AN IVORY FIGURE OF GUANYIN AND CHILDMing Dynasty The deity carved seated on rockwork with the right foot, finely modelled with a serene expression and downcast eyes, dressed in long flowing robe with undulated folds, holding a set of prayer beads, both hands raised to cradle a boy at her right side, wood stand. 12cm (4 5/8in) high. (2).Footnotes:明 牙雕觀音送子坐像Compare with a related ivory carving of Guanyin with a boy in her arms, Ming dynasty, illustrated in Ming and Qing Chinese Arts from the C.P.Lin Collection, Hong Kong, 2014, p.297, no.179. Another related ivory carving of Guanyin and child, late Ming dynasty, is illustrated in Chinese Ivories: from the Shang to the Qing, London, 1984, p.59, no.29.See a related but larger ivory Guanyin and child, late Ming dynasty, which was sold at Sotheby's Hong Kong, 30 May 2018, lot 22.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
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AN IVORY FIGURE OF GUANYIN AND CHILDMing Dynasty The figure carved standing, the serene expression with gentle downcast eyes, the hair covered by a veil, holding a set of prayer beads in her right hand, the left raised to cradle a small boy, the long flowing robes covering the feet, wood stand. 16.5cm (6 1/2in) high. (2).Footnotes:明 牙雕觀音送子This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
A GOLD-SPLASHED BRONZE LOBED TRIPOD INCENSE BURNER, LIDING17th/18th century The compressed body of lobed form raised on three low feet and set with two upright loop handles on the neck, the exterior decorated with irregular splashes of gold, with pierced wood and ivory cover and brocade stand. 14.5cm (5 5/8in) wide (3).Footnotes:十七/十八世紀 銅灑金朝冠耳三足鼎爐The unusual archaistic form of the present incense burner, modified into an three-lobed body, may have been based on an earlier design introduced during the later phases of the Ming dynasty as a variation to the classic forms of earlier periods; see P.Moss, Documentary Chinese Works of Art in Scholar's Taste, London, 1983, p.232.A related gold-splashed bronze lobed incense burner, Qing dynasty, cast with a compressed body of hexalobed form and upright handles, was sold at Bonhams, 13 May 2021, lot 84.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
A fine bone and ivory brushQing DynastyThe long cylindrical shaft inlaid with various auspicious items including lingzhi, musical chimes, ingots, and books, the top carved with Jin Dongxin, the bulbous ferrule at the bottom of the shaft with animal hair. 27cm (10 1/2in) long. Footnotes:清 骨牙雕嵌雜寶紋筆「金冬心」款Jin Dongxin refers to Jin Nong (1687-1763 or 1764) one of the Eight Eccentrics of Yangzhou, a group of generally nonconformist artists. Jin Nong's uniqueness was his 'lacquered' style calligraphy with straight angular lines, resembling lacquer applied with a wooden spatula rather than a brush. He also preserved his independence by selling works in an open market, rather than adopting an individual patron. His openness to selling his paintings or calligraphy for money still went against the grain of literati ideals which argued that true literati art should be done by amateurs who did not need money which would have inhibited their expression.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
A SPINACH-GREEN JADE CIRCULAR BOX AND COVERQianlongThe box with gently rounded sides, set on a crisply carved foot, the rounded cover skillfully carved with a single lotus spray borne on a trailing leafy stem within a raised circular border. 7.1cm (2 3/4in) diam. (2).Footnotes:清乾隆 碧玉雕花卉紋圓蓋盒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Circular boxes were ideal containers for seal paste, incense and cosmetic materials. Seal paste containers were a necessary scholarly accoutrements and were made in various materials including jade, ivory, lacquer and porcelain.Compare with a related green jade box and cover, Qing dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware, vol.3, Hong Kong, 1995, p.84. A related white jade circular box and cover, 18th century, was sold at Bonhams London, 11 May 2021, lot 289.碧玉琢成扁圓形蓋盒，上下微收，圓口環足，子母口。盒蓋圓形開光，內淺浮雕牡丹紋。圓形蓋盒可用於盛放化妝材料或印泥，常見玉制、瓷製、象牙、或漆器等各類材質。參考清宮舊藏一例碧玉蓋盒，收錄於《故宮博物館藏文物珍品全集：玉器（下）》，香港，1995年，頁84。另見一例白玉圓蓋盒，與本例尺寸相仿，售於倫敦邦瀚斯，2021年5月11日，拍品編號289。For further information on this lot please visit Bonhams.com
A RARE IVORY SEALQing Dynasty or earlierCrisply carved as a Buddhist wheel supported on a lotus-petal pedestal, and square seal, the seal face carved in zhuanshu calligraphy reading 'chong shan yi jiao', which may be translated as 'Revere virtue [and] respect the teaching'.6.6cm (2 5/8in) high.Footnotes:清或更早 牙雕印章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An ivory seal carved with the inscription 'Chong shan yi jiao', 'Revere virtue [and] respect teaching' was bestowed in 1443 by the Zhengtong Emperor on the Chong Fu temple in Dingcheng city, Gansu Province. The present seal is likely a reference to the same Imperial saying.An ivory seal of similar form with a Buddhist Wheel of the Law, but with a dedicatory inscription dated to 1427, from the Mr and Mrs R.H.R. Palmer collection, was exhibited by the Arts Council of Great Britain and the Oriental Ceramic Society, The Arts of the Ming Dynasty, London, 1957, no.371. 據載，明英宗正統皇帝曾於1443年御賜甘肅崇福寺「崇善翊教」象牙印章一具；本例或為以相同印文治印。參考R.H.R. Palmer伉儷收藏一例1427年制牙雕印章，同以法輪為鈕，曾借展於1957年英國藝術委員會與倫敦東方陶瓷學會於倫敦主辦之「明朝藝術（The Arts of the Ming Dynasty）」大展，展品編號371。This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
A VERY RARE FAMILLE ROSE ENAMELLED WHITE GLASS 'FLOWER BASKET' SNUFF BOTTLEGuyue Xuan iron-red enamel mark, Beijing, circa 1775-1799Of flattened rounded form, with a recessed oval base, the milky-white glass finely carved in relief and decorated in famille rose enamels in the form of a wicker basket bearing a profusion of flower sprays including prunus blossom, lilies, chrysanthemums, peonies and narcissus, all beneath an overlapping plantain leaf collar and a scrollwork band at the neck, the foot inscribed Guyue xuan (Ancient Moon Pavilion), gilt metal stopper and ivory spoon. 6cm (2 3/8in) high. (2).Footnotes:約1775-1799年 料胎畫琺瑯「花籃式」鼻煙壺 礬紅「古月軒」楷書款Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The inscription Guyue Xuan (literally 'Ancient Moon Pavilion') on the present lot refers to one of the halls in the Old Summer Palace (Yuanming yuan) completed in 1767, prompting the Qianlong Emperor to order a group of wares, mostly enamels on glass, bearing the name of that particular pavilion. Compare with a similar enamel on glass snuff bottle, with the same motif, Guyue Xuan mark and attributed to the Palace Workshops in Beijing, 1770-1790, illustrated by H.Moss, V.Graham, and K.B.Tsang, The Art of the Chinese Snuff Bottle, vol.2, New York and Tokyo, 1993, no.200. The subject of a basket of flowers was a popular design during the 18th century and can be seen in many of the decorative arts of China; it may be related to the Daoist Immortal Lan Caihe whose attribute is a a basket of flowers. Compare a closely related famille rose enamelled white glass snuff bottle, Yuzhi mark, 1775-1800, attributed to the Palace Workshops, Beijing, illustrated by H.Moss, V.Graham and K.B.Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection. Arts of the Fire, vol.6, Part 1, Hong Kong, 2008, no.1105, which was later sold at Sotheby's Hong Kong, 27 May 2013, lot 238. See also a similar carved and enamelled white glass snuff bottle, Guyue Xuan mark, 1775-1799, which was sold at Christie's New York, 18 March 2021, lot 681.「古月軒」，一說為圓明園中一軒名，《故宮鼻煙壺》一書將乾隆朝料胎畫琺瑯鼻煙壺稱為「古月軒」。因其屬於玻璃與畫琺瑯的複合工藝，需先用玻璃造型，再以琺瑯顏料在胎體表面繪畫，最後放入小窯焙燒；且因玻璃與琺瑯顏料熔點非常接近，製作難度高，殊為珍貴。參考一例「古月軒」款且應為清宮造辦處所作，1770-1790年制料胎畫琺瑯「花籃式」鼻煙壺，收錄於H.Moss、V.Graham、與K.B.Tsang著，《The Art of the Chinese Snuff Bottle》，卷二，紐約，東京，1993年，編號200。花籃紋或源於道教仙人藍彩和之法器，是十八世紀的常見紋飾，廣泛用於各類材質器物。對比一例清乾隆1775-1800年制「御製」款料胎畫琺瑯「花籃式」鼻煙壺，應為清宮造辦處所作，收錄於H.Moss、V.Graham、與K.B.Tsang著，《A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection. Arts of the Fire》，卷六，第一部分，香港，2008年，編號1105；後於香港蘇富比2013年5月27日「瑪麗及莊智博鼻煙壺珍藏：第六部份」專場拍賣售出，拍品編號238。紐約佳士得於2021年3月18日售出一例1775-1799年御製涅白地粉彩花卉紋玻璃鼻煙壺，同署「古月軒」款，拍品編號681，可為參考。This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
A FINE AND RARE PAIR OF THREE-COLOUR CINNABAR LACQUER CARVED PRUNUS-SHAPED BOWLS AND COVERS, ZHADOUQianlongEach with an everted foliated rim, carved and decorated with cusped red cinnabar floral-cell cartouches and ruyi sceptres reserved on a greenish-black and yellow wan-diaper ground, the body and cover further decorated with red and coloured-lacquer floral-cell pattern bands, the gilt-bronze knop finials encircled by petal lappets and key-fret borders, the interiors and bases lacquered black. Each 15.7cm (6 1/4in) wide. (4).Footnotes:清乾隆 剔彩錦地紋帶蓋花口唾盂一對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Notable for the vigorous carving, precision of knifework and meticulous attention to detail, the present bowls and covers encapsulate the opulent style developed under the orders of the Qianlong Emperor, who took an active role in developing Court lacquerwares. The high standards achieved in lacquer production during the Qianlong reign also resulted from the Emperor's intervention by ordering ivory craftsmen from Guangzhou to Beijing to revive many techniques used in Ming lacquer carvings. These included the so-called 'three-colour-layered lacquer carving', ticai, a popular practice during the late Ming dynasty.A closely-related two-coloured cinnabar lacquer zhadou, mid Qing dynasty, in the Hall of the Three Rarities, Sanxitang, is illustrated in Imperial Furniture of Ming and Qing Dynasties: Classics of the Forbidden City, Beijing, 2008, p.340, no.373. Compare also with a related zhadou and cover, Qianlong, second half 18th century, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, London, 2015, p.873, no.2011. Compare the layered carving technique with a three-coloured lacquer carved box and cover, 18th/19th century, illustrated in Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2008, p.164, no.180. See a single related carved red lacquer zhadou and cover, 18th century, which was sold at Christie's New York, 18 September 2015, lot 2096.折沿花口，折沿上有四處瓣形開光並剔出錦地紋為飾，開光之間髹以黃綠彩漆並治萬字錦地紋，其上各剔紅漆如意一柄。器身及器蓋同樣在三色彩漆之上剔出各式錦地紋帶。蓋鈕鎏金。器內及器底均髹黑漆。本例雕工細緻，紋飾精巧，呈現了乾隆年間流行的奢華風格。乾隆皇帝本人對宮廷漆器工藝及風格的發展有極大的影響。在其治下，廣東的牙雕工匠被徵調至內廷，明代漆雕的許多工藝也被恢復，清代漆器工藝在此時一度達到巔峰。其中一項被復原的明代漆雕技法為「剔彩」，即在器物上分層髹以不同顏色的漆，因此所剔紋樣即可呈現不同層次及色彩斑斕之效果。參考故宮三希堂陳設一例相似的清中期剔彩唾盂，圖見《明清宮廷家具》，北京，2008年，頁340，圖373。另一件可與之相較的清乾隆（十八世紀下半葉）帶蓋唾盂可見於J.Ayers著，《Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen》，卷三，倫敦，2015年，頁873，編號2011。本品所運用之剔彩技法及幾何紋飾亦可比較一例十八/十九世紀剔彩八棱式盒，與收錄於《和光剔彩——故宮藏漆》，台北，2008年，頁164，編號180。紐約佳士得曾於2015年9月18日售出一例十八世紀剔紅牡丹梅紋錦地渣斗，拍品編號2096，可資比對。For further information on this lot please visit Bonhams.com
THREE FOLDING FANS19th centuryThe first, a painted and gilt-lacquer decorated fan, finely and variously decorated to each side with panels of ladies and gentlemen at leisure in luxuriant pavilion gardens, the facial details in applied ivory, alternating with butterflies and exotic birds amongst a profusion of flowering and blossoming plants, the lacquered sticks gilt decorated with similar garden scenes, 48.3cm (19in) wide; the second, a boxwood and ivory brisé fan, with finely pierced ribs, with painted scene of ladies engaged in various elegant pursuits, 52cm (20 1/2in) wide; and the third, an ivory brisé fan, with exquisitely pierced ivory ribs, the fan painted with a scene of ladies and gentlemen engaged in various leisurely pursuits within balustraded pavilions, 53.5cm (21in) wide. (3).Footnotes:十九世紀 紙面人物摺扇 一組三件Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Compare a closely-related folding fan with sandalwood sticks, circa 1830-1840; a folding fan with gilt-black lacquered sticks, circa 1830-1840; and a folding fan with ivory sticks, circa 1830-1840, illustrated by S.Kwan, Chinese Fans, Hong Kong, 2011, pp.208-211 and 214-215, nos.55-56 and 58.參考約1830-1840年制一例檀香紙面摺扇，一例黑漆描金紙面摺扇，以及一例象牙紙面摺扇，收錄於關善明著，《中國扇具》，香港，2011年，頁208-211及214-215，編號55-56及58。This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
TWO CINNABAR LACQUER CARVED SNUFF BOTTLES AND AN IVORY CARVED SNUFF BOTTLEThe first lacquer bottle, 18th/19th century, with flattened oval body crisply carved around the exterior with a continuous scene of a Buddhist monk holding a staff, arm and leg raised, amongst a gathering of ladies and gentlemen, amidst trees and mountains in the distance, with carved lion mask and suspended chain handles, stopper, boxwood stand, 7.9cm (3 1/8in) high; the second lacquer bottle, 19th century, of flattened ovoid form, carved with gentlemen scholars and boy attendants in a mountainous, tree-strewn landscape, beneath a ruyi collar and floral band at the neck, coral stopper, 6.2cm (2 3/8in) high; the ivory bottle, 19th/early 20th century, carved in relief with three figures on board a sampan, a gentleman at the fore wearing a tiger skin cloak, all amongst turbulent waves and cloud scrolls, the reverse with a procession of figures riding a variety of beasts, 8.7cm (3 3/8in) high. (7).Footnotes:十八至十九世紀 剔紅鼻煙壺兩件 及十九世紀/二十世紀早期 牙雕煙壺 一組三件Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今See a cinnabar lacquer carved snuff bottle, 1750-1800, with similar decoration to the present lot, which was sold at Christie's New York, 12 September 2018, lot 702. Compare also a deeply-carved ivory bottle, Qianlong, which was sold at Christie's London, 7 November 2017, lot 52. 參考一例1750-1800年制剔紅人物故事圖鼻煙壺，紋飾主題可與本例中剔紅鼻煙壺較大者相比對，售於紐約佳士得，2018年9月12日，拍品編號702；以及一例清乾隆象牙人物故事圖鼻煙壺，售於倫敦佳士得，2017年11月7日，拍品編號52。This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
FIVE HARDSTONE AND GLASS SNUFF BOTTLES19th/early 20th centuryComprising a green-overlay white glass snuff bottle, with gnarled and blossoming prunus branches extending around the body, with hardstone stopper, 6.1cm (2 3/8in) high; a smokey rock crystal snuff bottle, carved in low relief with bearded sages, the reverse with poetic inscription in xingshu calligraphy with glass stopper and wood stand, 5.5cm (2 2/8in) high; a malachite snuff bottle and stopper, expertly carved around the exterior with a deer, crane and peacock amidst various trees, the stone of lustrous emerald-green tone, with wood stand, with stopper, 7.6cm (3in) high; a lavender agate snuff bottle and stopper, carved around the exterior with a female Immortal and boy attendant, amidst flowers and trees, with stopper, 7.4cm (3in) high; and a turquoise snuff bottle and stopper, the flattened body carved with leafy sprays and birds, with wood stand, with stopper, 7.8cm (3 1/8in) high. (13).Footnotes:十九世紀至二十世紀早期 硬石及玻璃制鼻煙壺 一組五件Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The range of materials illustrated in this group of snuff bottles is reflective of the skill and ingenuity utilised by the Chinese artisans to create a wealth and variety of snuff bottles in almost every conceivable material. Snuff bottles were initially made for the Emperor and the Court. Through the 19th century snuff bottles were produced in greater quantities for a public which not only admired Imperial tastes but enjoyed the functionality of these finely-crafted miniatures.本組拍品足可展示中國工匠使用各類材質作為胎體豐富鼻煙壺創作場域的匠心獨運、巧奪天工。鼻煙最初傳入之時，僅於宮廷與王公貴族間流通。至十九世紀已廣泛普及，鼻煙壺的製作也由順應宮廷審美而擴大到為人們日常使用增添情趣。This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
A JAPANESE CARVED IVORY BOX AND COVERMeiji PeriodOf ovoid shape, densely carved with various masks and faces in different expressions around the exterior, the domed cover similarly carved. 11.2cm (4 1/2in) long. (2).Footnotes:日本明治時代 牙雕「面具」蓋盒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 masks on the current lot represent festival or matsuri masks, as demonstrated in masks of okame and hyottoko, childlike figures with comical expressions. Such boxes were popular with those visiting Japan in the Meiji era. See a related carved ivory box and cover with masks, Meiji period, which was sold at Christie's London, 18 May 2012, lot 171.蓋盒滿飾日本傳統節日或「祭」中使用之滑稽面具，包括男性造型的「火男」與女性造型的「阿龜」。形如本例的蓋盒在明治時代的赴日遊客中很受歡迎。參考一例明治時代牙雕蓋盒，同以面具為飾，售於倫敦佳士得，2012年5月18日，拍品編號171。This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
A RARE CARVED CINNABAR LACQUER 'HUNTING SCENE' BOWL16th/17th centuryThe rounded sides rising from a short foot to a flared rim, deeply carved with a continuous scene of four Mongolian equestrian hunters armed with spears, one of which has successfully speared an animal, riding in a tree-strewn landscape including pine, willow, paulownia, with grass and lingzhi, reserved on a floral diaper ground, the interior lacquered black, with hongmu stand. 10.8cm (4 1/4in) diam. (2).Footnotes:十六/十七世紀 剔紅狩獵圖盌Provenance:Captain W.F. Collins (1865-1948), Beijing, who sent the bowl to Bluett's on 27 February 1926Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 26 May 1926, and thence by descent來源：高林士（1865-1948）於1926年2月27日由北京送至倫敦古董商Bluett's倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1928年5月26日購自上者，並由後人保存迄今Captain William Fellows Collins, was agent in Peking of the Anglo-French China Corporation Ltd and of S. Pearson & Son, and supplied Bluett's. John Sparks, Franck & Co and other dealers with consignment of Chinese ceramics and works of art from Beijing. He later reached the rank of Colonel and was awarded the DSO. For more information about Collins, see R.Davids and D.Jellinek, Provenance, Oxon, 2011, p.124.Lacquer bowls depicting hunting are rare. Although hunting was extolled by early Ming Emperors - who had inherited the tradition from the Mongol Yuan as a sign of military prowess and state authority, by the mid and late Ming period it was seen by the literati as a distraction from grave matters of state. The role of hunting became a charged area of contestation, where Ming Emperors and senior court ministers staked claims about rulership, ruler-minister relations, and the role of the military in the polity. The heirless Zhengde Emperor (1505-1521) was particularly passionate about hunting, much to the consternation of his ministers; see D.M.Robinson, Martial Spectacles of the Ming Court, Cambridge MA, 2013, pp.214-220. See two related hardstone-inlaid zitan boxes and covers, early Qing dynasty, decorated with equestrian hunting figures, illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn, Hong Kong, 2002, nos.230-231.See a carved cinnabar lacquer rectangular box and cover, with a similar motif of hunting, attributed to Zhou Zhu, Ming dynasty, 16th/17th century, which was sold at Sotheby's Hong Kong, 7 October 2010, lot 2213.高林士（William Fellows Collins上尉），時任聯華銀公司（Anglo-French China Corporation Ltd）及英國培生集團（S. Pearson & Son）駐北京代理，並為英國Bluett's、John Sparks、Franck & Co 等古董商由北京提供中國古董及藝術品。其後擢升至上校，並被授予傑出服務勳章。有關高林士的具體信息，參見R.Davids與D.Jellinek著，《Provenance》，牛津，2011年，頁124。以「狩獵圖」為主題紋飾的漆盌十分少見。明朝雖以武力建國，但至明中期，顯著尚武氣質的王朝已逐漸讓位給文人官僚集團；明武宗正德皇帝對田獵騎射的熱情則被文人集團視為荒唐；見D.M.Robinson著，《Martial Spectacles of the Ming Court》，麻省，2013年，頁214-220。北京故宮博物院藏兩例清早期紫檀百寶嵌狩獵圖盒，收錄於《故宮博物院藏文物珍品全集：竹木牙角雕刻》，香港，2002年，編號230-231，騎手頭戴番帽，手執長矛的造型可與本例比對。參考一例十六/十七世紀剔紅狩獵圖紋蓋盒，售於香港蘇富比，2010年10月7日，拍品編號2213。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 SUPERB IMPERIAL CLOISONNÉ ENAMEL, LACQUER AND ZITAN EMBELLISHED DOUBLE-SIDED SCREEN AND STANDQianlongThe central moon-shaped circular panel framed by a gilt-bronze band finely incised with a foliate scroll, the medallion exquisitely inlaid with jade and various hardstones with a rabbit on rockwork gazing up at a gnarled pine tree with coral lingzhi issuing from the roots, all on a turquoise ground surrounded by five bats, wufu, in flight amidst ruyi-shaped clouds amidst flowering and fruiting branches, the reverse with a further gnarled pine tree issuing from an ivory ground with grass and rockwork against a black-lacquered ground, all set within a cinnabar lacquer frame with key-fret border, further inlaid with lime-green-stained-ivory carved with diaper-patterns, the zitan stand elegantly carved and pierced with further floral scrolls and further ivory lime-green sections. 43.3cm (17in) high x 40.3cm (15 7/8in) wide. (2).Footnotes:清乾隆 紫檀嵌象牙座剔紅框銅胎掐絲琺瑯鑲漆地嵌寶「蟾宮月兔圖」插屏Provenance:Spink & Son Ltd., London,E. A. Parry, London (1879-1946), acquired from the above on 15 May 1925, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1925年5月15日購自上者，並由後人保存迄今The opulence and exquisite craftsmanship shown in the present screen exemplifies the peak of Qianlong period craftsmanship. No cost was spared to accomplish the auspicious Daoist representation, utilising different techniques and a variety of prized materials, from cloisonné enamel, gilt-bronze, carved lacquer to hardstone inlay, stained ivory, zitan and boxwood. With its exquisite decoration of the rabbit with a lunar-like roundel, the present lot was most likely associated with the Moon festival or Mid-Autumn festival, when China's Emperors worshipped the moon and offerings were made to Chang'e the Moon Goddess of Immortality, for bountiful harvests. A companion of Chang'e is the Moon rabbit, sometimes also known as the Jade rabbit, who constantly pounds herbs for the Immortals. In time, the rabbit became synonymous with the moon, as the famous Tang poet Li Bai (701-762) relates: 'The rabbit on the moon in vain pounds the elixir'The screen also contains several other auspicious symbols beside the moon rabbit. Towering above the rabbit is a gnarled pine tree. The pine tree, bamboo and plum blossoms were called the 'Three Friends of Winter' because they grew and stayed green when nothing else did in the cold winter. Thus, the pine came to symbolise perseverance through difficulty and integrity. Furthermore, the cloisonné enamel has five bats (wufu), a rebus for the 'Five Blessings' of longevity, health, wealth, love of virtue and a good end to life. There are also ruyi clouds that resemble the shape of a lingzhi fungus, said to have life-prolonging properties. The motif can be further interpreted as a pun on the word 'cloud', yun, which is a homophone for fuyun, 'good fortune'. In an agricultural society, the rain-bearing clouds would have been perceived as a benevolent omen, for the necessary irrigation of the crops. Peaches can also be seen, which are symbols of longevity. Peaches were associated with the Queen Mother of the West who grew a peach orchard. Her peaches were said to grant Immortality, and the God of Longevity, Shoulao, is frequently depicted carrying a peach. See a lotus-leaf-shaped dish with a central roundel of a rabbit pounding an elixir of Immortality, Qianlong six-character mark and of the period, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, Shenzhen, 2006, p.28, no.17. Other related ivory, jade and wood inlaid screens, mid Qing dynasty, in the Qing Court Collection, are illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Hong Kong, 2002, nos.192-195.The elaborate and opulent combination of various prized materials in the production of the present screen can also be noted on a pair of Imperial embellished lapis lazuli 'Da Ji' double-gourd plaques, Qianlong, also made of gilt-metal, jade, and standing on zitan and ivory stands, which was sold at Christie's London, 5 November 2019, lot 116.插屏中央月洞形開光以鏨卷草紋鎏金銅帶為緣，開光內於平面松綠漆地上鑲嵌各色玉石，組成「蟾宮月兔圖」；玉兔蹲坐石上，昂首仰望蒼松，蒼松之下有靈芝一株。開光四周為掐絲琺瑯流雲五蝠花果紋。插屏背面為另一幅黑漆地嵌寶松石圖。剔紅屏框以回紋為飾，並在邊框上方兩角及上緣嵌有灰綠象牙錦地紋條。所附紫檀底座亦同樣嵌有牙雕飾件及黃楊木鏤刻纏枝花卉。本插屏造工之精細及裝飾之富麗，可堪體現乾隆時期工藝高峰。全器之製作包括了掐絲琺瑯、銅胎鎏金、雕漆等工藝，材料則囊括了從象牙、紫檀至黃楊種種珍貴之物。工不厭細，料不厭精，終成這座融匯多種祥瑞寓意之珍品。屏上精嵌的玉兔形象及月洞形開光均蘊含中秋意象。中秋為帝王祭月祈賀豐收之時。傳說中，與居於月宮的嫦娥為伴的玉兔長年不停搗製長生藥；古詩中也往往以兔指代月，如李白所之詩句「月兔空搗藥」。開光圖案之外... This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
A FOLDING FAN WITH IVORY, FILIGREE, ENAMEL, TORTOISESHELL AND BOXWOOD STICKS19th centuryPainted on one side with a central topographical panel depicting a mountainous river landscape with a distant pagoda, possibly representing Whampoa, flanked by a pair of panels depicting figures gathering in pavilion gardens, the reverse with a continuous similar figural scene, the sticks carved and decorated in a variety of materials. 54cm (21 1/4in) wide.Footnotes:十九世紀 雜骨紙面人物紋摺扇Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Compare a folding fan with similar mixed sticks of different materials, circa 1830-1840, illustrated by S.Kwan, Folding Fans, Hong Kong, 2011, pp.198-199, no.50.參考約1830-1840年制一例雜骨紙面人物紋摺扇，收錄於關善明著，《中國扇具》，香港，2011年，頁198-199，編號50。This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
AN INSCRIBED SIMULATED-AQUAMARINE GLASS SNUFF BOTTLEThe bottle 18th/19th century with a later Guangxu inscriptionOf elongated ovoid form with tapering shoulders, incised to the body with a depiction of Xiwangmu, the sides with beast mask and ring handles above inscriptions variously reading Guangxu yi wei xu zao 'Xu Zao, in the Yi Wei year of the Guangxu reign' (corresponding to 1895) and Xing qi shi zhu qingwan 'Elegant plaything of the host of Xingqi Hall', stopper and ivory spoon. 6.6cm (2 5/8in) high. (2).Footnotes:十八/十九世紀 仿海藍寶料人物紋鼻煙壺Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Aquamarine was among the stones that came from western borderland areas that were under Qing control in the late Qianlong period. Because the specimens large enough for a snuff bottle were often flawed, artisans devised glass that could be made to look like flawless stone. The versatility of glass led to a vogue in the production in glass of simulated precious stones and materials.十八世紀後期，清朝疆域版圖下的西部邊陲已有海藍寶等礦石出產；但因尺寸足以製作鼻煙壺的石材難免瑕疵，工匠遂仿造海藍寶勻淨清亮的色澤製成玻璃器。本例壺身刻畫西王母像，兩側以隸書刻「光緒乙未徐藻 省㩻室主清玩」款。This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
A fine mid 18th century French fan, 28.5cm, with pierced ivory and mother of pearl guards and sticks, the well painted paper leaf with watercolour scene of artist painting a portrait surrounded by classical figures, marked Aelle Peint La Matresse d'Alexandre, the reverse with figures in landscape, overall in good condition and typical wear and damages for its age, guards repaired
A fine 18th century continental carved ivory and painted paper leaf fan, 27cm, the Italian well painted lef depicting Achilles amidst the daughters of Lycomedes, c.1730, appears to be sligthly later sticks, some wear to creases and possibly a couple of repairs to the sticks but overall good for its age
Ø AN 11½IN. RADIUS VERNIER OCTANT BY SPENCER BROWNING & RUST, LONDON, CIRCA 1790 the ebony T-frame with maker’s plate as per title, inset ivory scale with SBR mark to centre, divided to 95º, brass index arm with clamp, double pinhole sight, mirrors, three interchangeable shades, contained within stepped keystone case – 15in. (38cm.) highCondition report: Good overall condition, lacking pencil from T-bar.
Ø A FINE WILSON-TYPE SCREW BARREL COMPENDIUM MICROSCOPE, ATTRIBUTED TO EDMUND SCARLETT, ENGLISH, CIRCA 1740 unsigned, the microscope with threaded ivory barrel, brass stage and turned ivory handle, six numbered nosepieces, slide box containing four aperture ivory slides with samples, contained in fitted plush-lined shagreen box of issue with some accessories -- 7in. (18cm.) wideCondition report: fine overall condition, two nosepieces missing their lids, box closes very well, no warping etc.
Ø A FIVE-BALL OR BEAD PATTERN HANGER FOR THE ROYAL NAVY, CIRCA 1790 with 31in. curved steel blade etched with 'GR' cypher and swags of arms, a straight stirrup hilt, with five-guard with fouled anchor device; fluted ivory, rectangular section grip with fouled anchor and crown and brass cushion pommel -- 36½in. (92.5cm.) long overallFootnote: Ref.: May & Annis, Swords for Sea Service, 1970, vol I, pg 23.Condition report: Lacks scabbard, some old pitting and rust near tip.
Ø A 19TH CENTURY WHALEBONE AND MARINE IVORY SAILORWORK WALKING STICK, POSSIBLY FOR A SHIP'S CARPENTER with plain tapering lower section and the upper decorated with spiral motifs and dots, with contrasting wood rings and terminating in carved claw hammer head handle -- 36½in. (93cm.) longCondition report: Good overall condition with typical wear and markings commensurate with age.
Ø A 13½IN. RADIUS VERNIER OCTANT BY ROBERT BANCKS, STRAND, LONDON, CIRCA 1790 with ebony T-frame signed on the crossbar R. Bancks, Strand, London, inset ivory scale divided to 95º with Ramsden division engine mark by 50º, brass index arm, double pinhole sights, interchangeable shades, mirrors, noteplate and brass pad feet, contained in stepped mahogany box of issue -- 18in. (46cm.) wide
AN IVORY TUSK CARVING OF A LADY AND BOY19th centuryThe lady dressed in richly decorated elegant robes holding a tall bouquet of lotus sprays and millet, the boy holding a dish of finger citron and peaches, a deer standing to the side bearing twin peaches and a lingzhi spray in its mouth. 29.2cm (11 1/2in) highThis lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
AN IVORY STAND18th/19th centuryOf reticulated circular form, carved with two tiers of variously pendent and upright leaves. 6cm (2 3/8in) diam.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
A CARVED MONOGRAMMED IVORY BOX AND HINGED COVEREarly 19th centuryDensely carved overall with a multitude of figures in festival scenes and engaged in leisurely pursuits, the cover with a scene of Daoist Immortals and gentleman gathered on a pavilion terrace, enclosing a central monogram panel 'HW', the interior fitted with six compartments with finely reticulated covers and fruit spray finials.23cm (9in) long x 11.5cm (4 1/2in) deep x 1.5cm (4 1/2in) highThis lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
A CARVED IVORY BOX AND HINGED COVEREarly 19th centuryWith simulated bamboo borders, deeply carved with panels of figures at leisurely pursuits in boats and tree-strewn pavilion gardens.19cm (7 1/2in) long x 11.5cm (4 1/2in) deep x 7.6cm (3in) highThis lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
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