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A Chinese blue and white 'phoenix tail' vase,Kangxi (1662-1722), of baluster form with a flared rim, painted in bright shades of blue to depict scholar-officials and their attendants in a garden, 44.5 cm highProvenance: The Private Collection of a European Lady;purchased from Christie's South Kensington, London, 11 May 2016, lot 341.清康熙 青花人物故事图凤尾尊Condition report: There are three areas of overspraying to the mouth rim, the largest measuring approx. 9 cm. x 6 cm. These appear to be concealing cracks.There is a star crack to the base, measuring approx. 9 cm. at the widest point, with associated overspraying.There is some general age-related surface wear.

A Chinese wucai plate,Kangxi (1662-1722), of circular form, the centre painted with blossoming prunus by a rock, surrounded by sprigs of foliage in shaped panels, six-character Kangxi mark to base, 21.8cm diameter 清康熙 五彩花卉纹盘 《大清康熙年制》青花楷书款Condition report: Chips to rim and foot rim. Restoration to the centre.

A Chinese clobbered blue and white vase,Kangxi (1662-1722), of square form with a flared circular mouth, painted with figures in a garden, four-character Xuande stamped mark to base, 29cm high清康熙 青花人物故事图瓶 《宣德年制》楷书模款Condition report: Fully restored.

A collection of Chinese porcelain, comprising: a famille verte cup, Kangxi (1662-1722), of bell form, painted with Li Bai seated by wine vessels, 8.5cm high, a famille rose box and cover, of circular form, painted with boys in a garden, surrounded by florets against a turquoise ground, 9cm diameter, a famille rose tea bowl and cover, painted with dragons amongst clouds, six-character Guangxu mark, 10.7cm diameter, and another, similar, with figures, 10.8cm diameter (7)Condition report: Cup - chipped and cracked, Box - cover with a star crack, a hairline crack to rim. Frits to rims. Surface scratches throughout. Bowl and cover with dragons - cover chipped to rim, a star crack to the side. Bowl with a small firing crack to rim, frits to foot rim.Bowl and cover with figures - bowl with hairline crack to rim.

A pair of Chinese blue and white tea bowls, Kangxi (1662-1722), of lobed form rising from a circular foot, painted with foliage in shaped panels, 8.4cm diameter, and two blue and white tea caddies, Qianlong (1736-1795), of rectangular form, painted with scrolling flowers, 11 and 11.5cm high (4)Condition report: Tea bowls - one with a minute frit to rim and a firing split to foot rim. The other with a small chip to rim.Tea caddies - the smaller one with a hairline crack to rim, the larger one with mouth restored and a glaze frit near foot.

A Chinese blue and white brush pot,Chongzhen (1628-1644), of waisted cylindrical form, painted with a military contest in the fifteenth year of Jian'an (210 AD) from Romance of the Three Kingdoms, vol.24, where in celebration of the founding of Tong Que Tai at the city of Ye, Cao Cao asked his attendant to hang a robe to a willow tree as the prize for the best archer on horseback, 21.2cm diameter17.4cm high A Kangxi blue and white rouleau vase depicting the same story can be found in the Palace Museum.明崇祯 青花铜雀台比武图笔筒Condition report: Chips to rim. One chip issuing a crack across body and along near the foot. A filled hole to base.

A pair of Chinese sancai bowls,Kangxi (1662-1722), each of rounded form with a flared rim, painted with blossoming branches in straw and amber against a mottled-green ground, a seal mark to base,19 and 19.5cm diameter, wood stands (4)Provenance: From the collection of the late Surgeon Captain J A Forrest RN.Surgeon Captain J A Forrest RN (1871-1953) served with the China fleet between 1899 and 1919, during which time he formed a collection of Chinese porcelain. After his death, the collection was bequeathed to his daughter who gifted thirteen items from the collection to the Victorian & Albert museum on 13 October 1954. This pair of Kangxi bowls on stands were retained by the family and came thence by descent.清康熙 素三彩花卉纹碗 连木底座 一对 Condition report: Both chipped and cracked to rim, one chipped to foot rim.Painting not included in the lot.

A collection of Chinese blue and white,comprising:a saucer, Kangxi (1662-1722), painted with a lady and a boy in a garden, four-character Chenghua mark,10.2cm diameter,a jar, Qing dynasty (1644-1911), possibly Kangxi, of ovoid form, similarly decorated, the rim mounted with metalwork, 9.2cm high, and a snuff bottle, Guangxu (1875-1908), of ovoid form, similarly decorated, 7cm high, with a coral stopper (3)清 青花婴戏图小罐及碟 一组三件Condition report: Saucer - small chips and hairline cracks to rim.Jar - unable to check condition of rim. Small chips and hairline cracks to foot. Snuff bottle - rim cracked.

BLUE AND WHITE 'DRAGON' JAR SHUNZHI OR KANGXI PERIOD depicting a ferocious four-clawed dragon chasing a flaming pearl amidst flames and clouds on the tapered bulbous body (Dimensions: 24cm high) (Qty: 1)(24cm high)Qty: (1)

BLUE AND WHITE 'PHOENIX' CENSER KANGXI PERIOD of compressed globular form, painted on the exterior with two pairs of phoenixes, one diving down with the elaborate tails above, two flying horizontally in graceful manner, the fourth one standing beside a rock (Dimensions: 14cm diameter) (Qty: 1)(14cm diameter)Qty: (1)Footnote: Note: the base with an old paper label 'Fellow & Sons Birmingham, 268'

BLUE AND WHITE 'LOTUS' BOWL KANGXI PERIOD raised from a slightly everted foot to deep rounded body and wide mouth, the interior densely decorated with a petalled central medallion, within bands of decorative motifs, the exterior surrounded with overlapping lotus petals below a decorative triangular band beneath the mouth rim, with a wooden stand (Dimensions: 20.5cm diameter) (Qty: 1)(20.5cm diameter)Qty: (1)Footnote: Provenance: Private London collection

BLUE AND WHITE 'GU' VASE KANGXI PERIOD OR LATER the central slightly raised section of the vase painted with a branch of flower issuing from a rock and a landscape setting respectively in a diamond-shape cartouche, the flared two ends fully painted wiht small houses in a mountainous landscape setting (Dimensions: 44.5cm high) (Qty: 1)(44.5cm high)Qty: (1)Footnote: Provenance: formerly in a private USA collection

PAIR OF DOUCAI 'FLOWER' CUPS KANGXI MARK BUT 19TH CENTURY each delicately potted, enamelled on the tapered body with floral and scrolling foliage, the motif finely outlined with underglaze blue, the countersunk button base inscribed with a six-character Kangxi mark (Dimensions: 4.6cm diameter) (Qty: 2)(4.6cm diameter)Qty: (2)

BLUE AND WHITE MOON FLASK KANGXI MARK painted with two identical scenes of two joyous boys holding a sprig issuing to a stylised lotus on the flattened circular body in pointed quatrefoil cartouche, the shoulders applied with a pair of chi dragon handles, the base incised with a four-character Kangxi mark (Dimensions: 27.5cm high) (Qty: 1)(27.5cm high)Qty: (1)Footnote: Provenance: Private Scottish collection, Dundee

WUCAI JAR KANGXI PERIOD the bulbous body supported on a recessed base and terminating in a short straight neck, one side of the exterior painted with a scene of winnowing , the other side depicting the silk selecting and producing process, each inscribed with a corresponding poem created by a Song-dynasty poet Zhao Mengfu (1254-1322) (Dimensions: 22.5cm wide) (Qty: 1)(22.5cm wide)Qty: (1)

WUCAI JAR KANGXI PERIOD of tapered bulbous body, waisted neck and everted short wide mouth, the exterior finely painted with figures greeting one another before a mottled horse accompanied by an attendant, another attendant leaning against a tree trunk, the base inscribed with a Daoist emblem in underglaze blue (Dimensions: 13.7cm high) (Qty: 1)(13.7cm high)Qty: (1)

WUCAI CUP KANGXI PERIOD of bell-shaped, finely potted with deep rounded sides rising from a short foot to a flared rim, the exterior delicately enamelled with three figures, including a warrior in red armour to one side, a figure in martial art action with his bident pierced on a fox, another female figure wearing a high feathered crown looking at the moon (Dimensions: 6.1cm high) (Qty: 1)(6.1cm high)Qty: (1)

YIXING STONEWARE TEAPOT WITH COVER PROBABLY KANGXI PERIOD the globular body supported on a recessed foot, the side attached with a large loop handle moulded as a sinuous chi dragon, with a dragon head issuing from the other side forming an angled spout, the cover topped with a ball-shaped finial carved in openwork with two phoenixes in flight (Dimensions: 26.5cm wide) (Qty: 1)(26.5cm wide)Qty: (1)Footnote: Provenance: Private UK collection

CHINESE IMARI 'LOTUS' JAR KANGXI PERIOD the ovoid body painted with lotus blooms borne on foliated tendrils in iron-red, gilt and underglaze blue (Dimensions: 17.5cm high) (Qty: 1)(17.5cm high)Qty: (1)

FAMILLE ROSE PINK-GROUND WINE CUP WITH WARMER AND COVER KANGXI MARK BUT LATER composed in three parts: a small cup rising from sloping sides to an everted rim, decorated with two roundels containing chrysanthemum flowers around the body against a pink sgraffiato ground, the countersunk base with a four-character apocryphal Kangxi mark in red; a square wine warmer with a stepped cover, each side of the exterior decorated with prunus, orchid, bamboo and chrysanthemum in cartouches against pink ground, the base inscribed with a six-character apocryphal Kangxi mark in iron-red (Dimensions: 11.1cm high) (Qty: 1)(11.1cm high)Qty: (1)Footnote: Provenance: Private Taiwanese collection

PEACHBLOOM-GLAZED BRUSH WASHER QING DYNASTY, 19TH CENTURY applied with a glaze of soft rose colour thinning to pale pink at the sides, variegated with yellowish-green and white spots, the base inscribed with an apocryphal six-character Kangxi mark in underglaze blue (Dimensions: 10cm diameter) (Qty: 1)(10cm diameter)Qty: (1)Footnote: Provenance: Private Taiwanese collection

PEACHBLOOM-GLAZED SEAL PASTE BOX AND COVER KANGXI MARK, POSSIBLY OF THE PERIOD of circular form, covered on the top of cover and exterior of the box with a pale red glaze variegated with white patches, the base inscribed with a six-character Kangxi mark in underglaze blue (Dimensions: 7.4cm diameter) (Qty: 1)(7.4cm diameter)Qty: (1)

PEACHBLOOM-GLAZED 'APPLE' WATER POT KANGXI MARK the globular body tapering towards the foot and curving inward before rising up to a short cylindrical neck and everted mouth, covered overall in a peach-red glaze thinning from mouth and darkening around the foot with white variegation, the base inscribed with a six-character Kangxi mark in underglaze blue (Dimensions: 8cm diameter) (Qty: 1)(8cm diameter)Qty: (1)

BLUE AND WHITE 'SEVEN SAGES OF THE BAMBOO GROVE' BASIN KANGXI PERIOD potted in bulbous body and lipped rim, the body decorated with the famous 'Seven Sages of the Bamboo Grove' playing musical instruments, the scene set amongst a mountainous landscape with clouds (Dimensions: 20.5cm diameter) (Qty: 1)(20.5cm diameter)Qty: (1)

BLUE AND WHITE BOWL KANGXI PERIOD potted with deep rounded sides and gently flared rim, painted on one side within a rectangular border with scholars sailing on boat in a dramatic landscape at night, the reverse plain, further decorated with a floral medallion within a lotus band in the interior, the base inscribed with a four-character 'Fu Gui Chang Chun' mark (Dimensions: 19cm diameter) (Qty: 1)(19cm diameter)Qty: (1)

A 20th Century Chinese Republic period Kangxi mark (1662-1722) Oriental porcelain charger plate bowl of circular form having hand painted blue and white decoration depicting phoenix with scrolling leaves and detailed borders all having iron red ocher detailing. The underside decorated with floral medallions and scrolling leaves. Six character Kangxi mark to underside in underglaze blue Kaishu script. Measures approx; 39cm wide.

An antique 19th Century Chinese Oriental Kangxi marked blue and white miniature ginger jar depicting the One Hundred Boys. The boys painted in blue to the bulbous body and cover atop with blue painted Kaishu script character marks to the base. Measures approx; 9cm x 7cm diameter.   

An antique 19th Century Chinese Oriental Kangxi mark blue and white vase of baluster shape having a flared circular rim, tapering neck and baluster form body. Hand decorated in the prunus pattern. Four character Kangxi mark in underglaze blue Kaishu script. Measures approx; 25cm tall. No visible damage.

A large and impressive pair of antique 19th Century Chinese Qing Dynasty Kangxi mark (1661-1722) Oriental blue and white prunus pattern ginger jars / temple jars and covers decorated in the Sacred Objects / Precious Objects pattern. The lidded jars having hand painted prunus pallette lids with deep cobalt prunus bodies depicting blossoming flowers. Quatrefoil white cartouche panels depicting jardinieres, trees, stands and flowers. The undersides having a four character Kangxi Reign mark to bases in Kaishu script. Condition; some minor faults to the glaze and minor chips to the lids. Overall good examples. Measures approx; 30cm tall.

A group of three antique 18th Century Chinese Oriental small saucer dishes / plates. One export late 18th Century example with hand painted / enameled court scene to the center. The other two being early 18th Kangxi period one having blue and white elder figure decoration interspersed with floral detailing and six character marks to the base with the other in the Chinese Imari Pattern. Largest measures approx; 13cm diameter.   

A large antique 19th Century Chinese Kangxi mark blue and white porcelain double gourd vase having hand painted decoration depicting scenes of figures in white cartouche panels with scrolling leaves throughout. Six character Kangxi reign mark to base in underglaze blue Kaishu script. Measures approx; 38cm tal. No visible damage. 

A LARGE PALE GREEN AND GREY JADE CARVING OF A WATER BUFFALO17th/18th centuryThe recumbent beast naturalistically modelled with its forelegs and hind legs tucked under the powerful body accentuated by a pronounced spine, the tail flicked to the left side and head turned to gaze amenably at the viewer, the gracefully-curved horns flanking the flat forehead, the stone of pale-green tone with dark-grey patches, wood stand. 19cm (7 1/2in) long. (2).Footnotes:十七/十八世紀 青白玉帶皮臥牛Provenance: Erwin Scharf (1904-1978), and thence by descentErwin Scharf (1904-1978) emigrated from Germany to Britain in the 1930s to escape Nazi persecution of the Jews. He graduated from the University of Leipzig with a doctorate in law but never practised, instead going into the family business manufacturing sound-reproducing components. His brother Dr Alfred Scharf was an art historian and it was he who encouraged Erwin's interest in art. 來源：Erwin Scharf（1904-1978）舊藏，並由後人保存迄今Erwin Scharf（1904-1978），二十世紀三十年代，為逃避納粹對猶太人的迫害，自德國移民英國。 Erwin畢業於萊比錫大學並獲法學博士學位，後加入製造聲音再現裝置的家族企業。其兄Alfred Scharf博士是一名藝術史學家，激發了Erwin對藝術的興趣。Buffalos were emblematic of agriculture. As such, in Imperial China, where agriculture was considered by Confucian governments to be the main source of tax revenue, the buffalo - used for ploughing - became a symbol of prosperity and hard work. Emperors frequently likened themselves to farmers ploughing the fields with an ox or buffalo under their reins. See for example, the Yongzheng emperor depicted as a famer in Pictures of Tiling and Weaving Portraying Yinzhen, Kangxi period, in the Palace Museum, Beijing (acc.no.Gu6634-8). Buffalos were also employed in literati paintings, to evoke a bucolic, idealised existence in the countryside. This fitted in with the Confucian ideal of a world in peace and harmony with peasants - the second highest in the Confucian social hierarchy after scholars - contributing to the wealth of the empire. The buffalo in turn, fed into a more mythical or spiritual side, recalling both Buddhist and Daoist preoccupation with simplicity, retreat, and the subjugation of the ego. The philosopher Laozi, is frequently painted and depicted in sculpture riding atop a buffalo. Another aspect of the buffalo is its guardian function, stemming from the legend of the Emperor Yu of the Xia dynasty casting an iron ox to subdue floods. This interpretation was most notably represented in the huge bronze ox commissioned by the Qianlong emperor in 1755 and placed gazing out over the Kunming Lake at the Summer Palace. Depicted in jade rather than bronze, with an eternally placid yet watchful expression, the present lot surely also observes and protects its owner. See a related jade buffalo, Qing dynasty, illustrated in Jade: Ch'ing Dynasty Treasures, Taipei, 1997, no.151. A larger, green jade buffalo, Qianlong, is also illustrated in The Woolf Collection of Chinese Jade, London, 2003, no.99.Compare with a slightly smaller mottled dark green and grey jade buffalo, 17th century, which was sold at Christie's New York, 21 March 2019, lot 1172. See also another celadon and grey jade buffalo, 17th/18th century, which was sold at Christie's London, 8 November 2016, lot 4.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 PAIR OF FAMILLE VERTE COCKERELSKangxiEach naturalistically moulded standing above pierced rockwork, with iron-red and gilt combs and wattles, and short yellow beaks between large eyes, the feathers incised and vividly painted in purple, yellow, and green enamels. 26.5cm (10 3/8in) high. (2).Footnotes:清康熙 五彩雄雞一對See a very similar pair of famille verte cockerels, Kangxi, illustrated by P.Kjellberg, Objets Montes: du Moyen Age a nos jours, Paris, 2000, pp.94-95. A related pair of famille rose cockerels, 1740-1760, is illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol.I, London, 2016, pp.318-319, nos.725-726.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 CLOISONNÉ ENAMEL AND GILT-BRONZE HAT-STANDQianlongThe hollow stand composed of four segments, rising on a domed foot, supporting a tall shaft formed from baluster and gu-shaped sections, all below a compressed globular top, the bronze elements gilt and the surface covered in vibrant polychrome interlacing designs and blossoming lotus, all on a bright turquoise ground. 28cm (11 1/8in) high.Footnotes:清乾隆 銅胎掐絲琺瑯番蓮紋帽架Provenance: a French private collection來源：法國私人收藏See a similar cloisonné enamel hat stand, ,mid Qing dynasty, in the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Enamels, 4, Beijing, 2011, p.174, no.123. Compare also with a related cloisonné enamel hat stand, Kangxi, in the Metropolitan Museum of Art, acc.no.29.110.32. A related pair of cloisonné enamel hat-stands, Qianlong, was sold at Christie's New York, 24 March 2011, lot 1622.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 GILT-DECORATED BLACK LACQUER BARREL-SHAPED STOOL18th century The well-constructed circular top lavishly decorated in gilt designs depicting a central medallion made of interlacing acanthus leaves surrounded by similar designs at the corners, above a narrow reticulated apron carved with ruyi heads, the inward-curving legs terminating in hoof feet set into the base flowerhead stretcher, all with further gilt designs of scrolling acanthus leaves issuing curling tendrils. 46cm (18 1/8in) high.Footnotes:十八世紀 黑漆描金捲葉紋六足凳Provenance: a French private collection來源：法國私人收藏Compare the flower-head shape of the stool and the stretchered base frame with a black-lacquered wood stool, Qianlong, in the Qing Court Collection, illustrated in The Complete Collection of Treasures from the Palace Museum. Furniture of the Ming and Qing Dynasties, vol.2, Hong Kong, 2002, p.75, no.64.A related black-lacquered stand decorated with gilt designs, Kangxi, was sold at Christie's London, 11 May 2010, lot 191.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 FAMILLE ROSE MIRROR-BLACK-GLAZED VASE, HUQianlong seal mark, Republic PeriodRobustly potted with deep rounded sides rising to an angled shoulder, surmounted by a tall flaring ribbed neck flanked with a pair of handles formed by gourd vines each bearing five gourds in high relief amidst the leafy tendrils trailing down onto the shoulder, all reserved on the lustrous black ground, the interior of the neck and base glazed white, the base with the seal mark, traces of gilding remaining. 59cm (23 1/2in) high.Footnotes:民國 粉彩瓜果藤曼耳烏金釉大壺青花「大清乾隆年製」篆書款The present vase appears to have been inspired by the innovative vessels produced during the Qianlong reign, decorated around the shoulders or rims with fruits, flowers, dragons or clambering boys modelled in high relief and painted in bright famille rose enamels. See, for example, a famille rose vase, Qianlong mark and of the period, decorated around the neck with high-relief designs of peaches and lingzhi, illustrated in Kangxi, Yongzheng, Qianlong: Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p.363, no.44. See also a famille rose mirror-black-glazed 'double-gourd' vase, 18th century, which was sold at Christie's New York, 17 September 2010, lot 1488.For further information on this lot please visit Bonhams.com

AN EXTREMELY RARE EMBROIDERED SILK BLUE-GROUND 'DRAGON' RANK BADGEKangxiFinely embroidered in rich couched-gold thread with a central commanding front-facing four-clawed dragon striding in pursuit of a flaming pearl amidst flames and formal four-fold ruyi cloud scrolls, all on a deep midnight-blue satin silk ground, mounted. 38cm (15in) x 37cm (14 1/2in).Footnotes:清康熙 藍地刺繡金龍紋方補Provenance: Linda Wrigglesworth, London, purchased in the early 1980's.來源：倫敦Linda Wrigglesworth，購於二十世紀八十年代初No identical example appears to have been published in public collections. Fully embroidered in fine couched-gold thread with a bold powerful front-facing dragon, highly-detailed with large eyes and flowing mane between its horns, the present badge is a rare example dating to the Kangxi reign. The badge shows the prosperous era of the Kangxi emperor's reign using the finest gold thread of the highest quality. In addition, a fine blue thread defines the dragon's scale with original selvedge and border intact. Square badges decorated with a front-facing four-clawed dragon such as the present example were typically reserved for Imperial dukes of the fourth rank. Rank badges decorated with dragons identified members of the Imperial family and princes of the first to eighth ranks. The first four ranks were solely granted to direct male-line descendants of the emperor. The highest six ranks enjoyed the 'Eight Privileges', gifts of the emperor, which included jade books, sets of seals for correspondence, precious stones on the mandarin hat crests, dragon robes and Imperial porcelain wares; see T.A.Wilson, On Sacred Grounds: Culture, Society, Politics, and the Formation of the Cult of Confucius, Boston Ma, 2002, pp.69 and 315. The 'Eight Privileges' entitled the prince to participate in state councils and share the spoils of war. However, the prince was also bound to reside in the capital and render service to the Imperial court.Two badges were normally attached to the costume, respectively to the back and front, which was was split to allow the garment to be buttoned up at the front. The badge system was first introduced in 1391 during the Ming period and continued onto the Qing dynasty, the styles changed according to the taste of the time; see L.Wrigglesworth and G.Dickinson, The Imperial Wardrobe, London, 1990, pp.120-142.Stylistically, the present dragon closely compares with the writhing dragons featured with prominent heads if compared to their bodies, highly-defined round cheeks and flowing mane and whiskers, which decorate the yellow-ground Imperial robe, dated to the early Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures from the Palace Museum. Costumes and Accessories of the Qing Court, Shanghai, 2006, no.23. See also the dragons within the roundels decorating a blue-ground silk robe, Kangxi, also in the Qing Court Collection, illustrated in ibid., no.10, and the dragons decorating a blue-ground man's formal court coat, illustrated by J.Vollmer, Silks for Thrones and Altars. Silk for Thrones and Altars: Chinese Costumes and Textiles from the Liao Through the Qing, Berkeley, 2004, pp.48-49, no.20.For further information on this lot please visit Bonhams.com

A VERY RARE CIVIL OFFICIAL'S 'GOOSE' RANK BADGE, BUZIKangxiMade for a fourth-rank civil official, the elegant bird worked in gold satin stitch and black tips standing on a rock emerging from waves tossed with jewels, focused towards the sun disk and surrounded by wispy ruyi clouds and the sun finely worked in satin stitch in shades of blue, green, charcoal and coral, all slightly raised and reserved on a rich ground of couched gold threads, within an added blue brocade border, mounted. 39cm (15 3/8in) x 38cm (15in).Footnotes:清康熙 刺繡雲雁紋四品文官補子Provenance: Linda Wrigglesworth, LondonA distinguished French private collection來源：倫敦Linda Wrigglesworth法國傑出私人收藏Boldly designed in brilliant colourful silk, making lavish use of couched-gold thread worked in a geometric pattern, the present badge is a rare example dating to the Kangxi period and would have been made for a civil official of the fourth rank.Badges were made to be worn in pairs, respectively to the back and the front of the surcoat, the latter was split to allow the garment to be buttoned up at the front. The present badge would have been therefore designed to be sewn onto the back of the garment. Although a variety of symbols had been used since antiquity to indicate rank, an all-inclusive court-ranking system was instituted in 1391 and continued in force with small adjustments until 1911. Different categories of animals distinguished the aristocracy from the gentry, while other types differentiated status within the nine grades of the military and civil bureaucracies; see S.V.R.Camman, 'The Development of of the Mandarin Squares', in Harvard Journal of Asiatic Studies, vol.8, no.2, 1944, pp.71-130.Badges decorated with different types of birds were reserved for use by the civil officials. The birds used as a rank insignia were based on real, rather than imaginary species. Accordingly, civil officials of the first rank wore badges displaying the Manchurian crane; second-rank officials wore badges decorated with golden pheasants; the third rank wore peacocks, the fourth wild geese shown with ochre plumage, the fifth silver pheasants; the sixth egrets; the seventh mandarin ducks; the eight quails; the ninth paradise flycatchers. Birds generally symbolised literary elegance and were thus a suitable creature to designate civil officials who had gained their position through examinations based on the classics of the Confucian canon; see L.Wrigglesworth and G.Dickinson, The Imperial Wardrobe, London, 1990, pp.121-122. Compare with a related silk badge embroidered in couched gold thread and peacock-feather-wrapped thread, depicting a qilin, Kangxi, in the Philadelphia Museum of Art, illustrated in Art of China. Highlights from the Philadelphia Museum of Art, New Haven and London, 2018, p.153. See another related silk badge depicting a crane, embroidered in couched gold thread, Kangxi, illustrated by L.Wrigglesworth and G.Dickinson, The Imperial Wardrobe, London, 1990, p.121.Compare with a related silk embroidered badge of a crane, Kangxi, which was sold at Christie's Hong Kong, 30 May 2012, lot 4032.For further information on this lot please visit Bonhams.com

AN EXTREMELY RARE IMPERIAL HEIR-APPARENT APRICOT-GROUND SILK EMBROIDERED DRAGON ROBE, JIFUQianlong/JiaqingMeticulously worked on the front and back in satin stitch and couched gold threads with nine writhing, five-clawed dragons clutching or pursuing flaming pearls amidst dense trailing scrolls of five-coloured clouds interspersed with bats, Shou characters and Wan symbols, all above the terrestrial diagram and lishui stripe at the hem, picked out in vibrant shades of blue, yellow, red, coral and green, reserved on a deep apricot ground, the matching dark-blue-ground collar and cuffs worked with further dragons amidst further bats, clouds and waves, lined in blue silk. 166cm (65 3/8in) wide x 149cm (58 5/8in) long.Footnotes:清乾隆/嘉慶 杏黃地繡金龍彩雲紋皇太子吉服袍Provenance: an American private collectionLinda Wrigglesworth, London來源：美國私人舊藏倫敦Linda WrigglesworthSuperbly embroidered on both the inner and outer surface with nine resplendent lively five-clawed dragons riding the heavens, finely worked in metallic gold threads amidst a profusion of five-coloured trailing clouds interspersed with a multitude of bats, the present robe is a rare and remarkable example of its type. The remarkable embroidery and auspicious symbolism relating to the ten thousand folds of happiness is conveyed by the combination of multiple bats and wan symbols, making it very likely that the robe would have been worn by Aisin Gioro Yongyan, before he was enthroned as the Jiaqing emperor following the Qianlong emperor's formal retirement in 1795. All parts are original including the apricot-orange ribbed sleeve extenders.The impeccable tailoring and the depictions of dragons clutching, rather than chasing, flaming pearls, suggest that this robe would have been worn by a high-ranking individual. 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 apricot-orange colour xinghuang of this magnificent 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 product 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.Wearing robes decorated with dragons, therefore, facilitated the Manchus' transformation of their image in the eyes of the Han populations from chieftains to legitimate rulers of China. 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 related apricot-ground silk embroidered dragon robe, late 18th century, illustrated by R.D.Jacobsen, Imperial Silks: Ch'ing Dynasty Textiles in the Minneapolis Institute of Arts, vol.1, Minnesota, 2000, pp.146-147, no.44. See also a related apricot-ground dragon robe, Jiaqing, in the Qing Court Collection in the Palace Museum, Beijing, acc.no.00042987.For further information on this lot please visit Bonhams.com

A RARE TIBETAN-STYLE LACQUERED EWER AND COVER, DUOMUHU18th century The tall cylindrical body issuing a curved spout, divided into three sections by raised bands decorated with floral scrolls, finely decorated and the body with gilded designs of leafy branches and floral balls, all on a gilded speckled background, the circular cover with designs of blossoming lotus borne on meandering stem. 42.5cm (16 6/8in) high. (2).Footnotes:十八世紀 黑漆描金花葉紋多穆壺The duomuhu shape is derived from a Tibetan prototype known as the bey lep, which was used for storing milk tea in Lamaist monasteries. Towards the end of the 17th century, following the Kangxi emperor's renewal of interest in Tibet and Tibetan Buddhism, vessels featuring the duomu form appeared in metalwork and in porcelain; these were were usually decorated with enamels and used to store butter, milk and wine. See for example, a cloisonné enamel duomuhu ewer, 17th century, illustrated by H.Brinker and A.Lutz, Chinese Cloissone: The Pierre Uldry Collection, Zurich, 1989, pl.159.Compare with a related purple-lacquer milk pot with a gold-painted vine-and-lotus design, mid Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum. Lacquer Wares of the Qing Dynasty, Shanghai, 2006, p.182, no.135.For further information on this lot please visit Bonhams.com

A RARE TWELVE LEAF COROMANDEL LACQUER DOUBLE-SIDED SCREEN18th century Finely decorated on both sides with garden scenes depicting numerous Immortals and figures from Daoist folklore, one side with Laozi riding his ox, poets, fairies and mythical animals, the reverse with further mythical figures including the Queen Mother of the West, the Star Gods inspecting the Taiji Diagram and the birthday celebration for Guo Ziyi, a Tang dynasty hero, surrounded by arriving guests crossing the footbridge to approach the central pavilion where the hero is also entertained by dancers and musicians, in the courtyard groups of military and civilian officials waiting their turn to pay respects, surrounded by noble families, all below rectangular and circular reticulated panels set on diaper grounds, within a floral border interspersed with rectangular, fan-shaped and circular cartouches depicting further figures and flowers. Each leaf 292cm (115in) high x 54cm (21 1/4in) wide (12).Footnotes:十八世紀 款彩樓閣園遊圖十二開屏風Provenance: a US West Coast private collection來源：美國西岸私人收藏The term 'Coromandel lacquer' was originally coined for this type of Chinese lacquer by Europeans who mistakenly thought that it originated from the Indian Coromandel Coast, as a result of its passing through the trading ports whilst en route to the West. These screens were highly expensive and laborious to produce, and were intended for use by high-ranking officials, scholars and gentry who commissioned them to commemorate important events such as birthdays. The present lot contains numerous allusions to auspicious events in Chinese myth and legend, and would have been an appropriate birthday gift. One panel, for example, shows the Queen Mother of the West descending from the clouds on a phoenix. She presided over the mythical Orchard of Immortality, whose peaches could rejuvenate Immortals. In time, motifs of the Queen Mother of the West came to represent the wish for longevity.Another scene on the screen depicts a reception or banquet given by General Guo Ziyi (697-781), a celebrated figure who was credited with saving the Tang dynasty by putting down the An Shi rebellion. He was later made a prince and eventually deified in popular culture as a God of Wealth and Happiness. Depictions of Guo Ziyi and his numerous offspring celebrating his birthday were also frequently employed on screens of this kind. There is also a scene of the poet Tao Yuanming (AD 365-427) renowned for his love of wine and chrysanthemums which later, due to his poetry, became a symbol of rustic autumnal retirement. It is probable that the scenes on this screen derived from woodblock prints in popular novels. Several Coromandel lacquer screens decorated with similar scenes of palaces and processions, Kangxi, are illustrated by W.De Kesel and G.Dhont in Coromandel: Lacquer Screens, Gent, 2002, pp.40-44. See also further examples illustrated by M.Beurdeley, Le Mobilier Chinois: Le Guide du Connaiseur, Fribourg, pp.135-142.Compare also with a related twelve-leaf screen with palatial scenes, Kangxi, dated 1691, which was sold at Sotheby's London, 7 December 2016, lot 61.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A DOUCAI 'LOTUS AND MANDARIN DUCKS' DISHChenghua six-character mark, YongzhengFinely painted to the interior with a medallion depicting two Mandarin ducks, one in flight, the other swimming in a lotus pond, the cavetto with a continuous scene of Mandarin ducks swimming amidst aquatic plants in a lotus pond, the underside with four scattered floral sprays. 20cm (7 7/8in) diam.Footnotes:清雍正 鬥彩滿池嬌紋盤青花「大明成化年製」楷書款Provenance: Charles William Martin (1850 - 1896), Quorn Place, Leicestershire來源：英國萊斯特郡Charles William Martin（1850-1896）舊藏Pairs of Mandarin ducks are particularly auspicious for weddings as they represent conjugal bliss. Depicted together with lotus he meaning 'harmony', the paired ducks symbolise the wish for a harmonious and happy marriage.Compare with a related doucai 'lotus pond' dish, Yongzheng mark and period, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelain in Polychrome and Contrasting Colours, Shanghai, 1999, p.235, no.216.Compare with a related doucai 'lotus pond and Mandarin ducks' dish, Chenghua mark, Kangxi or Yongzheng, which was sold at Bonhams London, 7 September 2011, lot 153.For further information on this lot please visit Bonhams.com

A RARE AND LARGE FAMILLE VERTE AND GILT 'DRAGON' SAUCER-DISHKangxi six-character mark and of the periodWell potted, boldly and vividly enamelled across the interior with a central fearsome four-clawed red-scaled dragon with a green face energetically striding amidst flames in pursuit of a gilt flaming pearl, the base with the six-character mark within a double ring. 36.6cm (14 1/8in) diam.Footnotes:清康熙 五彩描金遊龍紋大盤青花「大清康熙年製」楷書款Compare with a related famille verte dish depicting a central dragon, Kangxi, in the Qing Court Collection, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelains in Polychrome and Contrasting Colours, Hong Kong 1999, no.106. See also another famille verte dish decorated with a single dragon chasing a gilt flaming pearl, Kangxi six-character mark and of the period, in the British Museum, acc.no.Franks.510.A similar design of a striding dragon pursuing a gilt flaming pearl decorates a famille verte vase, Kangxi, which was sold at Sotheby's Paris, 12 December 2013, lot 173. See also a large famille verte black-ground 'dragons' dish, Kangxi mark and of the period, which was sold at Bonhams Hong Kong, 8 November 2012, lot 75.For further information on this lot please visit Bonhams.com

A BLUE AND WHITE EWER FOR THE ISLAMIC MARKETKangxiThe flattened pear-shaped body rising from a spreading foot to a waisted neck with a raised band and cupped mouth, brightly painted on both sides with a riverside scene depicting scholars gazing at rocky cliffs and crossing a bridge, all surrounded by floral sprigs on the rest of the body, the spout and handle with stylised flowerheads. 27.5cm (10 7/8in) high.Footnotes:清康熙 青花開光山水紋執壺The shape of this ewer derives from metal vessels, known as aftaba, which were produced in Turkey and India and used in conjunction with a basin for hand-washing.Compare with a ewer of similar shape, late 17th/early 18th century, illustrated by R.Krahl and J.Ayers, Chinese Ceramics in the Topkapi Saray Museum, Istanbul: A Complete Catalogue, III, Qing Dynasty Porcelains, London, 1986, no.2153.For further information on this lot please visit Bonhams.com

AN UNUSUAL LARGE BLUE AND WHITE 'RIVER LANDSCAPE' BOTTLE VASEQing DynastyThe vessel delicately painted around the compressed, globular body with a continuous landscape scene depicting a sampan crossing a river flanked by high peaks and pine trees as a gentleman gazes at the sky, the elongated neck rising from a band of cross-hatch designs, painted with another river scene featuring further sampan, scholars and fishermen, the rim with further branches of pine trees. 63cm (24 6/8in) high.Footnotes:清 青花山水人物圖長頸瓶Provenance: an English private collection來源：英國私人收藏The present vase is unusually imposing, with its tall, columnar neck, and delicate rendering of a riverscape scene in deep washes of cobalt-blue, often employed on Kangxi wares. A vase of related form, in the collection of the Shanghai Museum, is illustrated by M.Butler and Wang Qingzheng, Seventeenth Century Jingdezhen Porcelain from the Shanghai Museum and the Butler Collection, Hong Kong and London, 2006, pp.2586-287, no.105. Compare with a smaller but similarly-shaped blue and white bottle vase, Kangxi, decorated with officials in a garden, which was sold at Christie's New York, 24 March 2011, lot 1658. Another smaller blue and white bottle vase, Kangxi, decorated with a hunting scene, was sold at Christie's New York, 23 March 2018, lot 777.For further information on this lot please visit Bonhams.com

A BLUE AND WHITE 'MUSK-MALLOW, LOTUS AND POMEGRANATE' BOWLJiajing six-character mark, Kangxi/YongzhengElegantly potted with smooth rounded sides gently flaring at the rim, decorated at the centre with a pomegranate medallion, the exterior finely painted in deep washes of cobalt-blue with a continuous floral scroll alternating blooms of musk-mallows and lotus scrolls issuing leafy meander with smaller buds and leaves ending with curved and serrated edges, the base with six-character mark within a double circle. 15cm (5 7/8in) diam.Footnotes:清康熙/雍正 青花花果紋盌青花「大明嘉靖年製」楷書款Provenance: Eskenazi, MilanA distinguished Italian private collection來源：意大利米蘭古董商，Eskenazi意大利傑出私人收藏This elegant bowl was inspired by the exquisite designs from the celebrated Chenghua period. 'Palace' bowls of the Chenghua period, decorated with similar undulating scrolls of musk-mallows, appear to have served as the prototype for the present vessel. These bowls were characterised by outstanding craftmanship and perfectly balanced proportions.During the Kangxi and Yongzheng reigns, great efforts were devoted to creating subtle and elegant porcelain wares. The Kangxi and Yongzheng emperors prompted the creation of refined vessels which faithfully captured the spirit of the much celebrated classic wares of the Song dynasty and the much-celebrated Imperial style of the Yongle, Xuande and Chenghua reigns of the early to mid Ming dynasty. See a related bowl with design of interlocking floral sprays, Kangxi, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red (III), Hong Kong, 2000, p.76, no.66. See also a blue and white 'day-lily' bowl, Chenghua mark, Yongzheng, in the Percival David Collection, British Museum, London, illustrated by S.Pierson, Illustrated Catalogue of Underglaze Blue and Copper Red in the Percival David Foundation of Chinese Art, London, 2004, p.72.See a related blue and white 'Palace bowl' decorated with musk-mallows, Chenghua mark, Kangxi, which was sold at Christie's New York, 25 September 2020, lot 1574.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE YELLOW-GLAZED INCISED 'DRAGON' JAR, GUANKangxi The vessel heavily potted with an ovoid body surmounted by a short neck with lipped rim, the exterior incised with a pair of sinuous dragons writhing amidst clouds and flames between a band of lappets encircling the base and a collar of ruyi designs enclosing blossoming flowers at the shoulder, the short neck with a dragon and phoenix, covered with a translucent egg-yolk-yellow glaze. 25cm (9 7/8in) high.Footnotes:清康熙 黃釉暗刻龍紋罐Provenance: Georges Louis Parisot (1904-1995)The Mr. and Mrs. Paul Tar Collection, former ambassador of Hungary to the US 1991-1994George Louis Parisot (1904-1995) was High Commissioner of France in Germany, President of the Tonkin coal mines in the 1950s.來源：Georges Louis Parisot（1904-1995）舊藏Paul Tar伉儷舊藏，曾於1991至1994年任前匈牙利駐美國大使George Louis Parisot（1904-1995）曾任法國駐德國高級專員，二十世紀五十年代曾任Tonkin煤礦總裁。Finely potted and covered with an attractive yellow glaze, the present jar appears to have been inspired by Ming porcelain. Compare with a white-glazed jar decorated with incised designs of a writhing dragon chasing a flaming pearl and prancing amidst clouds, above a band of lappets, Jiajing, in the British Museum, London, illustrated by J.Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, pp.216-217, no.9:2. See also the incised designs of a pair of dragons between a band of lappet at the base and a ruyi collar enclosing blossoming lotus on a white-glazed meiping jar, Jiajing mark and of the period, also in the British Museum, illustrated in ibid., p.261, no.9:1.Compare the present jar with a dragon writhing amidst clouds incised on a yellow-glazed dish, Kangxi mark and of the period, in the Zhejiang Provincial Museum, Hangzhou, illustrated in Treasures of Imperial Porcelain, Beijing, 2011, no.002. See also an undecorated yellow-glazed jar and cover, Kangxi, in the British Museum, London, illustrated by R.Scott, Illustrated Catalogue of Ming and Ch'ing Monochrome in the Percival David Foundation of Chinese Art, London, 1989, p.34, no.A527.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 LANGYAO 'OLIVE-STONE' VASEEarly 18th centuryRising from an inward-sloping foot to an oviform body tapering to a waisted neck with flared mouth rim, the rich raspberry-red glaze applied evenly, stopping neatly at the white-glazed rim and above the foot ring, the interior glazed white. 28.3cm (11 1/8in) high. Footnotes:十八世紀早期 郎窯紅釉橄欖瓶The shape of the present vase is rare. The elegantly-potted baluster shape appears to have been an innovation of the Yongzheng reign. Compare, for example, the shape of a blue and white vase, Yongzheng mark and period, illustrated in The Complete Collection of the Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red, Hong Kong, 2010, vol.3, no.85. See also a related yellow-ground green and aubergine enamelled vase, Qianlong seal mark and period, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Miscellaneous Enamelled Porcelains, Plain Tricoloured Porcelains, Shanghai, 2009, no.132.Copper-red glazes, which had not been revisited since the Ming dynasty, were not only successfully fired but technically improved during the Kangxi period renowned for its langyao and 'peach bloom' group. These may have been produced under the supervision of Zang Yingxuan and Lang Tingji, who demonstrated a commitment to precision and technological innovation, which would determine the subsequent history of Qing Imperial porcelain production; see J.Hay, 'The Diachronics of Early Qing Visual and Material Culture', in The Qing Formation in World Historical Time, Cambridge, 2004, p.318.Compare with a similar red-glazed vase, 18th century, which was sold at Christie's Hong Kong, 28 May 2014, lot 3441.For further information on this lot please visit Bonhams.com

A VERY RARE PAIR OF HUANGHUALI HORSESHOE-BACK ARMCHAIRS, QUANYI17th/18th centuryBoth chairs 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 entwined 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 by four round legs joined by stretchers. 96.8cm (28in) high x 59.7cm (23 1/2in) wide x 45.7cm (18in) deep. (2).Footnotes:十七/十八世紀 黃花梨圈椅成對Provenance: The Lai Family collectionChristie's New York, 17 September 2015, lot 901An important European private collection來源：黎氏家族舊藏紐約佳士得，2015年9月17日，拍品編號901歐洲重要私人收藏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 strikingly modern 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, seats of honour; 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 late 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 similar huanghuali horseshoe-back armchair, 17th/18th century, was sold at Christie's New York, 18 March March 2015, lot 139.圈椅扶手兩端出頭迴轉收尾。靠背板上端浮雕抵尾雙螭，翻成雲紋，後腿上截出榫納入圈形彎弧扶手，下穿過椅盤成為腿足，鵝脖與前腿足亦相同造法。扶手與鵝脖間打槽嵌入小角牙。扶手左右支以三彎形上細下大的圓材聯幫棍。籐編座面，椅盤下的券口牙板浮雕卷草​​紋，並沿輪廓線起一道陽線為飾，兩側面則裝光素的券口牙子。腿間施步步高趕棖，踏腳棖及左右兩側管腳棖下各安一素牙子。此對黃花梨圈椅線條簡約流暢，色澤溫潤素雅，盡顯傳統手藝的精工細作。圈椅之名，蓋因其圓靠背狀如圈而得來。宋人稱之為「栲栳樣」， 原意指用竹篾或柳條編成的大圓筐，與之形似。圈椅的後背和扶手一順而下，坐靠時不僅肘部有所倚托，腋下一段臂膀也得到支承，分外舒適。接扶手所用的榫卯是極為巧妙的「楔釘榫」；依王世襄在《明式家具研究》中所述，楔釘榫是將兩片榫頭盡端有小舌的榫頭合掌式地交搭，小舌入槽後要能緊緊貼合ʌ... 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 ZITAN BRUSHPOT, BITONGQing DynastyThe vessel with a cylindrical body defined by gently-curving sides, the base fitted with a central plug, the wood with a rich surface of rich amber hues and darker-brown tones flecked with characteristic short golden streaks. 13.5cm (5 2/8in) high. Footnotes:清 紫檀筆筒Provenance: an important European private collection來源：歐洲重要私人收藏Compare with a similar zitan brushpot, Qing dynasty, Kangxi period, which was sold at Sotheby's, 10 September 2019, lot 50.比較一例與之相似的佛羅倫斯及赫伯特・歐雲伉儷舊藏清康熙紫檀筆筒，售於紐約蘇富比，2019年9月10日，拍品編號50。For further information on this lot please visit Bonhams.com

AN IMPERIAL TIANQI AND QIANGJIN POLYCHROME LACQUER STANDKangxi/YongzhengOf square shape, the top finely incised and highlighted in shades of red, orange, green, blue and black within outlines incised in gold, with a central medallion enclosing blossoming lotus flowers interspersed within meandering stems and bats, within further lotus sprays at the four corners, the stand with a narrow waist decorated with bats and floral scrolls within interlocking geometric designs, above a bombé apron and four gently-tapered legs terminating in hoof feet, all raised on a pedestal base. 47cm (18 1/2in) high x 37cm (14 1/2in) wide x 37cm (14 1/2in) deep. Footnotes:清康熙/雍正 御製填漆戧金纏枝蓮紋四足香几Provenance: Ader Paris, Palais Galliera, 30 March 1965, lot 32 Madame Djahanguir Riahi, ParisSotheby's Paris, Madame Djahanguir Riahi, les oeuvres que j'ai aimées, 6 July 2017, lot 54AAn important European private collection來源：巴黎艾德拍賣行，加列拉宮，1965年3月30日，拍品編號32巴黎Djahanguir Riahi夫人舊藏巴黎苏富比，「Djahanguir Riahi夫人私人珍藏專場」，2017年7月6日，拍品編號54A歐洲重要私人收藏Notable for its elegant and sweeping form, the present stand has been meticulously decorated with intricate floral designs. Stands of similar form to the present example were used in both religious and secular contexts to hold incense burners or flower vases. These objects were designed with great attention to detail and form, pleasing the eye from any angle. For a detailed discussion about the form of incense stands, see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley and Los Angeles, 2001, pp.295-302.Polychrome lacquer became popular in the late Ming dynasty, either brush-painted or gold-engraved and coloured in the more laborious qiangjin-and-tianqi technique, such as on the present stand. While the qiangjin method involved incising gilt lines into the design, the tianqi method featured incised outlines filled with different colours of lacquer. The combination of the two techniques allowed craftsmen to achieve attractive shading effects in vibrant colours within clearly-defined shapes, particularly evident with the painterly scenes of blossoming flowers on the top panels. Highly laborious and time-consuming, this technique was mostly reserved for smaller-sized objects, and only rarely on larger furnishings such as the present lot.The highly-auspicious designs on the present stand suggest religious associations concerning the attainment of Immortality. The 'floating landscape' may have been conceived as the Daoist realm of Kunlun. The blossoming lotus flowers may have also evoked the transmutation of lacquer into gold, a Daoist process aimed at driving away malignant spirits and acquiring immortality. As a flower emerging from mud, however, the lotus was regarded by Buddhists as symbolic of enlightenment and purity and may have also evoked the rebirth in the wondrous Pure Land of Buddha Amitabha.A related lacquer stand, Kangxi, is illustrated by H.Brinker and A.Lutz, Chinese Cloisonné . The Pierre Uldry Collection, London, 1989, p.53, fig.29.Compare with a similar pair of qiangjin and tianqi stands, Kangxi, which was sold at Sotheby's Paris, lot 55. See also a related polychrome lacquer incense stand, 18th century, which was sold at Bonhams London, 16 May 2019, lot 75.香几木胎戧金彩漆，通身髹赭地。桌面長方倭角，四朵如意祥雲圍繞中心番蓮，周圍一圈及四角刻繪纏枝蓮及蝙蝠紋，以紅、綠、赭、黑各色漆填飾。束腰四面鎪出炮仗洞，下承四腿，自肩部以下向外鼓出後，直至下端，始向內捲轉，落在拖泥之上。通體飾番蓮、蝙蝠及拐子龍紋，雕琢精細，富麗堂皇。香几形制多樣，常出現於明清書畫及版畫中。因常置於一室中心單獨陳設或承托器物，香几在造型上沒有較強的方向性，裝飾設計的細節更需面面俱到，才能使觀者無論在何角度都能獲得視覺的愉悅。有關香几形制的詳細探討，見S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁295-302。彩漆工藝於明末十分流行，嘉靖以來更有大量戧金彩漆家具存世。戧金彩漆可細分「戧金填彩漆」和「戧金描彩漆」，兩種做法都需要用「戧金」勾勒出花紋圖案的輪廓及枝葉的細部紋理；「填彩漆」則需要在紋理內填入濃厚的色漆，充滿之後再經磨平，與原漆地平滑一體，色彩紛呈，與金色的邊框紋理碰撞出華麗的裝飾效果。這種工藝耗時耗力，多見於日用小件，如捧盒托盤一類，用於如本例大型家具者，殊為珍罕。參考一例清康熙漆... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A fine pair of huanghuali horseshoe-back armchairs, quanyi18th centuryEach chair with curving toprail sloping down to the arms supported on serpentine side-posts terminating in a curved hook beyond the corner posts set with shaped spandrels, the backsplat carved with a ruyi cartouche enclosing the Shou character surrounded by five bats, the back corner posts continuing below the rectangular frame set with a mat seat to the back legs joined by three straight stretchers and a footrest, the front legs with a cusped arched apron carved with foliate scrolls extending from the beaded edge. 102cm (40 1/8in) high x 59.5cm (23 1/2in) wide x 47cm (18 6/8in) deep. (2).Footnotes:十八世紀 黃花梨浮雕五福捧壽圈椅成對Provenance: an important European private collection來源：歐洲重要私人收藏Although the original version of their design may be traced over a thousand years earlier, quanyi armchairs remain strikingly timeless in the simplicity and balance of their lines. Known as 'horseshoe-back chairs' quanyi, these seats display fluidity in the design, achieved through the continuous curved crest rail that also functioned as an armrest. They were used in dining halls, scholars' studios and halls dedicated to receive guests and were normally reserved for the highest-ranking members of Chinese society; see C.Clunas, Chinese Furniture, London, 1988, p.24.This elegant design owes its inspiration to chairs of nearly-identical shape made from stalks of bamboo, which were bent to form a 'U' shape and bound together using natural fibres. The design of these seats, praised for their lightness and strong appearance, was eventually transferred to hardwood, and so cabinet makers created elegant versions through novel and ingenious joinery techniques. In order to create the curved back, members were initially fitted together with a cut-out to accommodate a tapered wood pin that would lock them firmly in place when inserted. Once all members were joined, a lacquer coat was applied to the surface crest rail to make all the joints virtually invisible.Chairs of this design are recorded either left undecorated, or carved on the splats and aprons with raised motifs, such as the present piece. These motifs are discussed by Robert Hatfield Ellsworth in Chinese Furniture. Hardwood Examples of the Ming and Ch'ing Dynasties, New York, 1971, p.86, who notes that they are an innovation attributable to the late Ming and Kangxi period. He further observes the similarities between the curvilinear apron on chairs of this type and that found much earlier on Tang-period tables, such as the example in the Shōsōin Treasure House, Nara, illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, pl.12.6.Compare the form and design of the present chairs with a set of four related huanghuali quanyi seats, 17th century, which was sold at Sotheby's Hong Kong, 9 October 2020, lot 95.圈椅扶手五接。靠背板上端浮雕五蝠捧壽，後腿上截出榫納入圈形彎弧扶手，下穿過椅盤成為腿足。鵝脖上與扶手相接，下穿過椅盤成為前腿足，扶手左右支以三彎聯幫棍。籐編座面，椅盤下三面券口短牙條，沿輪廓線起陽線如意云紋。腿間施步步高趕棖，踏腳棖及左右兩側管腳棖下各安一素牙子。圈椅質量輕便，造型圓融，是明清時期最為經典的家用坐具之一，並垂範至今。常見於明清兩代的木刻版畫中，並適用於公堂或居家各類場合，供社會高階成員坐憩。有關圈椅用途的詳細論述可見柯律格著，《Chinese Furniture》，倫敦，1988年，頁24。古代工匠通過巧妙的楔釘榫連接硬木木料，復刻出竹篾彎曲的效果，傳達出豐盈且平衡的圓潤之美。圈椅的月牙扶手圓而細，楔釘榫任何構件的輕微誤差都會被相鄰的構件放大，尤須造得精緻，才能確保器物美觀耐用。此對圈椅後背板木紋緻密，雕工精細。除素圈椅外，大多圈椅都如本例，在後背板和券口牙板處進行裝飾。安思遠認為，此種複古的紋飾設計是為晚明至康熙時期的創新，見安思遠著，《Chinese Furniture：Hardwood Examples of the Ming and Early Ch'ing Dynasties》，紐約，1971年，頁86。安氏進一步認為，此類券口牙板可在唐代桌案裝飾中找到相似之處；對比奈良正倉院所藏一例，收錄於S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁244 ，圖版12.6。參考一組十七世紀黃花梨圈椅，造型紋飾可與本例比對，售於香港&#... 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

Four similar Chinese famille rose plates on celadon ground 26cm diameter, late 19th /early 20th century; three Chinese export porcelain plates and a two similar 19th century Chinese sleeve vases bearing Kangxi four character marks, tallest 20.2 cm (9) Provenance: The Collection of Countess Veronica Munster Condition Report: Every piece is damaged or repaired except taller sleeve vase, which has small firing flaw to top rim Condition Report Disclaimer

A Chinese Famille Rose Dish, Qianlong, 28.2cm; ten various Chinese Famille Rose plates, Qianlong, each approximately 22.5cm diameter; two Chinese Famille Rose dishes, Qianlong, 22.5cm diameter; a Chinese Famille Rose soup bowl, Qianlong, 23cm diameter; a Chinese Famille Verte plate, Kangxi, 22cm diameter and six various Chinese Imari plates, mainly Kangxi, between 23cm and 21.5cm wide (21)Provenance: The Collection of Countess Veronica MunsterCondition Report: every single piece either cracked or restored:large dish with 12cm x 6cm star crackten plates all cracked and two restored and some rim chipssoup bowl crackedFamile verte plate cracked all the imari dishes cracked and two restored  Condition Report Disclaimer

A LARGE 20TH CENTURY KANGXI STYLE BLUE AND WHITE FLOOR STANDING VASE AND COVER, the body painted with scenes of fish, water lilies and other aquatic plants with bands of stylised waves, overall height approx. 135cm..

A FINE QUALITY CHINESE KANGXI PERIOD BLUE AND WHITE BIRD AND PRUNUS DISH, the base with Artemisia mark, 27cm diameter.

A LATE 17TH CENTURY KANGXI PERIOD BLUE AND WHITE LOTUS CHARGER, Shop mark to the base, 35cm diameter.

2 Oriental plates, a bowl, 2 Kangxi vases and a papermache Oriental box.

A Chinese blue and white vase, Kangxi mark, late Qing dynasty, painted with the full length figure of a lady alternating with a bird on a branch, 18cm h Neck broken and re-stuck with small loss

A pair of Chinese blue and white prunus-on-cracked-ice vases, Kangxi mark, Qing dynasty, 19th c, 40cm h Rim of one and middle part of body of the other broken and re-stuck