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A Chinese blue and white charger,Kangxi (1662-1722), the rounded sides rising from a channelled foot ring, the centre painted with a lotus flower, surrounded by blossoming trees, 35.4cm diameter清康熙 青花花卉纹盘Condition report: Surface scratches. Chipped to rim and foot rim. Rim repaired. A 13cm long section broken from rim and restored.

A Chinese blue and white saucer, Kangxi (1662-1722), the rounded sides rising from a circular foot to a flared lobed rim, painted with a lady seated in a garden, six-character Kangxi mark to base, with a 'John Spaks Ltd., 128 Mount Street. W' label,16cm diameterProvenance: Given to Lady Sadie Chapman-Andrews as a New Year's gift from Julian Taylor FRCS in January 1958;subsequently from the collection of Mr David Fredrick John Chapman-Andrews (1933-2018), inherited from his mother, Lady Sadie, on her death in 2002. 清康熙 青花仕女图碟 《大清康熙年制》青花楷书款Condition report: The rim is a bit warped. Firing cracks and a small hairline crack to base. Small chips to rim.

A Chinese wucai dish,Kangxi (1662-1722), the centre painted with two iron-red carp among weed in a lotus pond, the well and underside similarly decorated, four-character Zaichuan Zhile (Rejoicing in the stream) mark to base,20.4cm diameterFor a similar lot, see Christie's, Hong Kong, 1 Jun 2011, lot 3568.清康熙 五彩鱼藻纹盘 《在川知乐》青花楷书款Condition report: Fully broken in pieces and taped together. Some chips missing.

A Chinese blue and white plate, Kangxi (1662-1722), the ribbed rounded sides rising to a lobed rim, the centre painted with a pheasant standing on a rock below peony and magnolia, enclosed by florets in shaped panels, 35cm diameter, and a blue and white charger, painted with lotus, 38.5cm diameter (2)清康熙 青花花鸟图大盘 一组两件Condition report: Pheasant plate - rim chipped and restored. Small chips to rim and foot rim, foot rim drilled for suspension. Lotus charger - fully restored. Surface scratches, chips to rim and foot rim.

A Chinese blue and white jar, Kangxi (1662-1722), of ovoid form, painted with shou characters between scrolling lotus, 19cm high 清康熙 青花缠枝莲寿字纹罐Condition report: Small chips to rim and foot rim. Surface scratches.

A Chinese blue and white vase, Kangxi (1662-1722), of baluster form, painted with blossoming prunus branches against a crackled ice ground, 35cm high清康熙 青花冰梅纹瓶Condition report: Rim chipped and cracked. Chips to foot rim.

A Chinese blue and white brush pot,Kangxi (1662-1722), of cylindrical form, painted with panels of precious objects, chrysanthemum by rocks, or a landscape, 18cm diameter16cm high清康熙 青花山水清供图笔筒Condition report: Surface scratches, rim chipped, some burst bubbles to glaze near base. 18cm diameter.Provenance: From a private English collection in Suffolk.18cm diameter

A Chinese blue and white brush pot,Kangxi (1662-1722), of cylindrical form, painted with an emperor meeting officials in a courtyard, 19.5cm diameter17.8cm high清康熙 青花人物故事图笔筒Condition report: Surface scratches, rim chipped. Base not flat.Provenance: From a private English collection in Suffolk.

A Chinese blue and white brush pot,Kangxi (1662-1722), of cylindrical form, the exterior finely inscribed with the text of the Shengzhu de Xianchen Song (Ode to the Finding of Virtuous Officials by the Divine Ruler) in kaishu script, finished with a seal mark reading Xi Chao Chuan Gu (Transmitting Antiquity from the Court of Kangxi), the base centred with a recessed circle enclosing a six-character Kangxi mark in underglaze blue,18.2cm diameter14.5cm highThe text Shengzhu de Xianchen Song was written by the Western Han poet Wang Bao (90-51 BC) for the Xuan Emperor (91-48 BC), in praise of the Emperor's attainment of able ministers. For a similar lot, see Sotheby's, London, 15 May 2007, lot 52;for examples with the same inscription, see Sotheby's, Hong Kong, 2 October 2018, lot 141 and Christie's, London, 5 Nov 2019, lot 188.清康熙 青花圣主得贤臣颂文笔筒 《大清康熙年制》青花楷书款 《熙朝传古》青花篆书章Condition report: Surface scratches.Provenance: From a private English collection in Suffolk.

A Chinese sang-de-boeuf water pot,Republic period (1912-1949), of compressed globular form with rounded sides rising from a concave base, to an incurved mouth recessed into the shoulder, applied overall with a rich strawberry-red glaze, six-character Kangxi mark, 8.5cm diameter民国 红釉苹果尊 《大清康熙年制》青花楷书款Condition report: Surface scratches. Hairline cracks to base.

A Chinese wucai bowl,20th century, the rounded sides rising from a tapering circular foot to a flared rim, painted with dragons and phoenixes among scrolling florets, six-character Kangxi mark to base, 15.1cm diameter二十世纪 五彩龙凤穿花纹碗 《大清康熙年制》青花楷书款Condition report: Rim cracked.

A 19th century Chinese Kangxi style blue and white ginger jar and cover painted with prunus blossom; together with a similar smaller pair of jars and covers, a small blanc de chine figure of a Buddha and a pair of Cantonese enameled vases of lobed form (a.f)Condition report: Ginger jar and cover - various chips and other chips to the foot. Firing imperfections throughout. 28cm high (modern). Pair of jars - one with chip to the foot, both with substantial firing imperfections, both modern. Buddha - modern and with some foot chips, otherwise OK. Cloisonne - 19th century and with numerous enamel losses and large dents, cracks and damage throughout.

Chinese porcelain claire-de-lune vase. Delicately potted, of baluster form with a flaring lip. Marked along the underside with a six-character Kangxi mark in underglaze blue. With custom silk box. Box and vase both with labels from the sale of the Jingguantang Collection, Christie's, Hong Kong, 5 November 1997.Provenance: Christie's Hong Kong, November 5, 1997; Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.Box; height: 3 3/4 in x width: 8 in x depth: 7 1/4 in. Vase; height: 6 1/4 in x diameter: 2 1/4 in.

Pair of late 19th/ early 20th century Chinese Famille Verte pilgrim flasks/ vases, both having two panels depicting scenes of figures within landscape settings on blue ground decorated with scrolling foliage and Ruyi shaped handles, four character Kangxi mark beneath H24.5cm

Four Chinese Kangxi blue and white items including two bowls and two vases (9cm)

Chinese porcelain, to include a Chinese blue and white vase decorated with a tiger stalking various animals, a dragon above looking down, Kangxi mark but later, 14cm high, together with a Chinese twin handled sauceboat with foliate decoration 23cm long and a Chinese dish with central a phoenix and dragon to the centre of the bowl, blue mark to the base, 25cm diameter, all with restoration, (3)

A pair of late 19th century Chinese blue and white porcelain vases of cylindrical form decorated with two dragons chasing a ball amongst clouds, with apocryphal Kangxi four character mark, 20.5cm highCondition: one vase has many chips to the rim, the other has a minor chip to the rim

A Kangxi blue and white Bowl of tapering form, vase of flowers and foliage, 5 3/4 in Diam, a pair of moulded blue and white Bowls with gilt detail, 5 3/4 in Diam, two Oriental blue and white Salts, Dishes, Cups, Mugs, etc

A PAIR OF RARE HUANGHUALI HORSESHOE-BACK ARMCHAIRS, QUANYI17th century Each elegantly modelled with the sweeping crest rail terminating in outswept hooks above shaped spandrels, forming an elegant curve above the curving splat carved with a ruyi cartouche enclosing a pair of confronted chilong, flanked by beaded shaped spandrels, the rear posts continuing to form the back legs below the rectangular frame above shaped beaded aprons and spandrels carved to the front with foliate scrolls, with plain beaded aprons and spandrels on the sides, all supported on four round legs joined by stretchers. 98cm (38 1/2in) high x 63cm (24 6/8in) wide x 45.3cm (17 6/8in) deep (2).Footnotes:十七世紀 黃花梨圈椅成對Provenance: Grace Wu Bruce, Hong Kong (labels)A distinguished American private collection來源：香港古董商嘉木堂(標籤) 美國重要私人收藏The present chairs are distinguished by the attractively-figured huanghuali grain on the backsplat, the vigorous outline of the shaped aprons and the refined quality of the carving of the splat medallions and aprons.The Chinese name for this type of chair, quanyi, literally translates as 'chair with a circular back' or 'circle chair'. During the Song dynasty, this form was known as kaolaoyang, referring to a large round basket made from split bamboo.Horseshoe-back chairs, quanyi, are notable for their elegant curving crest rails and sweeping armrests and are timeless in their balanced interplay between curvilinear and straight members. These chairs were inspired by seats made of pliable lengths of bamboo with seemingly-simple continuous crest rails achieved through an ingenious joinery technique. To recreate a continuous back when using less pliable hardwoods, the various members were fitted together with a cut-out to accommodate a tapered wood pin that locked them firmly in place when inserted. The complexity of the design required utmost precision, as a slight error in the angle of any of the joins would be magnified by the adjoining members. A lacquer coating was then applied to make the underlying joinery virtually invisible; see R.H.Ellsworth, Chinese Furniture: Hardwood Examples of the Ming and Early Ch'ing Dynasty, New York, 1971, pp.86-87.Lightweight yet sturdy, quanyi armchairs were amongst the most prestigious seats in Ming and Qing dynasty households. They were reserved for high-ranking members of society and frequently depicted in woodblock illustrations. During formal occasions, quanyi chairs were draped with sumptuous textiles and provided with a footstool. Their wide seats, C-shaped splats and curved backs made these chairs particularly comfortable and suitable for informal contexts. They also served as sedan chairs reserved for officials of high rank, and were considered markers of high status; see C.Clunas, Chinese Furniture, London, 1988, p.24.The crisp angular scrollwork decorating the aprons appears to have been inspired by designs found on archaic bronzes, reflecting the interest in antiquarianism which was popular among the literati elites during the 17th century. According to Robert Ellsworth, the archaistic designs are an innovation attributable to the late Ming and Kangxi period; see R.H.Ellsworth, Chinese Furniture. Hardwood Examples of the Ming and Ch'ing Dynasties, New York, 1971, p.86.Horseshoe-back chairs were generally made in sets of two or four. A single huanghuali horseshoe-back armchair, late Ming dynasty, carved in similar fashion to the present chairs, is illustrated by R.H.Ellsworth, Chinese Furniture: One Hundred Examples from the Mimi and Raymond Hung Collection, New York, 1996, pp.68-69, no.14. See also a huanghuali horseshoe armchair, 17th century, carved with similar ruyi heads on the splat, illustrated by Wang Shixiang and C.Evarts, Masterpieces from the Museum of Classical Chinese Furniture, Chicago and San Francisco, 1995, p.56, no.26.A pair of similar huanghuali horseshoe-back armchairs, 17th/18th century, was sold at Bonhams London, 13 May 2021, lot 52; see also another similar huanghuali example, 17th/18th century, which was sold at Christie's New York, 18 March March 2015, lot 139.This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A bamboo 'deer and pine' libation cup17th/18th centuryWell carved after the form of a rhinoceros horn cup with a flared rim, the exterior carved in high relief with stag and a doe below a gnarled pine tree, the surface of the cup naturalistically carved with pine tree bark, the base with a swirl, the interior plain with traces of lacquering. 11.6cm (4 1/2in) long.Footnotes:十七/十八世紀 竹雕松鹿紋樁式盃Provenance: an Italian private collection來源：意大利私人收藏See a similar bamboo 'deer and pine' libation cup, Kangxi, illustrated by S.Kwan, Ming and Qing Bamboo, Hong Kong, 2000, p.261, no.57.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 cloisonné enamel 'Dragon' pricket candlestickKangxiSupported on a bell-shaped base, finely decorated in bright enamels with a shou character between two pairs of confronted dragons, below a collar of gilded lappets, rising to a meiping shaft supporting a drip-pan and a tapering column, similarly enamelled with confronted dragons and scrolling lotus tendrils, continuing to a smaller gilt drip-pan surmounted by a pricket. 48cm (18 7/8in) high.Footnotes:清康熙 銅胎掐絲琺瑯夔龍捧壽紋燭台A related pair of cloisonné enamel pricket candlesticks, 18th century, with the drip pan similarly supported by a baluster, was sold at Christie's New York, 19 March 2021, lot 814.For further information on this lot please visit Bonhams.com

A famille verte 'Lady and boy' saucer-dishKangxiFinely enamelled to the interior with an elegant lady holding a book in her right hand and seated on a garden stool beside a table supporting a square vase holding branches of prunus, the lady's tiny lotus foot exposed slightly from underneath her long gown cascading in neat pleats, a boy beside her stands attentively gazing over the terrace with gnarled rocks, all surrounded by a diaper-pattern band around the rim, the base with channelled foot and a leaf within a double circle. 35.1cm (13 3/4in) diam. Footnotes:清康熙 五彩教子圖盤Provenance: Warmington & Co., Inventory & Valuation of the Furniture at Mersham Le Hatch, May 1926 (Knatchbull Papers, Kent Archives, Maidstone, U951 E14 U951 Z54-4) Countess Mountbatten of Burma (1924-2017)來源：Warmington & Co.，《Mersham Le Hatch大宅之家具陳設估值清單》，1926年5月（英國梅德斯通肯特郡檔案處，Knatchbull文件，U951 E14 U951 Z54-4）緬甸的蒙巴頓女伯爵（1924-2017）舊藏Patricia Edwina Victoria Knatchbull, 2nd Countess Mountbatten of Burma, Lady Brabourne, CBE, MSC, CD (1924– 2017) was a British peeress and the third cousin of Queen Elizabeth II. She was the elder daughter of heiress Edwina Ashley, a patrilineal descendant of the Earls of Shaftesbury, first ennobled in 1661, and Admiral of the Fleet the 1st Earl Mountbatten of Burma. Lady Mountbatten succeeded her father when he was assassinated in 1979, as his peerages had been created with special remainder to his daughters and their heirs.Dishes decorated in the famille verte palette with elegantly-dressed women in gardens were popular during the Kangxi period. Dishes of this type appear to represent the idealised concept of a cultured lady instead of a historical person, although the motifs were probably inspired by popular stories, paintings and prints. See a related dish, Kangxi, illustrated in China Without Dragons: Rare Pieces from Oriental Ceramic Society Members, London, 2016, p.315, no.187.For further information on this lot please visit Bonhams.com

A PAIR OF LARGE VERTE-IMARI CHARGERSKangxiEach brightly enamelled with the Yang family female generals practising their equestrian skills within a pavilion garden, overlooked by a matriarch and attendants on a balcony above, within a border of large exotic floral blooms on a gilt foliate ground. 54cm (21 1/4in) and 53.8cm (21 1/8in) diam. (2).Footnotes:清康熙 五彩楊家將人物故事圖大盤一對Provenance: a European private collection來源：歐洲私人收藏The mounted horsewomen identify this subject matter as the story of 'The Female Troops of the Yang Family'. The Yang family was celebrated in the Northern Song dynasty for their military prowess and loyalty to the Emperor, and for many years they were successful in protecting China from northern invaders. Eventually, however, the majority of the male members of the Yang family were killed by the invading Khitan. In order to avenge their husbands' deaths and in defence of their country, the women of the family took up arms and are shown here practicing their equestrian skills prior to riding out to meet the enemy. Dishes with this design and from this period are more commonly found decorated in the rose-verte or famille rose palette, whereas the verte-Imari palette appears to be particularly unusual. See a rose-verte dish with a very similar design, Yongzheng, illustrated by G.C.Williamson, The book of Famille Rose, Vermont and Tokyo, 1970, pl.XLIV. See also another rose-verte example illustrated by F.Reichel, Die Porzellansammlung Augusts des Starken, Dresden 1993, no.21.See a single similar large verte-Imari dish, Kangxi, with the same design, which was sold at Christie's London, 26 April 2016, lot 77.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 exceptionally rare chestnut-ground 'dragon' chubha, KangxiKangxiThe elegant garment constructed in Tibet from Chinese Kangxi period Imperial chestnut silk brocades, finely worked in gold and multi-coloured threads, the design on the front and back dominated by a large and powerful side-facing four-clawed mang dragon clutching the flaming pearl amidst a dense ground of ruyi clouds and Shou medallions, all above the terrestrial diagram rising from rolling waves and ruyi lishui, with four further partial dragons on the sleeves, superimposed against a ground of interconnected clouds and small dragons, woven in gold and multi-coloured threads, all above a partial terrestrial diagram at the hem, the collar and inner flap decorated with panels depicting a continuous patterns of dragon roundels alternating with wispy clouds, the raised collar and border edged with dark and light fur pelts, blue brocade and gold thread creating an elegant design, the interior lined with patterned cotton. 184cm (72 1/2in) wide x 136cm (53 1/2in) long.Footnotes:清康熙 御製褐地織彩雲金龍紋袍料製藏袍Provenance: Linda Wrigglesworth, LondonA distinguished Belgian private collection來源：倫敦Linda Wrigglesworth比利時顯赫私人收藏Finely tailored from sumptuous Imperial chestnut-ground brocaded silks, the present garment is a brilliant and elegant adaptation of 17th century Chinese Imperial Court costume to formal Tibetan ceremonial attire.The front and back of the garments would have made up the main body of an extremely rare Imperial woman's formal state robe, chaopao dating to the Kangxi period. This is visible by the L-shaped seam between the collar and the underarm, noted on the present lot. The same L-shaped seam between the collar and the underarm is one of the main features of chaopao garments, long dragon robes made of a single section from shoulder to hem, with separate sleeves which were inserted into the main body at the shoulders; the resultant seams were then covered with metallic brocade ribbon, which was used as neck, side and hem trim. A separate piling collar was an additional garment that rested on the shoulders. Epaluettes were once applied and then removed to obtain a simpler Tibetan-style closure. This tailoring combined the styles of the two layered garments worn by the Imperial female members of the Ming dynasty, namely a a long sleeved, full-length coat, chaopao, which would have been worn under a full-length sleeveless coat, gualan. Surviving material evidence suggests that probably by the time of the Qing conquests, the two garments had merged into a single coat though the full length court vests still appeared; see J.Vollmer, Ruling from the Dragon Throne. Costumes of the Qing Dynasty (1644-1911), Berkeley, CA, 2002, p.69. Chaopao robes dating to the Kangxi period and preserved in public collections are exceptionally rare, however, a velvet textile for a dragon robe, 17th century, from the Metropolitan Museum of Art, New York, depicts a very similar large four-clawed dragon clutching the flaming pearl, to the dragons brilliantly woven on the present robe, acc.no.1987.147, illustrated in The Metropolitan Museum of Art. Friends of Asian Art Gifts, 1985–2007. New York, 2008, p.36. See also a yellow-ground robe, Shunzi, embroidered with a single large side dragon clutching the flaming pearl, illustrated in The Complete Collection of Treasures from the Palace Museum. Textiles and Embroideries of the Ming and Qing Dynasties, Hong Kong, 2005, p.181, no.202. A Qing dynasty winter chaopao lined with brown fur and incorporating the styles of a long garment and a sleeveless coat, as the present example, from the 'Regulations of Imperial Paraphernalia of the Qing Dynasty' Huangchao Liqi Tushi, edited in 1759, is illustrated by J.Vollmer and J.Simcox, Emblems of the Empire. selections from the Mactaggart Art Collection, Edmonton, CA, 2009, p.13.According to the 'Illustrated Regulations for the Ritual Paraphernalia of the Imperial Court' Huangchao Liqi Tushi 皇朝禮器圖式, edited in 1759, brown jinhuang, was considered one of the five shades of yellow that could only be worn by the closest family members to the Emperor, and Third and Fourth Degree Princes and their wives could wear brown robes decorated with four-clawed dragons, mang; see L.Wrigglesworth, Imperial Wardrobe, London, 1990, p.174.During the Qing dynasty, it became an established practice for the Court to send gifts of silks and garments to Tibet because of the strong attachment of the Manchu rulers to Tibetan Buddhism and the political relations. At this time, the Court produced richly-decorated silk costumes specifically for use in Buddhist rituals and bestowed large quantities of Imperial 'dragon' robes that became the customary formal dress for aristocratic Tibetans. The Tibetans traditionally wore robes featuring very long sleeves characterised by wider cuts and a simpler style of front overlap and fastening. The front part of the garment slanted from the neck to a fastening under the right arm.The Tibetans created the chubha style robe by substituting the front underlap of the garment with another material, or by cutting off some of the deep wave border to extend the arms or widen the sleeves. The overall result conveyed a rather harmonious and eccentric effect obtained by combining different materials; see J.Simcox and J.Vollmer, Emblems of Empire: Selection from the Mactaggart Art Collection, Edmonton CA, 2009, pp.200-217.Compare with a related 'dragon' robe, Kangxi, which was sold at Christie's London, 9 November 2010, lot 276.For further information on this lot please visit Bonhams.com

An exceptionally rare Imperial embroidered chestnut-ground silk 'dragon' robeYongzhengMeticulously worked on the front and back in couched gold thread, satin stitch tiny detail of seed stitch with nine powerful, five-clawed dragons clutching or pursuing flaming pearls amidst a profusion of hovering cranes vividly depicted in different poses, some holding a tally in their beaks, all on a densely deep blue-patterned ground of stylised wan emblems and above a lishu hem beneath a sea of tumultuous waves interspersed with elaborate pavilions, with original sleeve extension and midnight-blue cuffs and collar decorated with further dragons and clouds.205.3cm (80 6/8in) wide x 138.5cm (54 1/2in) long.Footnotes:清雍正 御製香色地繡彩雲金龍「海屋添籌」紋袍Provenance: Linda Wrigglesworth Ltd., London, 1994An Australian private collection來源：倫敦古董商Linda Wrigglesworth Ltd.，1994年澳洲私人收藏This remarkable robe, notable for its exquisite and complex embroidery, vivid depictions of cranes and most unusual terrestrial diagram, made of elegant pavilions floating above rolling waves, was probably made for a First Rank Prince, one of the sons of the Emperor. A closely-related embroidered chestnut-ground robe, dated to 1738, excavated from the tomb of Prince Guo (1797-1738), seventeenth son of the Kangxi Emperor, is similarly embroidered with vivid designs of five-clawed dragons, cranes carrying tallies in their beaks and pavilions on lattice ground, illustrated by J.Vollmer, Imperial Silks. Ch'ing Dynasty Textiles in the Minneapolis Institute of Arts, Chicago, 2000, p.143, no.42.According to the 'Illustrated Regulations for the Ritual Paraphernalia of the Imperial Court 'Huangchao liqi tushi 皇朝禮器圖式, edited in 1759, the brown colour for garments, qiuxiangse, was one of the five Imperial shades of yellow which could only be used by the innermost family circle of the Emperor; see J.Vollmer, Ruling from the Dragon Throne: Costumes of the Qing Dynasty (1644-1911), Berlekey, CA, 2002, pp.85.This exceptional robe may have been worn by the Imperial family member during birthday celebrations. The auspicious combination of the sea hai, the pavilions wu and the tallies chou carried by the cranes underscore the auspicious wish for long life, forming the rebus Haiwu Tianchou 海屋添籌, which can be translated as 'Adding tallies to the Immortal's abode above the sea'. The literary origin of the scene originated in 'Conversations of Three Old Men', from the 'Collected Writings by Su Dongpo' Dongpo zhilin 海屋添籌, by the Northern Song scholar Su Shi (1037-1101 AD). During one chance meeting of three Immortals, the topic of age was broached. Each one of the sages tried their best to exaggerate their own great age. The second sage famously boasted, 'After every cycle of the sea drying up and becoming mulberry fields, I put a strip of bamboo in my house as a counter and now the tallies have already filled ten houses'. By the Qing dynasty, when pun rebus design became increasingly popular and the character chou 筹 for bamboo strip counter acquired a pun on shou 寿 meaning longevity, the Haiwu Tianchou 海屋添籌 phrase became a popular allusion conveying the birthday wish 'May the length of your life be eternally prolonged 'Hai wu tian shou 海屋添寿'.The term 'sea house', haiwu, probably referred to Kunlun, the fabled fairyland of the Immortals, rising from the Oceans of Eternity which is often represented by a pavilion or mansion built atop an isle, with refined caves and lavish gardens full of propitious flowers and plants, ponds made of gold and trees made of gemstones. Imperishable and magnificent in its loftiness, this land was the perfect goal of the adept's quest for Immortality; see Wu Hung, 'Mapping Early Daoist Art: The Visual Culture of Wudoumi Dao', in S.Little, Taoism and the Arts of China, Berkeley, 2000, p.85. Cranes were also considered important constituents of Kunlun. As birds with a long life span, they were deemed celestial beings, symbolising longevity, wisdom and divine grace; see M.Wan, 'Emperor Jiajing and His Auspicious Words', in Archives of Asian Art, vol.57, pp.95-120 and P.Sturman, Cranes above Kaifeng: The Auspicious Image at the Court of Huizong, in Ars Orientalis, 1990, p.33-68. Reinforcing the wish for extended happiness to last for eternity, the blue fret ground, so finely embroidered on the present robe, is an endless pattern incorporating the leiwen designs, meaning ten-thousand, thus forming the pun for 'May ten-thousand generations be granted happiness'.The combination of cranes carrying tallies, pavilions and Immortal figures became a popular subject decorating objects destined for use by the Qing Court during the Yongzheng reign. See a doucai bowl, Yongzheng mark and period, in the Victoria and Albert Museum, London, illustrated by R.Kerr, Chinese Art and Design, London, 1997, p.57; see also a blue and white dish, Chenghua mark but Yongzheng period, from the Cleveland Museum of Art, acc.no.1989.315. See also an 18th century kesi silk panel, Ming dynasty, embroidered with cranes carrying tallies, hovering above pavilions floating in waters, in the National Palace Museum, Taipei, acc.no.GU-SI-000068-00000.'Dragon robes' were supreme significant social markers representing access to power. The right to wear such garments depended on rank and status. The Manchu rulers of the Qing dynasty were keen on projecting an evocative and powerful image of themselves, and their Court costumes conveyed legitimacy and heritage. Despite their initial reluctance to wear the same type of robes as their Ming predecessors, by the reign of the Kangxi Emperor, the Manchu elites were keen wearers of richly-ornamented 'dragon' robes on semi-formal Court occasions and official duties.In Han Chinese thought, the five-clawed dragon was the quintessential symbol of Imperial power, embodying royalty, dominion and expressing the visual metaphor of the good ruler who behaved wisely for the wellbeing of his subjects. Capable of flying high in the sky and diving back into the sea, dragons were regarded as intermediaries between Heaven and Earth and credited with extraordinary powers that compared to those of the Emperor. Even the number nine, for the dragons depicted on the present robe, is highly evocative and likened to the power of Heaven. The multiple of three threes, nine has a long association with the Emperor. In addition, the 'Records of the Grand Historian' Shiji, completed during the first century BC, recounts that, having tamed the floods that once engulfed the land, the mythical Emperor Yu divided the territory into the Nine Provinces and collected bronze in tribute from each one. Thereafter he cast the metal into nine large tripod cauldrons. These vessels thus were at the heart of ruler's possessions and symbolic conveyers of power.Stylistically, the five-clawed front-facing dragons and trailing wispy clouds of the present robe closely compare with their counterpart woven on an Imperial yellow-ground kesi robe, Yongzheng, in the collection of the Minneapolis Institute of Art, Minneapolis, acc.no.42.8.11.For further information on this lot please visit Bonhams.com

AN EXCEPTIONALLY RARE IMPERIAL DOUBLE-SIDED EMBROIDERED SILK 'DRAGON' ROBE, JIFUEarly 19th century Meticulously worked on both the outer and inner sides in satin stitch and coloured threads with nine writhing five-clawed resplendent blue dragons clutching or pursuing flaming pearls amidst dense trailing scrolls of five-coloured clouds interspersed with bats, all above the terrestrial diagram rising from rolling waves and lishui stripe at the hem, all picked out in vibrant shades of blue, aubergine, yellow, coral-red and green, reserved on a deep apricot ground, the matching dark-blue-ground collar and cuffs worked with further blue dragons amidst bats, clouds and waves.205cm (80 6/8in) wide x 156cm (61 1/2in) long.Footnotes:十九世紀早期 御製藍地雙面繡彩雲龍紋吉服袍Provenance: Linda Wrigglesworth Ltd., LondonA distinguished New York private collection, acquired from the above on 6 April 1994.來源：倫敦古董商Linda Wrigglesworth Ltd.紐約顯赫私人收藏，於1994年4月6日購自上者Superbly embroidered on both the inner and outer surface with nine lively five-clawed dragons riding the heavens, the present robe is a rare and remarkable example of its type and would have most probably, been worn by a Third or Fourth Rank Prince.Double-sided robes displaying such an impeccable and detailed embroidery and meticulous attention to detail, noted in the animated expressions of the dragons and their overlapping scales, exquisitely executed in various shades of blue to convey the impression of depth, are obvious features of the most exquisite garments reserved for the highest-ranking members of Qing society. Furthermore, the depictions of dragons clutching, rather than chasing, flaming pearls, also suggest that the wearer would have been one of the most immediate family members of the Emperor. According to the 'Illustrated Regulations for the Ritual Paraphernalia of the Imperial Court' Huangchao Liqi Tushi 皇朝禮器圖式, edited in 1759, blue was the colour worn by the Third and Fourth Degree Princes; see J.Vollmer, C.Hall and Lee Cheor Lin, Power Dressing. Textiles for Rulers and Priests from the Chris Hall Collection, Singapore, 2006, p.147. In Han Chinese thought, the five-clawed dragon pursuing or clutching the flaming pearl was the quintessential symbol of Imperial power, embodying royalty, dominion and expressing the visual metaphor of the good ruler who behaved wisely for the wellbeing of his subjects. Capable of flying high in the sky and diving back into the sea, dragons were regarded as intermediaries between Heaven and Earth and credited with extraordinary powers that compared to those of the Emperor. Even the number nine, for the dragons depicted on the present robe, is highly evocative and likened to the power of Heaven. The multiple of three threes, nine has a long association with the Emperor. In addition, the 'Records of the Grand Historian' Shiji, completed during the first century BC, recounts that, having tamed the floods that once engulfed the land, the mythical emperor Yu divided the territory into the Nine Provinces and collected bronze in tribute from each one. Thereafter he cast the metal into nine large tripod cauldrons. These vessels thus were at the heart of ruler's possessions and symbolic conveyers of power.At the Qing Court the colour blue had a ritual significance, as it was associated with the most important rites at the Altar of Heaven, where the Emperor performed sacrifices at the Winter Solstice and prayed for good harvest and rain during the summer months. It is possible, therefore, that the present robe may have been worn on the occasion of a ritual at the Temple of Heaven. The Imperial Regulations confirmed the importance of a new type of robe, the jifu or longpao, as semi-formal Court wear and brought the cosmic purpose of Imperial rule into sharp focus. The careful arrangement of sinuous dragons writhing amid clouds and above the universal ocean washing against the earth mountain, quickly transcended the political and ethnic priorities of Imperial government to become universal symbols of the Empire. Dragon robes thus became supreme significant social markers representing access to power. The right to wear such garments was dependent on rank and status. The Manchu rulers of the Qing dynasty were keen on projecting an evocative and powerful image of themselves, and their Court costumes conveyed legitimacy and heritage. Despite their initial reluctance to wear the same type of robes as their Ming predecessors, by the reign of the Kangxi Emperor, the Manchu elites were keen wearers of richly-ornamented 'dragon' robes on semi-formal Court occasions and official duties.The Qing robes, however, had their own distinctive shapes and trimmings. For example, the slits appearing at the centre seams, at the front and back hem, as well at the sides, were Manchu innovations that made it comfortable for the garment to be worn during riding. In addition, 'dragon' robes were secured at the waist with ceremonial belts suspending narrow and straight streamers, and sometimes, purses. Other conspicuously-displayed accessories further identified Manchu dress, such as a hat, a surcoat and a necklace; see V.Garrett, Chinese Dress From the Qing Dynasty to the Present, 2008, North Clarendon VT, pp.16-17.The impeccable quality and style of the embroidery closely compare with an Imperial double-sided yellow-ground robe, Qianlong, also decorated with similar blue dragons, from the Qing Court Collection in the Palace Museum, Beijing, illustrated by Ming Wilson, Imperial Chinese Robes from the Forbidden City, London, 2010, p.46-47, no.46. An Imperial blue-ground kesi silk robe, Qianlong, also from the Qing Court Collection, decorated with nine blue dragons, is illustrated in The Complete Collection of Treasures from the Palace Museum. Costumes and Accessories of the Qing Court, Shanghai, 2006, no.37. See also a related Imperial chestnut-ground robe for a Prince, Jiaqing, with nearly-identical depictions of blue dragons, illustrated by J.Vollmer, Dressed to Rule. 18th century Court Attire in the Mactaggart Art Collection, Edmonton, AB, 2007, p.10-11, no.2005.5.79.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE IMPERIAL APRICOT-GROUND EMBROIDERED SILK WOMAN'S 'DRAGON' ROBEMid 19th century Finely worked on the front and back in satin stitch and couched gold threads with nine writhing five-clawed dragons pursuing flaming pearls amidst dense trailing scrolls of five-coloured clouds interspersed with bats, all above the terrestrial diagram and the lishui stripe at the hem picked out in vibrant shades of blue, yellow, red, coral and green, all reserved on a deep apricot ground, the matching dark-blue-ground collar and cuffs worked with further dragons amidst further bats, clouds and waves, dragons bands, and nine dragons amidst further bats, clouds and waves, lined in a blue support silk. 186cm (73 2/8in) wide x 133.5cm (52 2/8in) long.Footnotes:十九世紀中葉 御製杏黃緞繡暗八仙紋龍袍Provenance: a distinguished Belgian private collection來源：比利時顯赫私人收藏The delicate tailoring and vivid depictions of dragons clutching flaming pearls, suggest that this robe would have been worn by an Imperial Manchu consort. According to the 'Illustrated Regulations for the Ritual Paraphernalia of the Imperial Court' Huangchao liqi tushi 皇朝禮器圖式, edited in AD 1759, the apricot-orange colour xinghuang of this fine robe was one of the 'Five Imperial Yellows' that could only be worn by the Heir Apparent to the Emperor, as well as Princes and Princesses of the First Rank and Imperial Consorts of the Second and Third Degree; see M.Medley, The Illustrated Regulations for Ceremonial Paraphernalia of the Ch'ing Dynasty, London, 1982, and L.Wrigglesworth, Imperial Wardrobe, Berkeley, 2002, pp.14-30.The 'Regulations' confirmed the importance of a new type of robe, the jifu or longpao, as semi-formal Court wear and brought the cosmic purpose of Imperial rule into sharp focus. The careful arrangement of sinuous dragons writhing amid clouds and above the universal ocean washing against the earth mountain, quickly transcended the political and ethnic priorities of Imperial government to become universal symbols of the Empire.Dragon robes thus became supreme significant social markers representing access to power. The right to wear such garments was dependent on rank and status. The Manchu rulers of the Qing dynasty were keen on projecting an evocative and powerful image of themselves, and their Court costumes conveyed legitimacy and heritage. Despite their initial reluctance to wear the same type of robes as their Ming predecessors, by the reign of the Kangxi Emperor, the Manchu elites were keen wearers of richly-ornamented 'dragon' robes on semi-formal Court occasions and official duties.In Han Chinese thought, the five-clawed dragon was the quintessential symbol of Imperial power, embodying royalty, dominion and expressing the visual metaphor of the good ruler who behaved wisely for the wellbeing of his subjects. Capable of flying high in the sky and diving back into the sea, dragons were regarded as intermediaries between Heaven and Earth and credited with extraordinary powers that compared to those of the Emperor. Even the number nine, for the dragons depicted on the present robe, is highly evocative and likened to the power of Heaven. The multiple of three threes, nine has a long association with the Emperor. In addition, the 'Records of the Grand Historian' Shiji, completed during the first century BC, recounts that, having tamed the floods that once engulfed the land, the mythical Emperor Yu divided the territory into the Nine Provinces and collected bronze in tribute from each one. Thereafter he cast the metal into nine large tripod cauldrons. These vessels thus were at the heart of a ruler's possessions and symbolic conveyers of power.The Qing robes, however, had their own distinctive shapes and trimmings. For example, the slits appearing at the centre seams, at the front and back hem, as well at the sides, were Manchu innovations that made it comfortable for the garment to be worn during riding. In addition, dragon robes were secured at the waist with ceremonial belts suspending narrow and straight streamers, and sometimes, purses. Other conspicuously-displayed accessories further identified Manchu dress, such as a hat, a surcoat and a necklace; see V.Garrett, Chinese Dress From the Qing Dynasty to the Present, 2008, North Clarendon VT, pp.16-17.Compare with a similar apricot-ground silk 'dragon' robe, mid-19th century, illustrated by V.Garret, Chinese Dress. From the Qing Dynasty to the Present, Berkeley, 2008, p.32, fig.49.A related apricot-ground formal Court silk 'dragon' robe, jifu, mid-19th century, was sold at Christie's London, 12 May 2017, lot 290.For further information on this lot please visit Bonhams.com

A RARE PAIR OF COPPER-RED-DECORATED 'FIVE BATS' BOWLSYongzheng six-character marks and of the periodEach finely potted with deep curving sides rising from a straight foot to a gently flared rim, the exterior painted with four bats swooping and soaring in copper-red silhouettes, the intensity of the red subtly shifting from deep crimson to a pale pinkish-gray at the wing tips, all on a white ground, the interiors each with a further bat in flight. Each 15.5cm (6 1/8in) diam. (2).Footnotes:清雍正 釉裏紅五蝠紋盌一對「大清雍正年製」楷書款Provenance: Sotheby's New York, 12 September 2018, lot 142A UK private collection來源：紐約蘇富比，2018年9月12日，拍品編號142英國私人收藏The five bats, wufu, are a homophone for the 'Five Blessings', which are long life, wealth, health, love of virtue and a good end to one's life. The pattern was one of the designs on porcelain supplied to the Court listed in 1729 by Tang Ying, director of the Imperial porcelain factory active during the Yongzheng and Qianlong reigns, and translated by S.Bushell in Oriental Ceramic Art, London, 1981, p.198.Designs created through red-glaze silhouettes originated however in the early Ming dynasty and are best known from the Xuande period, but the technique had already been developed during the preceding Yongle reign, when silhouettes of animals and fish were used in combination with underglaze-blue designs; for an example excavated from the late Yongle stratum of the Ming Imperial kiln site, see Imperial Porcelain of the Yongle and Xuande Periods Excavated from the Site of the Ming Imperial Factory at Jingdezhen, Hong Kong, 1989, no.38, and see also a Xuande period example recovered from the Xuande stratum of the Ming Imperial kiln site at Jingdezhen and included in Xuande Imperial Porcelain Excavated at Jingdezhen, Taipei, 1998, nos.101-102.Notoriously difficult to achieve, copper-red glazes had been largely abandoned at Jingdezhen since the early Ming dynasty and were revived during the Kangxi reign. Research by Peter Lam and other leading scholars indicates that the inspiration to start using again the celebrated but technically challenging pigment occurred during the early years of the Kangxi period under the direction of Zang Yingxuan, who was sent to Jingdezhen in 1681 to oversee the rebuilding of the kilns and serve as Imperial supervisor. It was in these early years of the Qing dynasty that a series of copper-red mythical beasts appeared, their abstracted rich red forms boldly contrasting with a white porcelain body covered with a pale blue-tinged transparent glaze.By the Yongzheng period, the technique had been perfected and achieved its finest form of expression with the crimson-red-glaze silhouettes of fish, pomegranates and most rare of all, bats, appearing on bowls, stem bowls and dishes, and bearing Imperial reign marks. This silhouette technique, which makes use of the copper-red glaze, possibly sandwiched between layers of clear glaze, is different from the more common method of painting designs in copper-red pigment directly onto the body before the glaze is applied. The present technique, if successfully handled, results in intensely red designs which do not allow for the rendering of detail and are best suited for silhouettes.A very similar bowl with five bats, Yongzheng six-character mark and of the period, is illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.116. A similar pair, in the Malcolm McDonald Collection, Oriental Museum, Durham University is illustrated by Ireneus László Legeza, A Descriptive and Illustrated Catalogue of the Malcolm McDonald Collection of Chinese Ceramics in the Gulbenkian Museum of Oriental Art and Archaeology School of Oriental Studies University of Durham, London, 1972, pl.LXXVIII, nos.218-219. Another similar example is illustrated by B.Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl.788.Compare with a similar underglaze copper-red-decorated 'bats' bowl, Yongzheng six-character mark and of the period, which was sold at Christie's Hong Kong, 1 June 2011, lot 3527.For further information on this lot please visit Bonhams.com

A RARE CLOISONNÉ ENAMEL GU-SHAPED WALL VASEQianlong Vibrantly enamelled in various colours on a turquoise ground with taotie masks between foliage and stiff-leaf designs, within gilt rims and wire. 24cm (9 1/2in) high.Footnotes:清乾隆 銅胎掐絲琺瑯仿古饕餮紋觚式壁瓶Compare with a related wall vase, Kangxi four-character mark and of the period, illustrated by H.Brinker and A.Lutz in Chinese Cloisonné: The Pierre Uldry Collection, New York, 1989, no.223.For further information on this lot please visit Bonhams.com

A rare pair of Imperial white and spinach-green jade and cloisonné enamel 'Shou Characters' screensQianlong The jade rectangular plaques of pale white tone, each inscribed with 60 Shou characters in zhuanshu calligraphy and decorated with gilt, the reverse with pomegranates, butterflies, and narcissus, the other with lotus and a pair of Mandarin ducks, each encased in a cloisonné enamel frame with diaper pattern, supported on a zitan wood stand with spinach-green jade spandrels and shaped apron. Each 24.1cm (9 1/2in) high. (4).Footnotes:清乾隆 御製紫檀嵌碧玉座框銅胎掐絲琺瑯鑲白玉雕壽字紋硯屏一對Provenance: Sir John William Buchanan-Jardine, 3rd Baronet (1900-1969), LondonSpink & Son Ltd., LondonAn English private collection, with one of the pair of screens acquired from the above on 30 November 1954 (to join the pair to it which was previously separated), and thence by descentExhibited and Published: Royal Academy of Arts, International Exhibition of Chinese Art 1935-6, London, 1935, p.245, no.2859Captain Sir John W. Buchanan-Jardine became, like his family predecessors, the Chairman of Jardine, Matheson & Co. He was among the largest lenders to the Royal Academy of Arts International Exhibition of Chinese Art in Burlington House in 1935-36, his loan including the present pair of screens. The Exhibition remains the most important exhibition of Chinese Art ever held in Europe.來源：倫敦第三代John William Buchanan-Jardine男爵（1900-1969）舊藏倫敦古董商Spink & Son Ltd.英國私人收藏，其一於1954年11月30日購自上者（將兩屏合為一對），並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935年，頁245，編號2859John W. Buchanan-Jardine男爵，如他的家族前輩一樣，曾為怡和洋行（原名渣甸洋行）董事長。同時，他也是1935-36年於英國皇家藝術學院伯靈頓宮舉辦的「中國藝術國際展覽會」最大的借展方之一，並借展了本對硯屏。該展覽仍為歐洲迄今最為重要的中國藝術展覽。The present lot has sixty Shou (壽) characters on each screen. It is likely therefore, that it was made for the occasion of the Qianlong Emperor's 60th birthday celebration (held on the 1st month of the 35th year of his reign, approximately 1770). The motif of numerous Shou characters (meaning 'longevity') is common for birthday celebrations and appeared as early as the Kangxi reign. See a massive blue and white 'Ten thousand Shou vase, which bears 9,999 Shou characters and one wan character, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red (III), Hong Kong, 2002, pp.8-9, no.5.See a single related incised celadon jade and lacquer 'longevity' table screen, 18th century, which was sold at Sotheby's Paris, 10 June 2021, lot 101.For further information on this lot please visit Bonhams.com

A VERY RARE IMPERIAL-TRIBUTE PAINTED ENAMEL YELLOW-GROUND SNUFF BOTTLEYongzheng four-character mark and of the periodExquisitely painted to one side with the female Immortal Magu with hemp skirt, carrying a basket of medicinal herbs and auspicious lingzhi hung from a gnarled staff over her shoulder, her left hand carrying a peach, all amidst wispy ruyi-clouds, the reverse enamelled with Xiwangmu holding a ruyi sceptre and standing beside a phoenix, all on an egg-yolk-yellow ground, the four-character mark in brown-black on the base, coral and malachite stopper. 7cm (2 3/4in) high. (2).Footnotes:清雍正 銅胎畫琺瑯黃地人物紋鼻煙壺「雍正年製」楷書款Provenance:Spink & Son Ltd., London,E. A. Parry (1879-1946), London, acquired from the above on 30 September 1923, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1923年9月30日購自上者，並由後人保存迄今The present yellow-ground enamel snuff bottle is a very rare example made as Imperial-tribute to the Court of the Yongzheng Emperor. As noted by Hugh Moss, 'extant examples of Yongzheng painted enamels on metal are almost as rare as those surviving from the Kangxi reign. [...] Of all surviving marked enamels from the Yongzheng era (there are not many), more than half are southern.' Yellow-ground enamel on copper examples of this form are rare and vary in decoration including designs of 'dragons', 'deer in landscape', 'bats, lotus and Shou', and particularly rarely, as seen on the present snuff bottle, with Daoist female Immortals. The Imperial Enamel Workshop which was first established in Beijing by the Kangxi Emperor utilising the knowledge of Jesuit priests and enamellers from Guangzhou, was producing enamel works since circa 1715 as attested to by a Jesuit priest, Father de Maille; see H.Garner, 'The Origins of Famille Rose', TOCS, vol.37, 1967-1969, London, 1970, p.4. However, the most important Chinese craftsmen came from Guangzhou as shown in a Court memorial dated to 1716 noting the Viceroy of Guangdong and Guangxi sent two artisans to Beijing to serve in the Enamel Workshop; see Yang Boda, Tributes from Guangdong to the Ch'ing Court, Hong Kong, 1987, p.63. By the Yongzheng period technical challenges were gradually overcome and the painting became more refined and controlled. See a related Imperial-tribute painted enamel yellow-ground 'deer in landscape' snuff bottle, Yongzheng four-character mark and of the period, illustrated by H.Moss, V.Graham, and K.B.Tsang, A Treasury of Chinese Snuff Bottles, Hong Kong, 2008, vol.6, part 1, pp.288-289, no.1129, which was later sold at Sotheby's Hong Kong, 24 November 2014, lot 188. Compare also a Guangzhou painted enamel yellow-ground 'dragons' snuff bottle, Yongzheng mark and period, in the British Museum, London, acc.no.1936,0413.64.See also a Guangzhou painted enamel yellow-ground 'bats, shou and lotus' snuff bottle, Yongzheng brown-enamel four-character mark and of the period, which was sold at Christie's New York, 19 March 2008, lot 261.壺銅胎，小口直頸，折肩微溜，直壁扁腹，整器修長挺拔，纖巧俏麗。明黃作地，一側繪麻姑肩挑花籃，手執仙桃，端立雲端；一側繪西王母身著袍服，手持如意，瑞鳳伴於身側。器底黃地書褐彩「雍正年製」楷書款。本例為雍正年間貢品中極為珍罕的畫琺瑯製品。如Hugh Moss所述，現存的雍正時期金屬胎畫琺瑯製品，幾乎與康熙年間的畫琺瑯製品一樣少有；...而現存少數署有雍正年款的畫琺瑯製品中，多於半數為南作。形如此例且以明黃為地的銅胎畫琺瑯鼻煙壺頗為少見，曾見以祥龍、瑞鹿、福壽等作主題者，而如本例以道教女性仙人為飾者殊為稀有。十五世紀中葉，歐洲發明了畫琺瑯的製作技法，後隨海運貿易往來以及西方傳教士呈進傳入中國，身處通商口岸的廣州工匠得以比清宮造辦處更快接觸歐洲進口畫琺瑯器。康熙年間始設內務府造辦處琺瑯作，據傳教士Maille神父稱，自約1715年起，西方傳教士和琺瑯匠師已赴京傳授燒琺瑯工藝；見H.Garner著，〈The Origins of Famille Rose〉，收錄於《TOCS》，卷37，1967-1969年，倫敦，1970年，頁4。然而，從康熙硃批奏摺中可知康熙五十五年（1716年）兩廣總督楊琳派潘淳、楊士章等四人進入內廷琺瑯廠效力。雍正和乾隆時期，廣東督撫繼續向養心殿造辦處保送畫琺瑯匠師，並同時向內廷提供進口的或廣東製造的琺瑯彩料。詳見楊伯達著，《清代廣東貢品》，香港，1987年，頁63。至雍正年間，畫琺瑯工藝和製作技法已日臻成熟。... This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A RARE FAMILLE VERTE 'PEONY BLOSSOM' MONTH CUPKangxi six-character mark and of the periodThe delicately-potted vessel rising to a gently flaring rim, painted to represent the fourth month with variously coloured flowering tree peony amongst blue pierced rockwork, the reverse with a poetic inscription: Xiao yan yuan fen jin zhang lu. Mu xiang shen re yu tang feng, 'At dawn its beauty receives dew from a golden palm. In the evening the fragrance penetrates deep into the Jade Hall'. 4.9cm (1 7/8in) high.Footnotes:清康熙 五彩「牡丹」花神盃青花「大清康熙年製」楷書款Provenance:Captain Charles Oswald Liddell (1854-1941)Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 12 June 1929, and thence by descentPublished and Exhibited: Bluett & Sons Ltd., The Liddell Collection of Old Chinese Porcelain, London, June 1929, p.11, no.100 or 101.Captain Charles Oswald Liddell was born in 1851 in Edinburgh. Having moved to China for family business, he worked there from 1877-1913. He married Elizabeth Birt in 1880 in the Anglican Cathedral in Shanghai, and thereby inherited Birt's Wharf there, expanding the business to Hangzhou, Tianjin and Harbin. He was joined by his brother John when the firm became known as Liddell Bros. In 1915 Liddell was Quartermaster and Hon. Captain in the 1st Battalion, The Monmouthshire Regiment, having served previously (and more adventurously) in the 'Shanghai Light Horse'. Liddell collaborated with A.W.Bahr in an exhibition in Shanghai in 1908 (he was Chairman of the North China branch of the Royal Asiatic Society, and in writing descriptions for it which were printed by A.W.Bahr, Old Chinese Porcelain and Works of Art in China, 1911. Charles Liddell had formed his collection, except for three pieces, while trading in China for nearly forty years. He purchased a number of them from two significant sources: the collection of Prince Chun, the last Regent of the Qing dynasty; and from the collection of the private secretary and adviser to Li Hongzhang. In May-June 1929 Bluett's offered part of the collection for sale, publishing a catalogue of The Liddell Collection of Old Chinese Porcelain with 229 entries and eight illustrative plates, one of them unusually in colour.來源：Charles Oswald Liddell上尉（1854-1941）舊藏倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1929年6月12日購自上者，並由後人保存迄今展覽著錄：Bluett & Sons Ltd.，《Liddell收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》，倫敦，1929年6月，頁11，編號100或101利德爾上尉（Captain Charles Oswald Liddell），1854年生於愛丁堡。1877年移居中國，並為其家族企業一直在華工作至1913年。1880年，他與Elizabeth Birt在上海聖公會大教堂舉行婚禮，隨後接手了Birt家族在上海的平和碼頭，並將業務擴展到杭州、天津和哈爾濱等地。平和洋行的英文商號在其弟John加入後改為Liddell Bros。利德爾曾服役於上海英租界輕騎隊，並於1915年任蒙默思郡團一營軍需長官和榮譽上尉。1908年，利德爾與巴爾（A.W.Bahr，時任皇家亞洲學會華北分會秘書）合作於上海舉辦展覽，巴爾將展覽描述集結成《中國古瓷美術譜（Old Chinese Porcelain and Works of Art in China）》並於1911年出版。利德爾的藏品，除其中三件以外，全數在其在華經商的近四十年間入藏；其中一大部分來自兩個重要渠道：清朝末代攝政王醇親王載灃的藏品，以及李鴻章的私人秘書兼顧問的收藏。1929年5月至6月期間，倫敦古董商Bluett's出售了利德爾的部分藏品，並出版了《利德爾收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》圖錄，收錄了共計229件藏品並附8張插圖，其中甚至包含一幅頗不尋常的彩色插圖。Very delicately potted, 'Month cups' were painted in the fine wucai palette of underglaze blue and overglaze enamels, which was devised during the Ming dynasty, but rarely used during the Qing dynasty, when the underglaze colour was generally omitted. 'Month cups' were made at the Imperial kilns during the Kangxi reign. A different cup was made for each month of the lunar calendar. Underglaze-blue designs were usually painted on the unglazed body. These cups were so thinly potted that the cobalt blue decoration on their exterior can be seen through the eggshell porcelain from the interior of the vessel. Slight differences in size, colours, calligraphic styles and even marks between the individual cups suggest that they may not even have originally been conceived as sets of twelve, rather, they could have been issued consecutively, as the year evolved, to be finally assembled as a set at the end. The poems inscribed on the 'Month cups' are all couplets from Tang dynasty poems. The Kangxi Emperor greatly admired Tang poems as demonstrated in ordering the compilation of all recorded Tang poems in 1705, on the 44th year of his reign. This project came into fruition under the leadership of the official Cao Yin, when the 'Complete Collection of Tang Poems' Quan Tangshu was published in 1706, including over 40,000 poems and a foreword written by the Kangxi Emperor himself; see R.Scott, For the Imperial Court. Qing Porcelain from the Percival David Foundation of Chinese Art, New York, 1997, pp.82-83. It is thus likely that these delicate 'Month cups', decorated with poems favoured by the Emperor, were made during the later period of the Kangxi reign, when... For further information on this lot please visit Bonhams.com

A POWDER-BLUE GILT-DECORATED BALUSTER VASEKangxiCovered in a lustrous dark-blue glaze, finely decorated around the exterior in gilt with various flowers beneath pendent ruyi border at the shoulder, with a silver-inlaid wood cover. The vase 21.6cm (8 1/2in) high. (2).Footnotes:清康熙 灑藍地描金花鳥紋小瓶Provenance:Spink & Son Ltd., London,E. A. Parry (1879-1946), London, acquired from the above on 30 September 1923, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1923年9月30日購自上者，並由後人保存迄今Generally referred to as 'powder blue', the attractive cobalt glaze on this piece was a Kangxi period revival of the so-called 'snowflake' blue glaze employed on wares dating to the Xuande reign. The mottled effect was produced by blowing cobalt through a piece of bamboo with a gauze over the end. Wares covered in this glaze were either left undecorated or painted in gilt over the glaze, as seen on this piece. Such gilt-decorated powder-blue wares were made both for the Imperial Court as well as many pieces made for export, although the latter often used Chinese decorative motifs as exemplified in the band of ruyi-heads on the present vase, symbolic of the auspicious wish for longevity. See a powder-blue-glazed rouleau vase, Kangxi, decorated with gilt designs of flowers and birds, in the Metropolitan Museum of Art, New York, illustrated by S.Valenstein, A Handbook of Chinese Ceramics, New York, 1975, pl.141.灑藍釉又稱「雪花藍」，因其釉面猶如灑落的藍色水滴，故稱灑藍。於明宣德時期出現，至清康熙時技術已完全成熟。據文獻記載，其深淺不一的藍色斑點為工匠用管子蘸上藍釉汁水，吹在白釉器物的表面，再經高溫燒製而成，製作工藝頗為繁複。御瓷和外銷瓷中皆可見此類灑藍地上以描金為飾的器物，後者常結合中國傳統吉祥紋飾，如本例肩上象徵長壽的如意云紋。參考紐約大都會藝術博物館館藏一例清康熙灑藍釉棒槌瓶，同以描金花鳥為飾，收錄於S.Valenstein著，《A Handbook of Chinese Ceramics》，紐約，1975年，圖版141。This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A VERY RARE FAMILLE VERTE 'LOTUS' MONTH CUPKangxi six-character mark and of the periodThe finely potted vessel rising to a gently flaring rim, decorated to represent the sixth month with a pair of Mandarin ducks swimming in a lotus pond, with a kingfisher in flight above, the reverse with a poetic inscription: Gen shi ni zhong yu. Xin cheng lu xia zhu, 'The roots are like jade gleaming in the mud. The hearts contain pearls when dew has descended'. 4.9cm (1 8/9in) high.Footnotes:清康熙 五彩「荷花」花神盃青花「大清康熙年製」楷書款Provenance:Captain Charles Oswald Liddell (1854-1941)Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 12 June 1929, and thence by descentPublished and Exhibited: Bluett & Sons Ltd., The Liddell Collection of Old Chinese Porcelain, London, June 1929, p.11, no.100 or 101.Captain Charles Oswald Liddell (1854-1941) was born in 1851 in Edinburgh. Having moved to China for family business, he worked there from 1877-1913. He married Elizabeth Birt in 1880 in the Anglican Cathedral in Shanghai, and thereby inherited Birt's Wharf there, expanding the business to Hangzhou, Tianjin and Harbin. He was joined by his brother John when the firm became known as Liddell Bros. In 1915 Liddell was Quartermaster and Hon. Captain in the 1st Battalion, The Monmouthshire Regiment, having served previously (and more adventurously) in the 'Shanghai Light Horse'. Liddell collaborated with A.W.Bahr in an exhibition in Shanghai in 1908 (he was Chairman of the North China branch of the Royal Asiatic Society), and in writing descriptions for it which were printed by A.W.Bahr, Old Chinese Porcelain and Works of Art in China, 1911. Charles Liddell had formed his collection, except for three pieces, while trading in China for nearly forty years. He purchased a number of them from two significant sources: the collection of Prince Chun, the last Regent of the Qing dynasty; and from the collection of the private secretary and adviser to Li Hongzhang. In May-June 1929 Bluett offered part of the collection for sale, publishing a catalogue of The Liddell Collection of Old Chinese Porcelain with 229 entries and eight illustrative plates, one of them unusually in colour.來源：Charles Oswald Liddell上尉（1854-1941）舊藏倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1929年6月12日購自上者，並由後人保存迄今展覽著錄：Bluett & Sons Ltd.，《Liddell收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》，倫敦，1929年6月，頁11，編號100或101利德爾上尉（Captain Charles Oswald Liddell），1854年生於愛丁堡。1877年移居中國，並為其家族企業一直在華工作至1913年。1880年，他與Elizabeth Birt在上海聖公會大教堂舉行婚禮，隨後接手了Birt家族在上海的平和碼頭，並將業務擴展到杭州、天津和哈爾濱等地。平和洋行的英文商號在其弟John加入後改為Liddell Bros。利德爾曾服役於上海英租界輕騎隊，並於1915年任蒙默思郡團一營軍需長官和榮譽上尉。1908年，利德爾與巴爾（A.W.Bahr，時任皇家亞洲學會華北分會秘書）合作於上海舉辦展覽，巴爾將展覽描述集結成《中國古瓷美術譜（Old Chinese Porcelain and Works of Art in China）》並於1911年出版。利德爾的藏品，除其中三件以外，全數在其在華經商的近四十年間入藏；其中一大部分來自兩個重要渠道：清朝末代攝政王醇親王載灃的藏品，以及李鴻章的私人秘書兼顧問的收藏。1929年5月至6月期間，倫敦古董商Bluett's出售了利德爾的部分藏品，並出版了《利德爾收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》圖錄，收錄了共計229件藏品並附8張插圖，其中甚至包含一幅頗不尋常的彩色插圖。Delicately potted porcelain cups, such as the present example, were known as 'Month cups' and were made at the Imperial kilns during the Kangxi reign. These vessels were painted in underglaze-blue and overglaze famille verte enamels in wucai style depicting individual flowers that designated each of the twelve months of the year. The design format of these cups, incorporating a pictorial composition on one side and a poetic inscription ending in a seal mark on the other, was inspired by the long tradition in classical painting and was an innovation of the Kangxi period. The poems inscribed on the 'Month cups' are all couplets from Tang dynasty poems. The Kangxi Emperor greatly admired Tang poems as demonstrated in ordering the compilation of all recorded Tang poems in 1705, on the 44th year of his reign. This project came into fruition under the leadership of the official Cao Yin, when the 'Complete Collection of Tang Poems' Quan Tangshu was published in 1706, including over 40,000 poems and a foreword written by the Kangxi Emperor himself; see R.Scott, For the Imperial Court. Qing Porcelain from the Percival David Foundation of Chinese Art, New York, 1997, pp.82-83. It is thus likely that these delicate 'Month cups', decorated with poems favoured by the Emperor, were made during the later period of the Kangxi reign, when the compendium of Tang poetry was published.The twelve flowers painted on the 'Month cups' were selected following the traditions of the Flower Festival, which fell on the 15th day of the second month in the Chinese calendar, signifying the arrival of springtime and celebrated the birthday of all flowers. The Flower Festival was highly popular du... For further information on this lot please visit Bonhams.com

A PAIR OF PAINTED SOAPSTONE FIGURES OF GUANYINKangxiCarved in mirror image seated and propped up by an arm-rest, with one hand resting upon one raised leg, the other hand grasping a ruyi sceptre, with serene expressions beneath high chignon buns, clad in loose flowing robes painted yellow, all above square pedestals incised with floral scrolls and painted red. The larger 19cm (7 1/2in) high. (2).Footnotes:十七/十八世紀 彩繪壽山石雕觀音像一對Provenance:Spink & Son Ltd., London,E. A. Parry (1879-1946), London, acquired from the above on 31 December 1927, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1927年12月31日購自上者，並由後人保存迄今Compare with a related cold-painted soapstone documentary figure of a luohan, cyclically dated Renxu year corresponding to 1622 or 1682, which was sold at Bonhams Knightsbridge, 8 May 2017, lot 359.參考一例壬戌年（1622或1682年）制彩繪壽山石雕羅漢像，售於倫敦邦瀚斯騎士橋，2017年5月8日，拍品編號359。For further information on this lot please visit Bonhams.com

A PAIR OF FAMILLE ROSE 'DRAGON' BOWLS AND COVERSYongzheng six-character marks and of the period, with probably later covers and enamelsThe flaring conical bowls and domed covers brightly decorated in polychrome enamels with animated serpentine five-clawed dragons emerging from crashing waves, each in pursuit of a flaming pearl amongst clustered cloud scrolls, each with an underglaze-blue Yongzheng six-character mark. Each 20.5cm (8in) diam. (4).Footnotes:清雍正 粉彩雲龍紋蓋盌一對 盌蓋及釉彩或較晚青花「大清雍正年製」楷書款Provenance: Captain Charles Oswald Liddell (1854-1941)Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 12 June 1929, and thence by descentPublished and Exhibited: Bluett & Sons Ltd., The Liddell Collection of Old Chinese Porcelain, London, June 1929, p.22, no.196.來源：Charles Oswald Liddell上尉（1854-1941）舊藏倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1929年6月12日購自上者，並由後人保存迄今展覽著錄：Bluett & Sons Ltd，《Liddell收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》，倫敦，1929年6月，頁22，編號196Captain Charles Oswald Liddell was born in 1851 in Edinburgh. Having moved to China for family business, he worked there from 1877-1913. He married Elizabeth Birt in 1880 in the Anglican Cathedral in Shanghai, and thereby inherited Birt's Wharf there, expanding the business to Hangzhou, Tianjin and Harbin. He was joined by his brother John when the firm became known as Liddell Bros. In 1915 Liddell was Quartermaster and Hon. Captain in the 1st Battalion, The Monmouthshire Regiment, having served previously (and more adventurously) in the 'Shanghai Light Horse'. Liddell collaborated with A.W.Bahr in an exhibition in Shanghai in 1908 (he was Chairman of the North China branch of the Royal Asiatic Society), and in writing descriptions for it which were printed by A.W.Bahr, Old Chinese Porcelain and Works of Art in China, 1911. Charles Liddell had formed his collection, except for three pieces, while trading in China for nearly forty years. He purchased a number of them from two significant sources: the collection of Prince Chun, the last Regent of the Qing dynasty; and from the collection of the private secretary and adviser to Li Hongzhang. In May-June 1929 Bluett's offered part of the collection for sale, publishing a catalogue of The Liddell Collection of Old Chinese Porcelain with 229 entries and eight illustrative plates, one of them unusually in colour.The shape of the present pair of bowls is particular to the Yongzheng period, and they are almost always exclusively decorated with dragons. A pair of doucai bowls and covers of this pattern, Yongzheng mark and period, in the Qing Court Collection, is illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, no.230; see also an illustrated diagram of the shape in Ming Qing ciqi jianding, Beijing, 1993, p.242, pl.414, no.13. See a similar pair of bowls and covers decorated with dragons in doucai, Yongzheng six-character marks and of the period, illustrated in Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns, Hong Kong, 1995, no.52. See also another related bowl and cover with doucai decoration of dragons and clouds, Yongzheng six-character mark and of the period, illustrated in The Tsui Museum of Art: Chinese Ceramics IV, Qing Dynasty, Hong Kong, 1995, no.129.Compare with a pair of doucai conical dragon bowls and covers, Yongzheng six-character marks and of the period, which were sold at Christie's London, 5 November 2019, lot 173.利德爾上尉（Captain Charles Oswald Liddell），1854年生於愛丁堡。1877年移居中國，並為其家族企業一直在華工作至 1913年。1880年，他與Elizabeth Birt在上海聖公會大教堂舉行婚禮，隨後接手了Birt家族在上海的平和碼頭，並將業務擴展到杭州、天津和哈爾濱等地。平和洋行的英文商號在其弟John加入後改為Liddell Bros。利德爾曾服役於上海英租界輕騎隊，並於1915年任蒙默思郡團一營軍需長官和榮譽上尉。1908年，利德爾與巴爾（A.W.Bahr，時任皇家亞洲學會華北分會秘書）合作於上海舉辦展覽，巴爾將展覽描述集結成《中國古瓷美術譜（Old Chinese Porcelain and Works of Art in China）》並於1911年出版。利德爾的藏品，除其中三件以外，全數在其在華經商的近四十年間入藏；其中一大部分來自兩個重要渠道：清朝末代攝政王醇親王載灃的藏品，以及李鴻章的私人秘書兼顧問的收藏。1929年5月至6月期間，倫敦古董商Bluett's出售了利德爾的部分藏品，並出版了《利德爾收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》圖錄，收錄了共計229件藏品並附8張插圖，其中甚至包含一幅頗不尋常的彩色插圖。盌身及蓋均呈斗笠形，高圈足，口沿呈六瓣花形，蓋鈕形同盌足做成圈足狀，此式蓋盌僅見於雍正一朝。北京故宮博物院藏清雍正鬥彩雲龍紋蓋盌一對... For further information on this lot please visit Bonhams.com

A FINE AND RARE PAINTED ENAMEL AND GILT-BRONZE SQUARE VASEQianlongOf slender square section tapering form, delicately enamelled with cusped panels variously depicting Xiwangmu borne on clouds with a boy attendant offering a dish of peaches, and Magu with a further boy attendant in a rocky landscape, all on a bright yellow ground with a profusion of flower sprays and foliage, the neck with archaistic pendent lappets on a pink ground within key-fret bands, set with a pair of gilt bronze lion-mask handles, with hongmu stand. 16.5cm (6 1/2in) high. (2).Footnotes:清乾隆 銅胎畫琺瑯開光仕女圖長方形瓶Provenance:J. C. Vickery, LondonE. A. Parry (1879-1946), London, acquired from the above on 25 August 1924, and thence by descentPublished, Illustrated and Exhibited: Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-1936, p.186, no.2187.來源：倫敦古董商J. C. Vickery倫敦E. A. Parry（1879-1946）舊藏，於1924年8月25日購自上者，並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935-1936年，頁186，編號2187This remarkable vase was included in the International Exhibition of Chinese Art held at the Royal Academy of Arts, Burlington House, London, in 1935-1936. This seminal exhibition had the patronage of their Majesties King George V and Queen Mary, and the President of the Chinese Republic. It included over 3,000 objects. These were variously loaned by the Chinese Government, including pieces shown for the first time outside China, objects from the collection of Sir Percival David, which were exhibited for the first time in public, pieces from the British Royal Collection, and from many important museums including the British Museum, the V&A, the Louvre, Guimet, Cernuschi, Topkapi Saray, the Metropolitan Museum of Art, Cleveland, Kansas City, Cologne, Dresden, and by notable private collectors including HRH Crown Prince of Sweden, Alan Barlow, R.C. Bruce, Buchanan-Jardine, Mr & Mrs Alfred Clark, Dr Leonard Gow, C.T. Loo, Carl Kempe, H.J. Oppenheim, Oscar Raphael, F. Schiller, Mr & Mrs Walter Sedgwick, A. Stoclet , S.D. Winkworth and Prof. W. Perceval Yetts - a roll call of the greatest collectors of Chinese art in the West in the 20th century. E.A. Parry loaned 6 pieces to the Exhibition, demonstrating the superb quality of the Collection and the high esteem in which it was held by the Exhibition Committee, which was directed by Sir Percival David. These pieces were admired to this date in the Parry family homes and this is the first time since the 1935-1936 Exhibition that they are seen in public once again. During the Qianlong period, the southern port of Guangzhou (otherwise known as Canton) was the main trade entrepot between Europe and China. Influenced by European painted enamels and oil paintings, local craftsmen began producing a large number of painted enamel wares depicting foreign flowers, architecture and Western figures as well as Chinese Immortals and subject matter which were sent as tribute to the Imperial Court in Beijing. Apart from the Guangzhou workshops, a smaller number of painted enamel wares were also manufactured in the Imperial Workshops in the Forbidden City, Beijing, which were first established during the reign of the Kangxi Emperor.Xiwangmu, the Queen Mother of the West, shown on one side of the vase, is a Daoist deity often depicted with an assistant carrying a basket of peaches beside her, such as on the present lot. She has an orchard of peaches deep in the Kunlun mountains in the West, which when eaten bestow Immortality. Magu, shown on the other side, is another female Immortal associated with the elixir of life. She is often portrayed next to a basket of flowers or herbs with life-giving properties. Compare the painting of Xiwangmu with another similar female Immortal on a painted enamel vase, Qianlong seal mark and period, in the Qing Court Collection, illustrated in Compendium of Collections in the Palace Museum: Enamels, 5, Beijing, 2011, pp.106-107, no.72. Compare also the dense foliate scrolls with similar ones on two Imperial-tribute painted enamel vases, Qianlong seal marks and of the period, illustrated in Ibid., nos.119 and 120.本拍品曾借展1935至1936年於倫敦皇家藝術學院伯靈頓宮舉辦的中國藝術國際展覽會。這一史無前例的展覽得到了中英政府及雙方人士的大力支持，由雙方元首擔任名譽主持人，英王喬治五世和瑪麗王后為監理。展品共計三千餘件，中國政府應邀出借包括故宮文物在內的近千件藏品，也是藏品首次在中國境外展出；展覽還包括了英國皇室的中國文物收藏，以及來自世界各地重要博物館（如大英博物館、維多利亞和阿爾伯特博物館、盧浮宮、吉美博物館、賽努奇博物館、託卡比皇宮博物館、大都會藝術博物館、克利夫蘭藝術博物館、堪薩斯城納爾遜-阿特金斯藝術博物館、科隆博物館、德累斯頓博物館等）與著名私人藏家（如瑞典王儲、Alan Barlow爵士、R.C. Bruce、Buchanan-Jardine男爵、克拉克伉儷（Mr & Mrs Alfred Clark）、Leonard Gow博士、盧芹齋、卡爾·坎普（Carl Kempe）、H.J. Oppenheim、Oscar Raphael, F. Schiller、Walter Sedgwick伉儷、A. Stoclet、S.D. Winkworth、W. Perceval Yetts教授等）的公私收藏精品，名單幾乎囊括了二十世紀西方世界最為重要的中國藝術收藏家。 E.A. Parry向本次&... This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A PAIR OF GILT-DECORATED POWDER-BLUE DISHESKangxiEach gilt to the centre variously with a pair of cranes amongst pine and blossoming prunus and a bird perched on a trailing flowering branch, within a border of cartouches each enclosing a Daoist attribute on a floral geometric-pattern ground, each exterior also powder-blue decorated and the white base bearing a pseudo seal mark within an underglaze blue double ring. 26.2cm (10 3/8in) and 26.5cm (10 1/2in) diam. (2).Footnotes:清康熙 灑藍地描金花鳥紋盤一對Provenance: Spink & Son Ltd., LondonG. N. Parry (1917-1978), London, acquired from the above on 21 June 1949, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦G. N. Parry (1917-1978)舊藏，於1949年6月21日購自上者，並由後人保存迄今Powder-blue decoration became popular on porcelains in the Kangxi reign. The effect was of a deep finely mottled or soufflé blue. The powder-blue surface was often embellished with gold decoration. The ground cobalt blue was according to literary sources 'blown onto the surface of the unfired porcelain body through a tube with gauze over the end', hence the name 'soufflé'.灑藍釉又稱「雪花藍」，因其釉面猶如灑落的藍色水滴，故稱灑藍。據文獻記載，其深淺不一的藍色斑點為工匠用管子蘸上藍釉汁水，吹在白釉器物的表面，再經高溫燒製而成，製作工藝頗為繁複。For further information on this lot please visit Bonhams.com

TWO FAMILLE ROSE 'MANDARIN PATTERN' TANKARDS, A PAIR OF FAMILLE ROSE DISHES AND A BLUE AND WHITE SOFT-PASTE 'BOYS' GINGER JARQianlong and laterThe tankards, one depicting ladies and children within a balustraded garden setting, the S-shaped handle with dragon head terminal, the other with a European landscape with castle, and handle simulating bamboo, the larger 13cm (5in) high; the pair of famille rose dishes, Qianlong seal marks, brightly enamelled with a large blooming lotus in the centre, surrounded by floral scrolls issuing from leafy ruyi-head border, 30cm (11 7/8in) diam.; the blue and white soft-paste 'boys' ginger jar, Kangxi six-character mark, painted on the body with a multitude of boys at play on a crackled cream-glazed ground, with hongmu cover, 13cm (5 1/8in) high. (6).Footnotes:清乾隆或更晚 粉彩人物紋啤酒盃兩件，粉彩花卉紋盤一對，及青花嬰戲圖罐 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Mandarin-pattern wares were among a series of decorative wares produced exclusively for export to the West. As the export trade increased, so did the demand from Europe for familiar, utilitarian forms. European forms such as mugs, ewers, tazze, and candlesticks were unknown in China, so models were sent to the Chinese potteries to be copied. See two Mandarin-pattern tankards, Qianlong, which were sold at Christie's London, 20 November 2002, lot 349.清朝官員人物紋是專供西方市場的外銷瓷典型紋樣。隨著瓷器出口量的增長，歐洲市場對於日常用器的需求也日益增加；中國工匠依照歐洲貨商提供的造型，開始大量生產諸如馬克盃、執壺、高腳盤、燭台等實用器。參考清乾隆人物紋啤酒杯兩盃，售於倫敦佳士得，2002年11月20日，拍品編號349。This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

AN EXCEPTIONALLY RARE IMPERIAL INSCRIBED TWO-COLOUR CINNABAR LACQUER CARVED BRUSHPOT, BITONGQianlong seal mark and of the periodExpertly carved around the exterior in relief with an Imperial poem in kaishu script titled Xiao yuan xian yong wu shou ('Five verses from the small leisure orchard') in red, on a black square diaper-pattern ground, the rounded rim carved with a zigzag floral design, all supported on a stepped base decorated with black floral honeycomb diaper-ground, raised on five ruyi-shaped carved red lacquer framed feet, the interior and base black lacquered. 12.2cm (4 3/4in) high.Footnotes:清乾隆 御製剔紅「小園閒詠五首」御題詩筆筒「乾隆御製」款 「乾」「隆」印Provenance:Spink & Son Ltd., LondonMrs G. N. Parry (1923-2013), London, acquired from the above on 29 April 1961, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦G. N. Parry夫人（1923-2013）舊藏，於1961年4月29日購自上者，並由後人保存迄今Finely carved lacquer brushpots with Imperial poems carved in elegant kaishu script, such as the present example, are very rare, but two examples from the Qing Court Collection, in the Palace Museum, Beijing have been published. The first brushpot, nearly identical to the present lot, is illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, Hong Kong, 2006, pl.32. The second example is illustrated in 200 Objects You Should Know: Carved Lacquer Ware, Beijing, 2008, pl.162. A third example, a closely-related but slightly smaller carved two-colour lacquer brushpot with the same poem, Qianlong seal mark and period, is illustrated by S.Marsh, Brushpots: A Collector's View, Barcelona, 2020, p.80. Only one other very similar example appears to have been sold at auction. Compare with a carved cinnabar lacquer brushpot, with the same poem, Qianlong seal mark and of the period, but with a red colour foot and no key-fret border, which was sold at Sotheby's Hong Kong, 10 April 2006, lot 1526.All the brushpots mentioned above have subtle variations in their design. It has been suggested that these differences are due to having been produced over a period of time; see S.Marsh, ibid.,, p.80. However, only the present lot has the exquisite carving on the mouth rim of a zigzag diaper-pattern, while sharing with one of the two Beijing Palace Museum brushpots the same colour and shaped foot.The poem adorning the present brushpot, entitled 'Five verses from the small leisure orchard' Xiao Yuan Yong Wu shou, was composed by the Qianlong Emperor himself and is recorded in the Anthology of Qianlong Poems Qing Gaozong Yushi Wen Quanji. Le Shan Tang Ding Ben, chapter 27, p.5, which may be translated as:'Five Verses from the small leisure orchard'1In the autumn lake the fish timidly near the bait, such are the affairs of rod and hook. Above the green waters a bamboo rod, a clear breeze rustles the collar of the palm-bark rain cape. The grassy reeds of the outskirt, among the moon and stars. Returning home along in the still night, along the mossy clear path. 2Taking the pine as my home, seeing home where the crane guards the gate. Knowing people and visiting guests, deserve fine grain from the paddies. The ancient spirit of the moon staying the night, the combing breeze through manifold feathers. Up to now, fine servant boys, need not be expensive and lofty. 3How much do you understand the colours of autumn? the reeds and flowers are all now white. The battling wind shakes the moorside at sunset, drinking the dew on the cold isle. Life and vitality knows to be thankful, and not willing to stop anytime. In the vast smoky water, it is best to go by a flat boat.4The pavilion across the river, connected by a bridge. Old autumn with jaded white sky, the red maples in the cold current. Rolling curtains of willow to the night moon, walking in the wind and frost. How I love this path, crossing the water east. 5Of the flowers and trees of the four seasons, my favourite in the garden is the plum blossom. Refusing to yield to the snow, in the breeze several flowers have blossomed. The pure fragrance wafts to the bones, cold and moist with icy cheeks. Alone, the secluded person can appreciate it, inspecting the branches. The poems were written by Prince Hongli, before he became the Qianlong Emperor, and were originally published in the Yuzhi Leshan Tang Quanji. The Leshan Tang was within the Palace where the Qianlong Emperor lived as a Prince, and these poems were published in the second year of his reign. It could be said that the Qianlong Emperor was nostalgic about his earlier time in this palace before he became Emperor, and so wanted brushpots carved with this particular poem. We enter the private realm of the Qianlong Emperor - firstly, through the poem, in his small garden rather than on an ostentatious grand tour, and secondly, through the brushpot, with him seated at his scholar's desk. Although brushpots with calligraphy can be found from earlier reigns, such as the Kangxi period, it was only during the Qianlong period that a brushpot is decorated with the Emperor's own poem. This can be taken as a sign of the Qianlong Emperor's confidence in poetry and classical Chinese literature and furtherance of his image as an accomplished scholar. Indeed, the Qianlong Emperor was a prolific poet and composed thousands of poems that, taken together, construct an image of the Emperor as a wise, erudite yet sensitive ruler. As a Manchu, he was still very much conscious of his perceived 'foreignness' by the Han Chinese elite. His sensitivity to the issue resulted in both a sorcery scare in 1768: a hunt for perceived sorcerers cutting off the Manchu prescribed queues, and literary inquisitions that sought to censor and destroy any text that he considered insulting to the Manchu. See P.A.Kuhn, The Chinese Sorcery Scare of 1768, New Haven, 2009. The Qianlong Emperor's concerns however, had a positive side too, propelling him to forge an identity, given that he was not entirely Han Chinese, to became the custodian, protector and benefactor of that culture. As such, the Qianlong Emperor aimed to show himself as worthy of any educated Han Chinese literatus: learned in the classics and the arts of painting and calligraphy. He therefore surrounded himself with the accoutrements of the scholar, such as brushpots, embellished with his own poems in fine calligraphy. In this series of poems carved on the present brushpot, the description of beautiful scenery and nature parallels the harmony and beauty of a world under his dynasty's rule. Brushpots with these poems, such as the present lot, would instill in the writer the erudition of the Emperor, and similar poems were inscribed on other brushpots in different mediums. See for example, the same poem on an underglaze red and white brushpot, Qianlong, illustrated in Sun Yingzhou de taoci shijie, Beijing, 2003, p.262, no.161.圓口直筒，筒身微斂，筒內髹黑漆，口沿飾紅邊，底部剔紅鐫出回紋一匝，下承四足錦地基座。器身外壁於深色回紋錦地上作剔紅雕刻乾隆... For further information on this lot please visit Bonhams.com

A PAIR OF FAMILLE VERTE 'LI BAI' WINE CUPSKangxi/early YongzhengEach of conical form rising from a short foot to the flared sides, delicately enamelled around the exteriors with the famous Tang dynasty poet, variously in a semi-reclining pose holding a wine cup and seated leaning against a qin, amongst wine jars and vessels, with boys in attendance, two wood stands, possibly zitan. Each 6.7cm (2 5/8) diam. (4).Footnotes:清康熙/雍正早期 五彩太白醉飲圖笠式盃一對Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The present pair of cups is rare and part of a small group of exquisitely enamelled polychrome wares, including cups, small bowls and saucer-dishes, finely decorated with scholars in idealised natural retreats, dating to the late Kangxi and early part of the Yongzheng reigns, circa 1720-1725. Compare with two closely-related bowls, Yongzheng marks and period, the first decorated with a scholar and attendant by a riverbank gazing at geese, and the second with a scholar leaning on a pine tree, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, nos.155-156. See also a related polychrome enamelled bowl and cover, Yongzheng mark and period, enamelled with the Daoist Immortals Zhongli Quan seated near a pine tree and Zhang Guolao with his mule, in the Victoria and Albert Museum, London, acc.no.597&A-1907.The Tang poet Li Bai (701-762), or Li Taibai, has an almost divine status in Chinese culture, being considered one of the greatest poets in a five-thousand year classical tradition. In one hagiographic account, while Li Bai's mother was pregnant with him, she had a dream of a great white star falling from heaven. Indeed, he was within his own lifetime considered to be a banished Immortal, a myth he no doubt encouraged, explaining his courtesy name of 'Taibai' or 'Venus'. Apart from his literary brilliance, he was known as a tippler who eventually drowned after falling from his boat one night having become very drunk before trying to embrace the reflection of the moon in the Yangzi river. He is thus often depicted dozing beside a large vat of wine. Compare with a very similar famille verte cup, Kangxi/early Yongzheng, decorated with a continuous scene of a scholar seated on the bank of a river, which was sold at Christie's New York, 24 March 2011, lot 1723. See also a pair of related polychrome cups decorated with scholars, Yongzheng marks and period, which was sold at Bonhams London, 13 May 2010, lot 340.盃敞口，直壁，呈斗笠式，外壁以五彩繪通景人物圖。對盃小巧玲瓏，輕盈適手，筆法瀟灑，素雅清新，繪工細膩，極富文人氣息，應屬於康熙晚期至雍正早期，即約1720至1725年間製作之精品。北京故宮博物院藏兩件清雍正五彩人物圖小盃，其釉彩施用及繪畫風格均為類似，見《故宮博物院藏文物珍品大系：五彩·鬥彩》，香港，2007年，編號155及156；另對比英國維多利亞及阿爾伯特博物館藏一件清雍正五彩繪八仙人物蓋盌，其用彩及繪畫風格相類，館藏編號597&A-1907。器身所繪人物或為「飲中八仙」主題，其一手持酒盃、袒胸露腹者應為詩仙李白。李白字太白，號青蓮居士，是中國歷史上最偉大的浪漫主義詩人，以豪飲聞名，且文思敏捷，常以酒助詩興。據載，賀知章、李適之、李璡、崔宗之、蘇晉、李白、張旭、焦遂八人俱善飲，性情豪放曠達，被稱為「酒中八仙人」；杜甫曾作《飲中八仙歌》一詩，描寫他們無拘無束的灑脫性格。參考一例康熙晚期/雍正早期五彩人物圖笠式盃，外壁通景繪一高士倚坐岸邊，售於紐約佳士得，2011年3月24日，拍品編號1723。另見清雍正五彩「蒼松高仕」及「鷸蚌相爭」圖小盃兩件，售於倫敦邦瀚斯，2010年5月13日，拍品編號340，可資比對。This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A VERY RARE IMPERIAL TWO-COLOUR CINNABAR-LACQUERED YIXING TEAPOT AND COVERQianlongThe purple clay teapot covered in red lacquer and finely carved with confronted phoenix amongst a profusion of leafy, flowering peony stems, reserved on a black floral diaper ground, the foot, rim and finial with bands of key-fret design, the spout and handle with ruyi motif borders, the domed cover similarly decorated and surmounted by a spherical finial. 18.3cm (7 1/4in) long. (2).Footnotes:清乾隆 御製紫砂胎剔紅鳳穿牡丹紋壺Provenance:Spink & Son Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 30 October 1919, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1919年10月30日購自上者，並由後人保存迄今The present lavishly carved two-colour cinnabar lacquer Yixing teapot and cover, was made for use at the Imperial Court. The design on each main side of a pair of phoenix flanking a blossoming tree peony, indicates it was likely made for use by the Empress or one of the Imperial consorts. Carved cinnabar lacquer teapots were first made during the late Ming dynasty; see from the Qing Court Collection, an ovoid octagonal 'dragon and phoenix' teapot and cover, Jiajing mark and period; a further development of combining carved lacquer on an Yixing body, can be seen in a rectangular teapot and cover, bearing the mark of Shi Dabin, late Ming dynasty, also from the Qing Court Collection, decorated with figures in landscape; see The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Yuan and Ming Dynasties, Hong Kong, 2006, nos.145 and 198.Embellished Yixing teapots continued during the Qing dynasty from the reign of the Kangxi Emperor, with the Imperial Ateliers also experimenting with other methods of decoration such as famille rose enamels. During the Yongzheng and Qianlong reigns, Yixing teapots were also decorated in gilt lacquer; for examples see Geng Baochang, The Complete Collection of Treasures of the Palace Museum: Purple Sandy Ware, Shanghai, 2008, nos.4, 25 and 26. A related carved cinnabar lacquer Yixing teapot and cover, Qianlong gilt seal mark and period, in the National Palace Museum, Taipei, is illustrated in Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2007, no.146. A further unmarked example, 18th century from the K.S.Lo Collection, in the Flagstaff House Museum of Tea Ware, Hong Kong, is illustrated in The Art of the Yixing Potter, Hong Kong, 1990, p.150, pl.35.The symbolism of the phoenix on the teapot, according to the 'Classic of Mountains and Seas' (Shanhai Jing), embodies benevolence, righteousness, propriety, wisdom, and sincerity: all attributes of which an Empress should possess. The subject also symbolises the wish for marital harmony by showing the phoenix as a pair. In addition to this, the peony is a symbol of wealth and prosperity and is sometimes known as the 'flower of riches and honour' (fugui hua). The ruyi lappets around the spout and handle represent the wish for long life.Compare with a related cinnabar lacquered Yixing teapot, Qianlong, which was sold at Sotheby's London, 11 May 2016, lot 78. See also a cinnabar lacquered Yixing teapot, Qianlong mark and period, which was sold at Christie's Hong Kong, 1 December 2010, lot 3097.壺紫砂胎，圓鼓腹，環柄，曲流，圈足。通體髹漆，深色錦地，壺身每側各有兩隻翔鳳飛舞於牡丹花叢之間，鳳鳥姿態靈活，牡丹枝葉婉轉，花形圓滿，整體雍容華貴，富麗堂皇。剔紅執壺最早見於明後期，可見清宮舊藏一例明嘉靖剔紅龍鳳紋八棱式執壺，底刻「大明嘉靖年制」楷書款，及一例明晚期「時大彬」款紫砂胎剔紅山水人物圖執壺，均收錄於《故宮博物院藏文物珍品全集：元明漆器》，香港，2006年，編號145與198。康熙時期大量湧現以宜興紫砂為胎，外施彩釉的紫砂壺；雍正時更以描金為飾，參見《故宮博物院藏文物珍品大系：紫砂器》，上海，2008年，編號4、25與26三例。台北國立故宮博物院館藏一例清乾隆宜興胎剔紅雜寶茶壺，收錄於《和光剔彩——故宮藏漆》，台北，2007，編號146。另見香港藝術館茶具文物館藏羅桂祥博士舊藏一例十八世紀執壺，收錄於《宜興陶藝》，香港，1990年，頁150，圖版35。鳳穿牡丹為中國傳統吉祥紋飾，鳳凰為鳥中之王，牡丹為花中之王，表明本例執壺或為皇后或宮中某位妃嬪所用。 《山海經》載，鳳凰羽毛的花紋形似「德」、「義」、「禮」、「仁」、「信」五個文字，象徵皇后五德兼備。倫敦蘇富比曾售一例清乾隆宜興紫砂胎剔紅八寶紋茶壺，2016年5月11日，拍品編號78，可為參考。另有一例清乾隆宜興紫砂剔紅蓮紋茶壼，售於香港佳士得，2010年12月1日，拍品編號3097ᦁ... For further information on this lot please visit Bonhams.com

A FAMILLE ROSE RECTANGULAR TABLE SCREENMid Qing DynastyFinely painted with a harbour scene including a walled settlement beside an ocean extending to the distance, framed by blue mountains, the harbour with various boats, inscribed with a Tang dynasty poem and with seals, hongmu stand and frame. Overall 34.9cm (13 3/4in) high.Footnotes:清中期 粉彩「滕王閣」圖硯屏Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The screen depicts the pavilion of Prince Teng. The inscription confirms the identity of the building, and is a line from the Tang poet Wang Bo (650-676 AD), which may be translated as:'Teng tower, the high pavilion, facing the river isle'The Pavilion of Prince Teng, first built in 653 AD by Li Yuanying, younger brother of Emperor Taizong of the Tang dynasty, is a real pavilion in Nanchang, Jiangxi Province, on the east bank of the Gan river. It is considered one of the three great towers of southern China, along with Yueyang tower and Yellow Crane pavilion. Teng tower is frequently depicted in Chinese art, most famously by the Yuan dynasty painter Xia Yong (active 1340s-1360s); see a painting in the Museum of Fine Arts, Boston (acc.no.29.964). See also a large blue and white vase depicting the same Teng pavilion, Kangxi, which was sold at Bonhams London, 12 November 2015, lot 124.以粉彩描繪江南名勝滕王閣景色，畫面右側以墨彩書初唐詩人王勃之詩句，「滕王高閣臨江渚」。滕王閣座落於江西南昌，贛江東岸。始建於唐永徽四年（653年），為當時任洪州都督的唐高祖李淵之子李元嬰所建。與岳陽樓、黃鶴樓並稱江南三大名樓，歷代文人墨客以其為題的詩詞書畫不勝枚舉，如現藏於美國波士頓美術館之元代夏永所繪《滕王閣圖》，藏品編號29.964。另見一例清康熙青花「滕王閣序」題字棒槌大瓶，售於倫敦邦瀚斯，2015年11月12日，拍品編號124。This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A RARE PALE GREEN AND BLACK JADE 'LINGZHI' AUSPICIOUS EMBLEM17th centurySkillfully carved in openwork as an auspicious lingzhi fungus issuing four ruyi-heads with interlocking stems, the stone of pale grey-green tone with black and brown striations and cloudy inclusions, with hardwood stand. 18.5cm (7 1/4in) high. (2).Footnotes:十七世紀 青玉黑褐沁靈芝擺件Provenance:Spink & Son Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 31 July 1928, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1928年7月31日購自上者，並由後人保存迄今The present lot, symbolising the wish for longevity, was used as an auspicious symbol atop a vase as part of a five-piece garniture. See a pair of bronze and champlevé enamel gu vases with gilt-bronze lingzhi-shaped finials in the Pavilion of the Rain Flowers, Yuhua ge, in the Forbidden City, illustrated by E.Rawski and J.Rawson, eds., China: The Three Emperors 1662-1795, London, 2006, p.131; see also ornamental lingzhi finials atop a pair of cloisonné enamel vases, Kangxi marks and of the period, in the National Palace Museum, Taipei, illustrated in A Garland of Treasures: Masterpieces of Precious Crafts in the Museum Collection, Taipei, 2014, p.33, no.1.10.青玉琢制，呈靈芝形，象徵吉祥長壽，或作五供等佛前供器的頂飾之用。參考北京故宮雨花閣四樓供器中，一對鏨胎琺瑯花觚之上各飾一隻鎏金銅靈芝形飾件，圖見E.Rawski與J.Rawson編著，《China: The Three Emperors 1662-1795》，倫敦，2006年，頁131。另有台北國立故宮博物院館藏一組清康熙掐絲琺瑯冰梅紋五供，兩具小爐之上皆有靈芝形頂飾，圖見《集瓊藻: 院藏珍玩精華展》，台北，2014年，頁33，編號1.10。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 LARGE COLLECTION OF BLUE AND WHITE EXPORT AND OTHER PORCELAINMainly Kangxi to Qianlong Comprising: a large circular 'bamboo on terrace' charger; three large flower and rockwork dishes and one a large dish with figures on terrace; a large 'flower basket' dish; eight matching 'ladies on terrace' plates; two more similar; four 'peony' soup plates; three 'flower basket' saucer dishes; a single 'peony' saucer; three oblong serving dishes; a Kangxi-revival jar and cover; a Ming Bourdalou; an Imari pattern tea caddy, together with one large and one mid-sized Dutch Delft dishes; and an English transfer printed 'onion pattern' saucer dish. The large charger: 38cm (15in) diam. (34).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 CELADON-GLAZED LOBED BOWL AND A GE-TYPE VASE, MEIPING18th centuryThe bowl with fluted sides and a fine craquelure on the glaze; the vase with a tapering baluster body rising from a recessed base to a waisted neck with flaring rim, covered overall with a crackle-glaze. The vase: 20cm (7 7/8in) high (2).Footnotes:Provenance: The Kangxi bowl: M H Soames Collection (label).For further information on this lot please visit Bonhams.com

A VARIED GROUP OF BLUE AND WHITE PORCELAIN VASES AND A DISHKangxiComprising: a dish decorated with a lady and gentleman in an interior scene, Kangxi six-character mark and of the period; a pair of garlic-neck vases decorated with archaistic designs; a jar decorated overall with peony sprays; and a group of four variously decorated smaller vases.The pair of vases both approx. 20.5cm (8 1/8in) high (8).For further information on this lot please visit Bonhams.com

A FAMILLE VERTE 'THAI MARKET' DISHKangxiEnamelled in green, yellow, and iron-red with bold concentric designs of scrolling pomegranates, phikul flowers and flames, the exterior with further scrolling borders above a lappet band at the foot.32.5cm (12 3/4in) diam.For further information on this lot please visit Bonhams.com

A PAIR OF BLACK-GROUND FAMILLE VERTE BISCUIT RETICULATED EWERS AND COVERSKangxiThe hexagonal vessels decorated to each side with three moulded and reticulated 'Three Friends of Winter' panels, below lotus scroll bands on the shoulders, all flanked by fish-shaped handles, the covers with reticulated prunus blossom designs, hardwood stands. Each 15.5cm (6 1/8in) high (6).For further information on this lot please visit Bonhams.com

TWO FAMILLE VERTE 'HEHE ERXIAN' FIGURESKangxiEach standing on a square base, holding a vase with a lotus flower, the vest bearing Buddhist symbols and the collar with a ruyi-head band. Each 27.5cm (10 7/8in) high (2).Footnotes:Property From a Distinguished Private Collection.For further information on this lot please visit Bonhams.com

A KRAAK PORCELAIN BOWL AND FIVE BLUE AND WHITE PORCELAIN VASESWanli to KangxiComprising: a Kraak bowl with radiating panels of foliage; a tall 'Precious Objects and Buddhist Emblems' bottle vase; a small 'dragons' bottle vase; a small baluster vase and cover with chrysanthemum and lotus; a fluted baluster vase bearing foliate designs; and a smaller 'Long Elizas' baluster vase and cover.The tallest: 27cm (10 5/8in) high (8).Footnotes:Provenance: All bar the fluted example Geoffrey Waters/London (labels).For further information on this lot please visit Bonhams.com

A FAMILLE VERTE 'MYTHICAL BEASTS' BOWLJiajing six-character mark, KangxiThe bowl with gently sloping sides opening to a wide circular mouth and on a raised foot, decorated to the interior and exterior with a variety of mainly winged beasts, flowers and waves on a scroll ground.19.6cm (7 11/16in) diam.Footnotes:Provenance: From the family of Jason 'Jay' Gould.For further information on this lot please visit Bonhams.com

AN ASSOCIATED PAIR OF FAMILLE VERTE 'GINGER' JARS AND COVERSKangxiEach of ovoid form rising from a recessed base to a short tapering neck, enamelled with lotus and floral decoration around cartouches containing scholars' objects and panels with figures, between two bands of flowers, the covers with similar decoration. Each 29cm (11 1/2in) high (4).For further information on this lot please visit Bonhams.com

A BLACK-GROUND FAMILLE VERTE BISCUIT VASEKangxi six-character mark, late Qing DynastyOf tapering square-section with a flaring circular-section neck, seven warriors in a continuous scene to the neck and each panel bearing battle scenes between troops on foot and lancers on horseback. 60cm (23 5/8in) highFootnotes:Accompanying this lot, is a near-complete auction catalogue printed in English, probably circa 1900, marking presumably the current lot, described as 'a very fine and nicely decorated square shaped Famille-Noire China Vase on stand Kang-hi period (worthy of special attention)'.For further information on this lot please visit Bonhams.com

A FAMILLE VERTE SHALLOW BOWLKangxi six-character mark, late Qing DynastyWith a rolled rim bearing a band of six shaped panels enclosing prunus flowers, decorated to the interior with a battle scene depicting warriors on horseback outside a gate.27.5cm (10 7/8in) 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

TWO BLUE AND WHITE BALUSTER VASESKangxiThe first decorated with blossoming prunus branches on a cracked ice ground; the second moulded and decorated with floral roundels and jardinières of flowering plants, within petal-form borders reserved with birds and further floral sprays. The tallest: 35.5cm (14in) high excluding the mount (2).For further information on this lot please visit Bonhams.com

A FAHUA-GLAZED BISCUIT FIGURE OF WEITUOKangxiThe figure standing with his hands clasped together, balancing a sword across his arms, clad in in armoured robes with a long flowing surcoat.23cm (9in) highFootnotes:Provenance: Robert B. and Beautrice C. Mayer family collection (by repute).Warren E. Cox Collection, New York (label).For further information on this lot please visit Bonhams.com

A WUCAI 'DRAGON AND PHOENIX' JARShunzhi/KangxiThe oviform jar with tapering neck and enamelled with alternating roundels of dragon and phoenix spaced by cloud motifs, all between formal borders, the foot unglazed. 26.5cm (10 3/16in) highThis 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 FINE BLUE-GROUND GREEN-ENAMELLED 'DRAGON' DISHKangxi six-character mark and of the periodThe rounded sides rising from a tapered foot to an everted rim, the interior with a bright green-enamelled dragon with black enamel over the fifth claw writhing in pursuit of a flaming pearl, the motif repeated in the cavetto and around the exterior with two dragons, all amidst flame scrolls and clouds, wood stand.32cm (12 5/8in) diam. (2).Footnotes:A Kangxi mark and period 'dragon' dish with green enamel and black-enamelled fifth claw is illustrated by J. Ayers, The Baur Collection, Vol. IV, Geneva, 1972, pl. A555.A slightly larger dish of the same decoration, but without black enamel to the fifth claws, was sold by Christies Hong Kong, 1 June 2016, Lot 3236. Bowls of the same palette, also with black-enamelled fifth claws, have been sold by Sotheby's New York, 23 September 2020, lot 560, and Sotheby's London, 8 December 1992, lot 315.For further information on this lot please visit Bonhams.com

A PAIR OF UNUSUAL UNDERGLAZE BLUE AND ENAMELLED VASES WITH GILT BRONZE ROCOCO-STYLE MOUNTSThe porcelain KangxiEach of the baluster vases decorated with scattered blooms to the thistle-form neck and to the body in Japanese-inspired representations of chrysanthemum and prunus between moulded spiralling arcaded bands, all highlighted in gilt. Each 32cm (12 5/8in) high (2).For further information on this lot please visit Bonhams.com