敦古董商Eskenazi Ltd.，1986年The presence of horse-riding women usually identifies this subject matter as the story of 'The Female Troops of the Yang Family'. Indeed, the composition is extremely similar to other dishes with this story. However, the crucial difference between this subject and that of the last Southern Song dynasty minister Jia Sidao, is the excited male figure on the balcony holding a fan. In the present lot, Jia Sidao is comically enjoying the pleasures of women riders at his Geling mansion by West lake. His over-excitement leads him to almost step off the balcony. According to the 'History of the Song Dynasty', emperor Duzong ascended the throne with the support of Jia Sidao (1213-1275) in 1264 after emperor Lizong passed away. He bestowed upon Jia the title of Imperial Teacher and a mansion at Geling in West Lake. Jia was allowed to attend the Imperial audience every three days and handle state affairs in his residence. At that time, all candidates who passed the Civil Examination were Jia's students and visited his mansion to deliver their gratitude. Jia wielded great influence throughout the government.In 1269, Jia became more arrogant and requested retirement quoting health reasons. Emperor Duzong, in tears, tried to retain him. In the end, emperor Duzong gave in, exempting Jia from performing the ritual bow when greeting the throne and allowing him to attend the Imperial audience every ten days. A contemporary poem made a sarcastic remark of the situation that there is no prime minister at the court but in West Lake instead. When the Mongols besieged Xiangyang, Jia paid no attention but surrounded himself with beautiful concubines ranging from Palace ladies and prostitutes to nuns in his Geling mansion. Jia was eventually assassinated and considered an 'evil' minister that led to the ultimate conquest by the Mongols. The figure in the Song official attire wearing the Imperial Teacher hat and brandishing a folded fan is Jia Sidao. In ancient China, holding a fan was a symbol of power and identity. The figure therefore should wield great power and enjoy a high social standing. The craftsmen who painted the present lot however, recycled the imagery and composition used to depict the ladies of the Yang family. See for example, a blue and white rouleau vase decorated with Jia Sidao holding a fan, Kangxi, illustrated in Folklore in Ming and Qing Porcelain, Hong Kong, 2019, pp.83-87.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE YELLOW-GROUND GREEN-ENAMELLED 'DRAGON AND PHOENIX' BOWLKangxi six-character mark and of the periodWith deep rounded sides rising from a tapered foot to a gently flaring rim, the exterior delicately incised and enamelled in green on a bright egg-yolk yellow ground with a band of two five-clawed dragons striding amongst flames in pursuit of flaming pearls, above five phoenix roundels divided by stylised cloud scrolls, the interior painted in underglaze blue with a central medallion enclosing a stylised shou character within double-line borders repeated at the rim.15cm (5 7/8in) diam.Footnotes:清康熙 黃地綠彩龍鳳紋盌青花「大清康熙年製」楷書款Provenance: a European private collection來源：歐洲私人收藏The present bowl is rare and unique to the Kangxi period, depicting both phoenix roundels below dragons in a green and yellow palette. Yellow-glazed wares with green dragons are mentioned in Palace regulations as having been reserved for the Imperial consorts or the highest-ranking concubines. The present variation of 'phoenix and dragon' bowls may have been produced for a special occasion, such as a birthday, as suggested by the auspicious 'longevity' (shou 壽) character depicted on the interior.Only a small number of this type of bowl have been published. An identical bowl, Kangxi mark and period, in the National Palace Museum, Taipei, is illustrated in Good Fortune, Long Life, Health, and Peace: A Special Exhibition of Porcelains with Auspicious Designs, Taipei, 1995, pl.19; a second example, Kangxi mark and period, formerly in the Tsui Museum of Art, is illustrated in Chinese Ceramics IV. Qing Dynasty, Hong Kong, 1995, pl.111, and a third bowl is illustrated by S.Jenyns, Later Chinese Porcelain, London, 1951, pl.LXIX, no.2.Compare with a very similar bowl, Kangxi six-character mark and of the period, which was sold at Christie's Hong Kong, 1 June 2011, lot 2863.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A PAIR OF FAMILLE ROSE PLAQUESJiaqing/DaoguangThe tall rectangular plaques each finely enamelled, one with the Hehe erxian holding a string of coins between them, and two sages sitting beneath a gnarled tree, the other plaque with another bearded sage riding a mule with two attendants, all beside a large, gnarled pine tree, wood frames. Without frame, 76.8cm (30 1/4in) long; with frame, 88.1cm (34 3/4in) long. (2).Footnotes:清嘉慶/道光 粉彩道教人物圖瓷板掛屏一對Delicately enamelled with mythical Daoist imagery and a variety of auspicious flowers and birds, the present pair of plaques is imbued with symbolic significance and would have probably been intended as part of a large screen gracing the interior of an Imperial hall. The brilliant enamels and highly naturalistic facial expressions noted on the present lot are features characterising porcelain dating to the Jiaqing and Daoguang emperors.See a related large famille rose plaque, similarly decorated with Immortals, Qianlong, which was sold at Christie's New York, 24 March 2011, lot 1810. See also a related rare and large famille rose plaque, Daoguang, which was sold at Bonhams London, 11 May 2017, lot 216.The present plaques may have been formerly part of a multiple-leaf screen depicting a continuous garden setting scene featuring gathering of immortals or important birthday celebrations. These screens often adorned the various halls of Imperial residencies and would have been made both in the Palace ateliers as well as in Guangdong, either commissioned by the Court of presented as tribute to the Imperial Court. See, for example, a zitan screen inset with famille rose plaques, 19th century, illustrated in Tributes from Guangdong to the Qing Court, Hong Kong, 1987, pl.90. See also the 64 porcelain plaques depicting various Immortal deities, making up the Imperial famille rose twelve-leaf screen, Jiaqing, which was sold at Bonhams London, 11 May 2017, lot 214.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A BLUE-GROUND EMBROIDERED SILK WOMAN'S 'DRAGON' ROBE, JIFU19th century The garment finely embroidered on the front and back in satin stitch and couched gold thread with nine five-clawed dragons pursuing flaming pearls amidst dense trialling scrolls of five coloured clouds interspersed with bats and the Eight Buddhist Emblems, all picked out in Peking knot and above the terrestrial diagram and the lishui stripe at the hem interspersed with blossoming peonies. 141cm (55 1/2in) high.Footnotes:十九世紀 御製藍地繡八寶金龍紋吉服袍This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE LARGE SILK 'BUDDHIST LIONS' KESI PANEL18th century Of rectangular shape, finely woven with a rectangular panel depicting eighteen joyful lions divided into two main groups each featuring a female lion playing a brocade ball with eight cubs, all set in a luxuriant garden dotted with shrubs of flowering peonies issuing from pitted rocks, prunus and pine trees beneath wispy clouds, within a blue ground brocade, framed and glazed. The kesi 157.5cm (62in) wide x 60cm (23 5/8in) high.Footnotes:十八世紀 緙絲瑞獅掛屏Notable for its meticulously woven naturalistic designs of playful lions set in a rocky garden setting, the present panel is a remarkable example of the highest standards achieved in weaving techniques during the 18th century. The allusion to Immortality, conveyed by the subjects depicted on the present screen panel, indicates that this textile may have been created to celebrate a birthday. Buddhist lions were in fact viewed in connection with beliefs in Immortality as they were often depicted as companions to female Immortals from at least the Song dynasty; see, for example, 'Picking Up Lingzhi Fungi to Celebrate Longevity', a painting by Li Zhaoqing, attributed to the Song dynasty, in the National Palace Museum, Taipei, acc.no.001256-00001. See also the playful lions accompanying the female deities depicted on the Imperial famille rose twelve-leaf screen, Jiaqing, which was sold by Bonhams London, 11 May 2017, lot 214.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

TWO THANGKAS OF SITATAPATRA AND MAHAKALATibet, 19th centuryBoth distemper on cloth, both framed and glazed, the thangka of Mahakala clad in a black robe, with one face, three round bulbous eyes, adorned with a crown of five dry white skulls, surrounded by various deities, all in a mountainous landscape, the painting 45cm (17 3/4in) wide x 60cm (23 1/2in) high; the thangka of Sitatapatra holding a parasol, with three eyes, the reverse with Tibetan inscriptions, the painting 40.5cm (16in) wide x 58cm (23in) high. (2).Footnotes:十九世紀 大黑天唐卡 及大白傘蓋佛母唐卡 一組兩件Provenance: a European private collection來源：歐洲私人收藏Sitatapatra with one face and two hands is the simplest form of the female deity. Her special features are a third eye on the forehead, the right hand in a gesture of protection, and the left holding a white parasol. See a related thangka of Sitatapatra, Himalayan Art Resources no.16419.The second thangka shows Mahakala in a black cloak. Bernagchen, Vajra Mahakala (English: the Great Black-Cloak Vajra Mahakala), is the personal protector of the Karmapas and the special protector of the Karma Kagyu (Kamtsang) School of Tibetan Buddhism. The Karmapas are a line of successive teachers acknowledged as the first lineage of reincarnating lamas in Tibetan Buddhism. See for example, a related thangka of the black-cloaked Mahakala, Tibet, 19th century, in the Rubin Museum of Art, Himalayan Art Resources no.942.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE HORIZONTAL THANGKA OF AVALOKITESHVARATibet, 19th centuryDistemper on cloth, depicting the Bodhisattva standing with peaceful expression, with eleven heads and eight arms, surrounded by various lamas and deities, in a bright green mountainous landscape, with silk mounts. 107cm (42in) wide x 81cm (32in) high.Footnotes:十九世紀 十一面觀音菩薩唐卡This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A THANGKA OF AMITAYUSTibet, 19th centuryDistemper on cloth, framed and glazed. The painting, 86cm (34in) long x 55.5cm (22in) wide. Footnotes:十九世紀 無量壽佛唐卡Provenance: a European private collection來源：歐洲私人收藏This painting depicts Amitayus, the Buddha of Long Life, surrounded by a multitude of emanations. Compare with another related thangka of Amitayus of similar composition in the famed Yonghegong Lama Temple in Beijing, Beautiful Thangka Paintings in Yonghegong, Vol.1, Beijing, 2001, p.41. See also a related thangka of Amitayus, 19th century, in the Buryat Historical Museum (Himalayan Art Resources no.74220).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE GILT-BRONZE FIGURE OF SHADBHUJA MAHAKALATibet, 18th centuryThe wrathful deity expertly cast wearing a garland of heads beneath his bulging belly, his six arms each holding an attribute, with wild hair behind a tiara of skulls, his back with an elephant skin, striding in alidhasana on a prostrate elephant-headed Vignataka, all raised on a lotus-petal plinth, wood stand. 19cm (7 1/2in) high. (3).Footnotes:十八世紀 銅鎏金六臂大黑天像Provenance: a French private collection, formerly owned by the Head of Customs in Vietnam circa 1940's-1950's, by repute 來源：據傳二十世紀四、五十年代，前越南海關負責人舊藏法國私人收藏Shadbhuja, a form of Mahakala, belongs to a category of male Tantric Buddhist deities. The common function of Mahakala is as a protector (Dharmapala) deity and is specifically the primary Wisdom Protector of Himalayan and Tibetan Buddhism. In some cases, Mahakala can also be a meditational deity (ishtadevata) in the highest Anuttarayoga Tantras. However, he is typically of wrathful appearance following the Indian model of a Raksha demon. Compare with a larger closely-related bronze of the same subject in the Royal Ontario Museum, Toronto, illustrated by M.Rhie and R.Thurman, Wisdom and Compassion, New York, 1991, p.295, no.111. Compare also with a gilt-bronze figure of Mahakala in the Prague National Gallery, which displays nearly identical modelling of the hair, face, jewellery and accoutrements (Himalayan Art Resources, no.57657).See a similar gilt-bronze figure of Mahakala, 18th century, which was sold at Christie's New York, 15 March 2017, lot 203.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A LARGE BLUE AND WHITE 'FLORAL' BOWLKangxiSturdily potted with deep rounded sides rising from a short, inward-tapering foot, densely painted around the exterior in cobalt-blue with upright leaf-shaped panels containing floral sprays interspersed with further foliate scrolls, the interior with a floral band at the rim, the well with further floral scrolls. 36cm (14 1/4in) diam.Footnotes:清康熙 青花花卉紋大盌This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A MING-STYLE BLUE AND WHITE 'LOTUS BOUQUET' MOONFLASK, BIANHU18th centuryThe flattened spherical body rising from a rectangular foot rim to a waisted neck and small bulb-shaped head, flanked with two elegantly arched strap handles ended with a ruyi-head terminal resting on the shoulder, freely painted in deep tones of cobalt accented with 'heaping and piling', the domed circular front and back depicting a mixed bouquet of lotus and other other water plants, the neck and head with a branch of flowers on both sides, the handles outlined with double lines extending to the ruyi terminus, above two branches of lotus running down the narrow sides, all covered with a glossy glaze of smooth texture, the foot rim unglazed, stand. 26cm (10 1/4in) high. (2).Footnotes:十八世紀 青花一束蓮抱月瓶The design and shape of the present moonflask follows the early fifteenth century form derived from Middle Eastern metal vessels. Although the present lot retains the general Ming form, the design has developed with the neck in various forms as well as a more prominent square foot at the base towards Qing dynasty. The subtle and variated blue and white palette imitates the early Ming dynasty imported cobalt blue, with high iron content, resulting in dark blue spots on the surface. See a Ming dynasty version of a blue and white moonflask of similar form in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2012, no.94.The design on this moonflask is typically described as 'lotus bouquet', as the majority of the flowers, pods and leaves belong to the auspicious lotus plant. This design is adapted from an important group of early Ming blue and white wares, such as one example in the Palace Museum, Beijing, illustrated in ibid., Hong Kong, 2012, no.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

A BLUE AND WHITE 'CHILONG AND PHOENIX' VASELate Qing Dynasty/Republic PeriodSturdily potted with a large globular body supported on a tapering foot, rising to a tall waisted neck and flaring rim, painted around the exterior with phoenix and writhing chilong amidst meandering foliate scrolls issuing ruyi heads. 44cm (17 1/4) high.Footnotes:清晚期/民國 青花龍鳳紋長頸瓶Provenance: a European private collection來源：歐洲私人收藏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

ANGLO-CHINESE SCHOOL19th centuryComprising four paintings, oil on copper, one depicting the thirteen factories in Guangzhou, the second depicting Macau with a church, the third and fourth showing the Pearl River delta with various sampans, junks and Western ships, each glazed and framed. Each without frame, 9.5cm (3 3/4in) x 13.5cm wide (5 1/4in) (4).Footnotes:十九世紀 外銷畫 銅版油畫 一組四幅Compare the view of Macau with the church to a very similar painting of Macau, looking north-east, circa 1810, oil on canvas, illustrated by P.Conner, The Hongs of Canton, London, 2009, p.12. A similar view of Whampoa, The Anchorage, late 18th century, is illustrated by Ibid.,p.20. The factories, oil on canvas, circa 1801-1803, are also illustrated in Ibid.., p.52. Compare with a pair of paintings of Canton and Whampoa, circa 1820, also oil on copper, which was sold at Sotheby's New York, 23 January 2010, lot 54.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A PAIR OF FAMILLE ROSE 'MANDARIN-PATTERN' PUNCH BOWLSQianlong Each brightly decorated around the exteriors with scenes of elegant ladies amidst children and auspicious deer on a terrace overlooking a lake with mountains and building in the distance, in the building a scholar by his desk and book gazes out at the ladies. Each 35.6cm (14in) diam. (2).Footnotes:清乾隆 外銷粉彩人物圖盌一對This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A WHITE AND RUSSET JADE 'BUTTERFLY AND MELON' SNUFF BOTTLE19th centuryThe jade pebble expertly hollowed and carved around the exterior with lobes and leafy branches, a large fluttering butterfly near the base, the stone of white tone with light russet patches, stopper. 6.5cm (2 1/2in) high. (2).Footnotes:十九世紀 白玉帶皮瓜瓞紋鼻煙壺Butterflies die (蝶) are a homophone with the character for little gourds die (瓞), symbolic of fertility because of the multitude of their seeds. Butterflies and melons form the pun guadie (瓜瓞), a rebus for 'ceaseless generations of descendants'.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A HAIR CRYSTAL SNUFF BOTTLE19th centuryThe high-shouldered flattened body raised on a recessed oval foot ring, with a dense network of rutile hairs extending to the circular neck and flat mouth rim, stopper. 5.8cm (2 1/4in) high. (2).Footnotes:十九世紀 髮晶鼻煙壺Provenance: Sotheby's London, 5 December 1983, lot 101來源：倫敦蘇富比，1983年12月5日，拍品編號101This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A WHITE AND RUSSET JADE 'BUTTERFLY AND MELON' SNUFF BOTTLE18th/19th centuryNaturalistically carved as a dimpled butter gourd, surrounded by gnarled branches and a large butterfly, the stone of pale greenish white tone with light russet patches, stopper. 7.2cm (3in) high. (2).Footnotes:十八/十九世紀 白玉雕瓜瓞紋鼻煙壺The wish for ceaseless generations of descendants, guadie mianmian (瓜瓞綿綿), which the combination of butterflies and melons invokes, appears to have originated from the 'Book of Odes', compiled between the 11th and the 7th century BC. The verses contained in this anthology make abundant use of plant and animal analogies to describe female beauty and human accomplishments. Butterflies die (蝶) are a homophone with the character making up the word for little gourds die (瓞), symbolic of fertility because of the multitude of their seeds.Compare with a white jade 'butterfly and melon' snuff bottle, 18th/19th century, which was sold at Sotheby's New York, 13 September 2017, lot 39.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