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Click here to subscribeA CHINESE PEACH BLOOM GLAZED PORCELAIN BOWL, 18TH CENTURY. Rounded body with a gently everted rim raised on a short foot, covered in a mottled red glaze thinning at the rim. Probably Kangxi period (1662-1722). 19.2cm diam. 10mm x 8mm Shallow chip to interior rim of bowl. With no cracks and no signs of repair.
A CHINESE BLUE AND WHITE PORCELAIN LANTERN JAR, 19TH CENTURY. Of globular form decorated with various dragons and phoenixes on a scroll ground between bands of lappets and ruyi. The cover with ruyi sceptre handle. Four character mark of Kangxi to base. 27cm tall.Sections of repair at rim af with cellotape at rim. Visible hairlines in body. Cover in good condition.
FOUR CHINESE BLUE AND WHITE PORCELAIN SAUCERS, 18TH CENTURY. Each finely potted, decorated with pine trees within hatched borders. Kangxi period (1662-1722). 11.5cm diam. (4) One with chip to rim. Very minute nick to one rim and foot rim of another. Three in good overall condition with no major signs of damage or repairs.
THREE CHINESE PORCELAIN ITEMS, 18/19TH CENTURY. To include a famille verte porcelain dish, Kangxi period (1662-1722); A famille rose and gilt decorated bowl, Qianlong period (1736-95); Together with a famille rose enamelled brush pot decorated with figures and deer, with six character seal mark of Daoguang to base. Brush pot 11.3cm tall. (3)Dish with two nicks to rim. Bowl with repaired sections to rim, af with cellotape holding two pieces. Brush pot with long hairline at rim.
A GROUP OF CHINESE PORCELAIN ITEMS, 18-20TH CENTURY. To include a pair of famille rose shallow bowls decorated with buildings and pagodas in a landscape scene, Qianlong period (1736-95); Together with four blue and white porcelain miniature vases, three with white metal mounts, three Kangxi (1662-1722) with a later prunus jar. Dishes 23cm diam. (6)One dish with two hairlines at rim, the other dish with repaired section at edge. Blue and white bottles as found with metal mounts, one bottle vase without metal mount and loss to neck.
A LARGE CHINESE BLUE AND WHITE PORCELAIN DISH, 18TH CENTURY. Deep rounded sides decorated with floral sprays. Kangxi period (1662-1722). With a fitted metal rim. 39cm tall. Large single staple joining the two damaged sections. With hairlines into the body from the rim. Defect and glaze loss to the interior over the metal staple repair.
A LARGE PAIR OF CHINESE BLUE AND WHITE PORCELAIN BOWLS, LATE 19TH CENTURY. Each decorated with buildings in coastal scenes with a coastal scene medallion to the interior. Four character marks of Kangxi to base. 25.5cm diam. (2) Some glaze loss and shallow chips to rim. No cracks and no signs of repair.
A LARGE CHINESE BLUE AND WHITE PORCELAIN DISH, 18TH CENTURY. The dish with octagonal lobbed sides with panels depicting garden scene with Long Elizas and floral decoration, Kangxi period (1662-1722). The dish mounted in a later elaborately carved gilt wood frame. Dish approx. 34cm. The frame 49cm total diam. The dish was some minor crazing to interior with no signs of any major damage or repair. No signs of cracking with only minor nicks at rim visible to underside. The dish has not been removed from the frame.
A GROUP OF CHINESE PORCELAIN ITEMS, 19/20TH CENTURY. To include two crackle ware vases decorated with warriors, with four character marks of Chenghua; A similarly decorated smaller crackle ware jar with Chenghua mark; A blue and white prunus vase and cover, A pair of quatre lobed famille rose dishes; A small pair of blue and white dragon vases each with four character Kangxi marks; A blue and white dragon ginger jar and cover, with four character Kangxi mark; Together with one separate crackle glazed cover. Tallest vase 31.5cm. (11)Crackle ware vase good condition but with hole drilled to base. Small crackle ware jar with hairline to body. Second crackle ware vase with hole drilled to base with repair and long deep crack into body. Prunus vase good condition but with hole drilled to base, cover with chip and restuck section at rim. Quartre lobed dishes with nicks and hairlines. Ginger jar in good condition, cover with repair. Pair of small vases both with hairlines. Single cover with faint hairline.
A BLUE AND WHITE 'EIGHT IMMORTALS' INCENSE BURNERKangxiSturdily potted with bulbous sides rising from a heavily potted foot to a waisted neck and flaring rim, the exterior painted with a continuous scene of the eight Daoist Immortals with their attributes in a rocky landscape, below five of the Daoist Treasures alternating with stylised scrolls at the rim, wood cover. 23cm (9in) diam. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清康熙 青花八仙圖香爐Provenance: Sotheby's Amsterdam, 22 May 2001, lot 53An important European private collection來源: 阿姆斯特丹蘇富比，2001年5月22日，拍品編號53歐洲重要私人收藏Compare with a related blue and white incense burner decorated with Shoulao and the Eight Immortals, mid-Kangxi, in the Shanghai Museum, illustrated in Seventeenth Century Jingdezhen Porcelain from the Shanghai Museum and the Butler Collections: Beauty's Enchantment, Shanghai, 2005, p.275.See a related blue and white 'Immortals' incense burner, Kangxi, which was sold at Bonhams Knightsbridge, 31 October 2022, lot 10.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A FAMILLE VERTE BISCUIT 'MAGNOLIA' CUP AND A LOTUS WASHER AND WATER DROPPERKangxiEach vessel naturalistically modelled, one as a large magnolia flowerhead with finely incised veins, issuing from a stem extending down the interior and side forming the base of three feet, 9.4cm (3 3/4in) wide; the second as a large lotus leaf with thorny stem extending down the side, raised on three feet, two formed as lotus pods, 9.4cm (3 3/4in) wide. (2).Footnotes:清康熙 素三彩玉蘭花杯 素三彩荷葉洗連水滴Provenance: The Hon. Nellie and Basil Ionides (the magnolia cup) S. Marchant & Son, London, 14 August 2003 (invoice and label) (the magnolia cup)Roger Keverne Ltd., London, 7 August 2007 (invoice) (the lotus washer)John E. Bodie OBE (1930-2023), London, collection no.98 (the lotus washer), no.54 (the magnolia cup)Published, Illustrated and Exhibited: The Oriental Ceramic Society, China Without Dragons, London, 3-9 November 2016, p.70, nos.36 and 37 (labels). John E. Bodie loaned 7 pieces to the exhibition.來源： Nellie及Basil Ionides伉儷 （玉蘭花杯）倫敦古董商S. Marchant & Son，2003年8月14日（據收據和標籤）（玉蘭花杯）倫敦古董商Roger Keverne Ltd.，2007年8月7日（據收據）（荷葉洗連水滴）大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號98（荷葉洗連水滴），編號54（玉蘭花杯）展覽著錄： 東方陶瓷學會，《China Without Dragons》，倫敦，2016年11月3-9日，第70頁，編號36及37（編號），John E. Bodie曾借展7件藏品給該展覽See a related pair of lotus leaf water vessels with ducks, Kangxi, illustrated by W.R.Sargent, The Copeland Collection: Chinese and Japanese Ceramic Figures, Salem, 1992, no.7. Compare with a related pair of famille verte 'duck and lotus' water droppers, Kangxi, which was sold at Bonhams London, 2 November 2023, lot 176. See also a similar famille verte lotus brush washer, Kangxi, which was sold at Christie's London, 19 February 2013, lot 66.For further information on this lot please visit Bonhams.com
AN AUBERGINE-GLAZED 'EIGHT BUDDHIST EMBLEMS' SAUCER DISHYongzheng six-character mark and of the periodCrisply and delicately incised around the exterior with the Eight Buddhist Emblems, covered with a rich lustrous purple-blue glaze. 11.2cm (4 1/2in) diam. Footnotes:清雍正 茄皮紫釉暗刻八吉祥紋盤青花「大清雍正年製」楷書款Provenance: Cartwright CollectionBluett & Sons, London (label), 11 June 1975John E. Bodie OBE (1930-2023), London, collection no.48來源： Cartwright舊藏倫敦古董商Bluett & Sons（據標籤），1975年6月11日大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號48The Cartwright Collection, comprising monochrome Chinese porcelain and glass, is a testament to the discerning tastes of three generations of the Cartwright family from Aynhoe Park, Northamptonshire. Initiated by William Cornwallis Cartwright, M. P. (1825-1915), who acquired select ceramics and glass primarily from Bluett's between 1910 and 1913, the collection expanded under the stewardship of his son, Sir Fairfax Leighton Cartwright, GCMG, GCVO (1857-1928). Concurrently, Richard Fairfax William Cartwright (1903-1954), grandson of William, embarked on his own acquisitions starting in 1933, amassing a collection of around 400 monochrome porcelains by his untimely death in 1954. These treasures adorned a specially curated room at Aynhoe Park, hailed in the post-World War II guidebook as 'one of the glories of Aynhoe.'Following the sale of Aynhoe Park circa 1960, Roger Bluett facilitated the relocation of the collection to the Cartwright family's manor house near Bath in the mid-1970s, which belonged to R.F.W. Cartwright's daughter. This transition likely prompted the sale of a select few duplicates through Bluetts, initially showcased at the Antique Dealers' Fair held at the Grosvenor House Hotel in June 1975.Compare with two related aubergine-glazed incised dishes but with dragons, Kangxi marks and of the period, the first illustrated in Chinese Porcelain: The S.C.Ko Tianminlou Collection, Part I, Hong Kong, 1987, pl.144; the other illustrated by J.Ayers in Chinese Ceramics: The Koger Collection, London, 1985, pl.144.For further information on this lot please visit Bonhams.com
A PAIR OF EUROPEAN-ORMOLU-MOUNTED CANDLEHOLDERS WITH CHINESE PORCELAIN 'BOYS'The Chinese porcelain circa 1750Each with three seated boys with jovial expressions clad in a blue-glazed dudou holding lotus sprays and precious objects on ormolu mounts in the form of a tree supporting a Kakiemon-style drip pan and fluted candle holder of soft-paste French porcelain, most likely Chantilly. 15cm (5 3/4in) high. (2).Footnotes:中國瓷器部分約1750 青花童子配歐洲製鎏金銅飾燭臺一對Provenance: Gerald Kerin Ltd., London, 14 June 1965 (invoice; the invoice dates the ormolu mounts as Louis XVI)John E. Bodie OBE (1930-2023), London, collection no.105來源：倫敦古董商Gerald Kerin Ltd.，1965年6月14日（據收據；收據標註鎏金銅飾為路易十六時期）大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號105Compare with a pair of very similar seated boys in blue-glazed tunics, circa 1750, illustrated by D.Howard, The Choice of the Private Trader: The Private Market in Chinese Export Porcelain illustrated from the Hodroff Collection, London, 1994, p.254, no.301; and Colin Sheaf and Richard Kilburn, The Hatcher Porcelain Cargoes: The Complete Record, Oxford, 1988, pp.156-7, pl.207, illustrating a number of similar boys which have been salvaged from the Geldermalsen (1752).See a related ormolu-mounted Chinese biscuit figure of a boy, Kangxi, which was sold at Sotheby's London, 7 March 2007, lot 111For further information on this lot please visit Bonhams.com
A RARE OFFICIAL'S SILVER SEALDated 1772 and of the periodOf rectangular form surmounted by a cylindrical handle, the top incised with Manchurian and Chinese, the Chinese inscription reading Henan Shandong hedao zong guanfang which means 'The Seal of the Director-general of the Grand Canal of Henan and Shandong Provinces', and libu zao which means 'made by the Ministry of Rite'; the seal face cast in Manchurian and Chinese seal script with characters reading Henan Shandong hedao zong guanfang (The Seal of the Director-general of the Grand Canal of Henan and Shandong Provinces) and a character jiao (dispose) atop. 12.5cm (5in) high, 1.885kg weightFootnotes:清乾隆三十七年（1772）銀柱鈕「河南山東河道總督關防」印「叁拾柒年拾貳月」「禮部造」「河南山東河道總督關防」「繳」款Provenance: George Stanley Knowles who travelled to China in the mid 19th century and set up an Import and Export business in Harbin來源： George Stanley Knowles於19世紀中葉前往中國，在中國哈爾濱創建進出口業務生意The present lot has 98.9% content of silver (Ag).該拍品銀純度為98.9% (Ag)Although partially effaced, the inscription to a side of the seal reveals the date 'the twelfth month of the thirty-seventh year' (叁拾柒年拾貳月). During the Qing dynasty, only the reigns of Emperor Kangxi (1662-1722) and Emperor Qianlong (1736-1795) lasted longer than thirty-seven years. The format of the seal further confirms a date of the thirty-seventh year of the Qianlong period (1772), because the Manchurian and Chinese inscriptions cast on the seal face are both in seal script, the practice had not been regulated until the thirteenth year of the Qianlong period (1748). According to Qingchao wenxian tongkao (清朝文獻通考), vol.143, 6095, in 1748, the Qing government 'standardized the Manchurian seal script, and recast the seals of all officials. The Manchurian inscription in seal script is written on the left side, while the Chinese in seal script is written on the right side.' (制清篆，改鑄百官印信。清篆左，漢篆右)There seals, as the present lot, known as guanfang (關防), were granted to temporarily appointed officials by the Qing emperors and were made of silver and copper according to the ranks of the officials. Hedao zongdu (河道總督) (The Director-general of the Grand Canal of Henan and Shandong Provinces), the first rank, controlled maintenance and operation of the Grand Canal and shipping on relevant sections of the Yellow River. In the thirty-seventh year of the Qianlong period when the present lot was cast, Yao Lide 姚立德 (?-1783) was the Director-general of the Grand Canal of Henan and Shandong Provinces.Another feature that makes the present lot extremely rare is the character jiao 繳 (dispose) engraved atop the Chinese and Manchurian inscriptions. According to Qinding daqing huidian shili (欽定大清會典事例), vol.321, in cases where old seals had blurred inscriptions and other issues, each department or provincial governor shall request permission to cast and issue new seals. The old seals to cancel must then be 'engraved with the character jiao (繳) in the centre of the Chinese and Manchurian seal script on the seal face' (于印面滿漢印文正中，鐫一'繳'字), as seen in the present lot. It is very rare to see seals with the character jiao (繳) survive to the present day, as they were usually melted down after been confirmed as the correct seals and delivered to the Ministry of Rite (由部驗明封儲存司，匯齊銷毀).See a related but later silver official's seal, dated the 4th year of Guangxu (1878), in the Qing court collection, in the Palace Museum Beijing (accession no. 故00231195). See also a related bronze seal, dated 15th year of Qianlong (1750), which was sold at Sotheby's New York, 19 September 2015, lot 944.For further information on this lot please visit Bonhams.com
A FAMILLE VERTE BISCUIT 'LOTUS-POD' BRUSH WASHERKangxiNaturalistically modelled in the form of a large open lotus pod, surrounded by upright leaves with finely incised veins, a small aperture to the surface, conjoined with a veined open lotus leaf forming the water receptacle, a stippled stem trailing down to the base. 11.5cm (4 1/2in) long.Footnotes:清康熙 素三彩蓮蓬洗Provenance: Demetrius Zafiropoulos, FranceVanderven & Vanderven Oriental Art, s'-Hertogenbosch, 23 March 2004 (invoice)John E. Bodie OBE (1930-2023), London, collection no.66Published, Illustrated and Exhibited: The Oriental Ceramic Society, China Without Dragons, London, 3-9 November 2016, no.35 (label). John E. Bodie loaned 7 pieces to the exhibition.來源： Demetrius Zafiropoulos，法國Vanderven & Vanderven Oriental Art，斯海托亨博斯，2004年3月23日（收據）大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號66展覽著錄：東方陶瓷學會，《China Without Dragons》，倫敦，2016年9月3-9日，編號35（據標籤），John E. Bodie曾借展7件藏品給該展覽The lotus plant, embodying both the noble symbolism of Buddhist thought (remaining pure while rising from the mud) and the enchanting beauty of southern Chinese lakes, naturally became a favoured inspiration for water vessels on the scholar's desk. See a similar famille verte lotus-leaf and lotus-pod water vessels, Kangxi, illustrated by J.P.Desroches, Les Tresors du Lettre: Objets de la Chine imperiale, Paris, 1993, p.7 and p.45.Compare with a related pair of famille verte 'duck and lotus' water droppers, Kangxi, which was sold at Bonhams London, 2 November 2023, lot 176. See also a similar famille verte lotus brush washer, Kangxi, which was sold at Christie's London, 19 February 2013, lot 66 (part lot).For further information on this lot please visit Bonhams.com
A FINE PAIR OF FAMILLE VERTE SAUCER-DISHESChenghua six-character marks, KangxiEach finely potted with rounded sides supported on a short foot, the first dish with a fruiting branch of ripe peaches amidst verdant foliage in the well within a double red circle, the exterior with further branches of peaches and pomegranates, the second dish with a flowering branch of peonies in the well, the exterior with further peonies and branches of blossoming prunus, the bases of both vessels with underglaze-blue six-character marks within a double circle. The largest 17.7cm (6 7/8in) diam. (2).Footnotes:清康熙 五彩花果紋盤一對青花「大明成化年製」楷書款Provenance: H.M. Knight (the dish with fruiting peach)W.R.BindleyRoger Keverne Ltd., London, December 2004 (letter)Harry Hyams, acquired from the above and gifted to John E. Bodie, Christmas 2004John E. Bodie OBE (1930-2023), London, collection no.17Exhibited: Oosterse Schatten, Rijksmuseum, Amsterdam, 1954, no.347 (fruiting peach dish)Published, Illustrated and Exhibited: The Oriental Ceramic Society, Arts of the Ch'ing Dynasty, London, 1964, no.183 (the fruiting peach dish)The Oriental Ceramic Society, China Without Dragons, London, 3-9 November 2016, pp.312-313, no.185 (both dishes; labels). John E. Bodie loaned 7 pieces to the exhibition.來源：H.M. Knight（桃紋盤）W.R.Bindley倫敦古董商Roger Keverne Ltd.，2004年12月（據信）Harry Hyams，從上處獲得並在2004年聖誕節贈予John E. Bodie大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號17展覽：Oosterse Schatten，阿姆斯特丹國家博物館，阿姆斯特丹，1954年，編號347（桃紋盤）展覽著錄：東方陶瓷學會，《Arts of the Ch'ing Dynasty》，倫敦，1964年，編號183（桃紋盤）東方陶瓷學會，《China Without Dragons》，倫敦，2016年11月3-9日，第312-313頁，編號185（兩隻盤；據標籤）。John E. Bodie 曾借展7件藏品給該展覽Several dishes of similar style have been documented, featuring various combinations of fruiting and flowering branches in a distinctive colour scheme. These dishes typically lack underglaze-blue decoration and are characterised by double red lines encircling the designs and rims, often bearing spurious Chenghua marks. One dish in this group showcases a fruiting peach branch on the interior and branches of cherry and loquat on the exterior, while another features a flowering pomegranate on the interior and begonia and a flowering fruit tree on the exterior. Utilising polychrome washes, the motifs are rendered in a naturalistic manner, with particular attention to detail evident in the depiction of leaves, some of which show signs of aging such as insect bites and yellowing.Such attention to detail as the yellowing leaves reflect that the mark of a person of feeling in the late Ming and Qing dynasties was a poignant awareness of the transience of the phenomenal world, embodied alike in the changing seasons and in the shifting fortunes of human life. This sentiment was rooted in a profound awareness of the transient nature of the world, evident in the changing seasons and the unpredictable twists of human existence. At the heart of this awareness lies a significant concept—the solemn Buddhist principle of impermanence, which intersected with the aesthetic inclination towards profound engagement with the world. Poetry, painting (including on ceramics), traditionally revered as hallmarks of cultured refinement, drew strength from this awareness. Both the artist and the observer could sense a profound connection to essential Buddhist truths through artworks depicting flowers and decaying leaves, evoking a sense of melancholy over the fleeting beauty of existence. Similar depiction of flowers and fruits, often with yellowing leaves, are seen on famille verte 'birthday plates', Kangxi. See one example illustrated in the Loan Exhibition: Reginald and Lena Palmer, their Collection, and the Oriental Ceramic Society, 1921-1970, 27 October - 2 November 2021, nos.12 and 19. The fruits depicted on the present lot are also replete with auspicious symbolism. Peaches are often associated with longevity, immortality, and vitality. In Chinese mythology, the peach tree is believed to be the tree of immortality, and peaches are considered the fruit of the gods, bestowing longevity and eternal youth upon those who consume them. Pomegranates, on the other hand, symbolise fertility, abundance, and prosperity. With their numerous seeds, pomegranates represent the promise of abundance and the continuity of generations. Together, peaches and pomegranates embody auspicious wishes for longevity, prosperity, and happiness, making them popular motifs in Chinese porcelain art throughout history.See a related group of three famille verte dishes, Kangxi, from the collections of Sir Harry Garner and Sir Alfred Aykroyd, illustrated by R.Krahl and C. von Spee, Chinese Ceramics from the Gulexuan Collection, London, 2003, pls.103-104. See also one related famille verte dish, Kangxi, illustrated by M.Beurdeley and G.Raindre, Qing Porcelain: Famille Verte, Famille Rose, London, 1987, pl.94.For further information on this lot please visit Bonhams.com
A FAMILLE VERTE BISCUIT 'LOTUS LEAF' BRUSH WASHERKangxiNaturalistically modelled in the form of an undulating lotus leaf with a small crab, toad and dragonfly resting in the well, beside a lotus pod with bulging seeds and open lotus flower water receptacle issuing from a thorny stem, set on three short feet. 11.5cm (4 1/2in) wide. Footnotes:清康熙 素三彩荷葉螃蟹硯滴Provenance: Demetrius Zafiropoulos, FranceVanderven & Vanderven Oriental Art,'s-Hertogenbosch, 23 March 2004, no.61 (invoice and label)John E. Bodie OBE (1930-2023), London, collection no.27Published, Illustrated and Exhibited: The Oriental Ceramic Society, China Without Dragons, London, 3-9 November 2016, p.69, no.34 (label). John E. Bodie loaned 7 pieces to the exhibition.來源： Demetrius Zafiropoulos，法國Vanderven & Vanderven Oriental Art，荷蘭斯海托亨博斯，2004年3月23日，編號61（收據和標籤）大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號27展覽著錄： 東方陶瓷學會，《China Without Dragons》，倫敦，2016年11月3-9日，第69頁，編號34（據標籤）John E. Bodie曾借展7件藏品給此展覽。Compare with a very similar vessel, Kangxi, illustrated by A.du Boulay, Christie's Pictorial History of Chinese Ceramics, London, 1984, p.233, no.13. See also a related box in the form of a brown crab on a green lotus leaf, Kangxi, illustrated by R.Krahl, The Anthony de Rothschild Collection of Chinese Ceramics, vol.2, n.p., 1996, no.229. See a related unusual famille verte biscuit 'bird and peony' group, Kangxi, which was sold at Bonhams London, 2 November 2023, lot 203.For further information on this lot please visit Bonhams.com
A PAIR OF BLUE AND WHITE YENYEN VASESKangxi Each painted on the lower section with dignitaries seated within a palatial room opening up to a balustraded terrace with rocks and plantain leaves amidst wispy clouds, the upper section with flaring rims painted with an elderly dignitary proffering a sword to a gentleman with a horse. Each 43cm (17in) high. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清康熙 青花人物故事圖鳳尾尊一對Provenance: Christie's London, 6th April 1998, Lot 21.An important European private collection.來源: 倫敦佳士得，1998年4月6日，拍品編號21歐洲重要私人收藏The decoration on the upper sections with an elderly gentleman proffering a sword to a man with a horse could refer to Zhou Sanwei (1103-1181) offering a sword to Yue Fei (1103-1142). Zhou Sanwei, a loyal and esteemed general, is recorded in historical accounts for his poignant gesture of presenting a sword to the revered military commander Yue Fei who fought the invading Jurchen. This symbolic act, steeped in camaraderie and allegiance, took place as an expression of deep respect and mutual dedication to the defence of the Song Dynasty. The sword, often considered a symbol of martial prowess and honour, became a tangible representation of the unyielding bond between these two illustrious figures in Chinese history.Compare with a similar blue and white vase, Kangxi, which was sold at Sotheby's London, 16 May 2018, lot 128.For further information on this lot please visit Bonhams.com
AN IMPERIAL PAINTED ALBUM OF THE DAHARANI SUTRAAnonymous, 19th centuryThe fourth volume of the sutra, elaborately embroidered silk covers with illuminated title pages showing five-clawed dragons and twenty meticulously executed paintings on silk mounted on Imperial yellow silk, and seven pages of calligraphy in gold on blue paper. 32cm (12 1/2in) wide x 43cm (17in) long; each painting 27cm (10 1/2in) wide x 36cm (14in)Footnotes:十九世紀 御製寫繪《大悲心陀羅尼經》册Provenance: Edward Newinson, Cobham, SurreyPresented by the above to Mrs Joan Tovey, 30 September 1954來源： Edward Newinson, 科巴姆，薩里由前者贈予Joan Tovey夫人，1954年9月30日The exceptional quality of the calligraphy and painting, the use of yellow silk borders, and the depiction of five-clawed dragons on the illustrated title page all suggest that the present lot originated from one of the Imperial palaces or libraries of the Qing dynasty. During the Qing dynasty, the Manchu emperors exhibited a profound reverence for Buddhism. Beginning with the reign of Emperor Kangxi, it became customary for Qing emperors to personally transcribe Buddhist sutras on special occasions, such as the first and fifteenth day of each lunar month, as well as the birthdays of the Empress Dowager and the Emperors. Alternatively, the emperors might have commissioned Imperial court officials to undertake this task on their behalf. Among the sutras transcribed at the Qing court, those deemed most valuable, such as the present lot, are accompanied by illustrations. For more discussion on sutra transcription at the Qing court, see Zhongguo gongting shanben 中國宮廷善本, Beijing, 2003, p.172 and p.189. The main text of the album written in guange ti (館閣體), a script used for Imperial examination and documents, is a section from The Great Compassionate Heart Dharani Sutra (大悲心陀羅尼經) which is a Mahayana sutra from India, first translated into Chinese during the Tang dynasty. It is believed that each word or phrase of this sutra carries vast meaning. Transcribing and reciting them could help people to eliminate all obstacles, bring immense benefits, and embark on the path of enlightenment.The famous Great Compassion Mantra (大悲咒) exactly originates from this sutra and has a tradition of being visualised. The Great Compassion Mantra consists of eighty-four sentences. In the album of the present lot, each of the paintings which follow the main text provides a visual image of a sentence from The Great Compassion Mantra, with a sentence of The Great Compassion Mantra transcribed in the right-hand part of each painting and a corresponding description to the left-hand corner. For example, the two sentences of 'suo luo suo luo' (娑囉娑囉) meaning 'the Five Turbidities' (五濁世界) and 'su xu su xu' (蘇噓蘇噓) meaning 'the Sound of the Falling of the Buddhas' Leaves' (諸佛樹葉落聲) have been presented as an image in the present album. Apart from these two, each of the remaining paintings represents either a Bodhisattva or a Buddha, including the King of the Eight Classes of Demons (八部鬼神王) and the Precious Pennant Bodhisattva (寶幢菩薩) etc. They embody the compassionate actions of saving and protecting beings in the world. In accordance with traditional norms of sutra transcription, the image of Skanda (韋陀), revered as the guardian and protector of the Buddhist teachings, is found in the end of this sutra album.Compare with a related Imperial album from The Great Compassion Mantra by Zou Yigui (1686-1772), in the Qing Court Collection, illustrated in Qinggong shanben xiejing 清宮善本寫經, Beijing, 2009, pp.116-117. Compare with a related album of Buddhist sutras, ink and colour on paper, which was sold at Sotheby's Hong Kong, 30 November 2017, lot 570.For further information on this lot please visit Bonhams.com
A WUCAI TRIPOD BOWL AND COVERKangxiThe cover finely moulded with lotus petal panels, surmounted by a lotus spray finial, the sides decorated with flowering lotus amongst rockwork, resting on three beast mask and paw feet. 11.2cm (4 1/2in) diam. (2).Footnotes:清康熙 五彩獸足花卉紋蓮葉鈕蓋盒Provenance: S. Marchant & Son, London, 14 August 2003 (invoice and label)John E. Bodie OBE (1930-2023), London, collection no.37Published, Illustrated and Exhibited: The Oriental Ceramic Society, China Without Dragons, London, 3-9 November 2016, p.309, no.183. John E. Bodie loaned 7 pieces to the exhibition.來源：倫敦古董商S. Marchant & Son，2003年8月14日（據收據和標籤）大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號37展覽著錄：東方陶瓷學會，《China Without Dragons》，倫敦，2016年11月3-9日，第309頁，編號183，John E. Bodie曾借展7件藏品給該展覽This covered box stands out for its unique form, design, and colour scheme. The prominent use of cobalt blue suggests a resemblance to late Ming dynasty pieces, as during the Kangxi period, underglaze blue was less common in the famille verte palette. The box's shape bears similarities to Japanese vessels. The inclusion of applied flowers, fruits, or leaves is uncommon for Chinese pieces of this period and brings to mind early European porcelains, such as those produced at Meissen in the 1710s, as well as contemporaneous Japanese ceramics. See a Kakiemon-style porcelain tripod incense burner and cover, 17th/18th century, illustrated in China Without Dragons: Rare Pieces from Oriental Ceramic Society Members, London, 2016, p.308, no.182.For further information on this lot please visit Bonhams.com
A VERY RARE PEACHBLOOM GLAZED 'BEEHIVE' WATERPOT, TAIBOZUNKangxi six-character mark and of the periodFinely potted of classic domed taibo zun form, the slightly tapering sides rising to a rounded shoulder and short waisted neck below a lipped mouth-rim, the exterior evenly applied overall save for the rim and base with a sumptuous crushed-raspberry-red glaze suffused with darker sprinkles imitating the skin of a ripening peach, the body further faintly incised with three roundels enclosing archaistic dragons, the recessed white base inscribed in underglaze blue with a six-character reign mark in three columns. 12.5cm (4 1/8in) diam.Footnotes:清康熙 豇豆紅釉團龍紋太白尊青花「大清康熙年製」楷書款Provenance: John Sparks Ltd., London (label)Herschel V. Johnson (1894-1966), Charlotte, North CarolinaSotheby's London, The Herschel V. Johnson Collection, 21 February 1967, lot 86, acquired through William Clayton Ltd., London, 21 February 1967 (invoice)John E. Bodie OBE (1930-2023), London, collection no.7Published, Illustrated and Exhibited: The Oriental Ceramic Society, The World in Monochromes, London, 16 April - 20 June 2009, no.174 (label). John E. Bodie loaned 8 pieces to this exhibition.來源：倫敦古董商John Sparks Ltd.(據標籤)Herschel V. Johnson (1894-1966)，夏洛特，北卡羅來納州倫敦蘇富比，'The Herschel V. Johnson Collection'，1967年2月21日，拍品編號86，通過倫敦古董商William Clayton Ltd.獲得，1967年2月21（據收據）大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號7展覽：東方陶瓷學會，2009年，《The World in Monochromes》，倫敦，2009年4月16至6月20日，編號174（據標籤）。 John E. Bodie曾借展8件藏品給該展覽Herschel Vespasian Johnson served in the First World War as an officer in the US Fifty-fourth Infantry, with the Sixth Division in the Vosges Mountains and in the Meuse-Argonne offensive. Further to graduating from the University of North Carolina (1916) and Harvard Law School (1919-1920), he joined the US diplomatic service in 1920. Amongst his many appointments, he served 1934-1941 in London as First Secretary and as Counselor and then Minister. In April 1945 it was Johnson who handled the delicate communications in connection with Heinrich Himmler's unacceptable separate peace proposal, which had come via Count Folke Bernadotte of the Swedish Red Cross. In May 1946 Johnson entered a new arena as deputy U.S. representative to the United Nations Security Council. Johnson held the rank of ambassador from 9 July 1946. Under the rotation system he was president of the Security Council from 17 November to 17 December. In 1947 he served in the Spring as alternate representative to the special session of the United Nations General Assembly on the Palestine question, and, in the fall, as representative to the second session of the General Assembly. He was deputy chief of the U.S. Mission to the United Nations from July 1947 to May 1948. His last diplomatic post prior to retiring was as US Ambassador to Brazil 1948-1953.Evenly coated with a lustrous glaze of crushed raspberry tone, ending evenly beneath the lipped rim and thickening around the base, the present waterpot is one of the finest examples of its type.Waterpots shaped as beehives are known as taibo zun after poet Li Taibai of the Tang dynasty, who is often depicted leaning against a large wine jar of a similar form. The shape was also referred to as jizhao zun as it resembled a chicken coop.The attractive peachbloom glaze was notoriously difficult to achieve due to the temperamental nature of the copper pigment and appears to have been only employed on a small number of shapes reserved for use on the scholar's table and created during the reign of the Kangxi Emperor.Copper-red glazes were produced since at least the Ming dynasty, however, they were greatly improved during the Kangxi reign, most probably under the supervision of Zang Yingxuan, the Imperial supervisor who was sent to Jingdezhen in 1681 to oversee the rebuilding of the kilns. The fugitive copper-lime pigment, rather difficult to manage, would have been sprayed onto a layer of transparent glaze via a long bamboo tube and then stabilised with another coat of clear glaze.A similar peachbloom-glazed waterpot, Kangxi mark and period, in the Palace Museum, Beijing, is illustrated in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p.142, pl.125; three further 'peachbloom'-glazed beehive waterpots, Kangxi marks and period, are illustrated by Wang Qingzheng, Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, pl.206, and M.Medley, Ming and Qing Monochrome Wares in the Percival David Foundation of Chinese Art, London, 1989, pl.580, and S.G.Valenstein, A Handbook of Chinese Ceramics, New York, 1989, pl. 234.Compare with a similar peachbloom-glazed beehive waterpot, Kangxi mark and period, which was sold at Bonhams, London, 2 November 2023, lot 114. Two further peachbloom-glazed beehive waterpots, Kangxi marks and period, were sold at Christie's Hong Kong, 29 November 2013, lot 1904 and 31 May 2017, lot 3012.For further information on this lot please visit Bonhams.com
A BLUE AND YELLOW 'DRAGON' SAUCER-DISHQianlong six-character seal mark and of the periodWell potted with a lipped rim, intricately decorated with a side-facing five-clawed dragon pursuing the flaming pearl amidst swirling flames and cloud scrolls, with two further dragons on the cavetto; the reverse similarly decorated with two dragons above a band of lotus petal lappets, all in bright translucent yellow on a brilliant underglaze blue wash ground, the base with the seal mark in underglaze blue. 25.2cm (10in) diam.Footnotes:清乾隆 藍地黃彩雲龍紋盤青花「大清乾隆年製」篆書款Provenance: William Clayton Ltd., London, 19 January 1967 (valuation for insurance)John E. Bodie OBE (1930-2023), London, collection no.15來源：倫敦古董商 William Clayton Ltd.，1967年1月19日（保險評估）大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號15This design and colour scheme noted on this dish appear to draw inspiration from porcelains dating to the Kangxi period, as evidenced by a dish illustrated in Mayuyama Seventy Years, Tokyo, 1976, vol.1, no.1047, p.349. See also a related dish, Qianlong mark and period, illustrated in Shincho Kogei No Bi, New York, 1995, pl.126, p.45. Compare with two similar dishes, Qianlong marks and period, sold respectively at Christie's London, 7 November 2017, lot 84 and Christie's New York, 17-18 March 2016, lot 1600.For further information on this lot please visit Bonhams.com
A FAMILLE VERTE BISCUIT RETICULATED 'THREE FRIENDS OF WINTER' BRUSHPOT, BITONGKangxiExquisitely moulded in the form of a bamboo grove with gaps between each stem, issuing bamboo leaves and applied with gnarled branches of flowering prunus and pine, glazed yellow, green, brown and transparent glazes save the base revealing the biscuit body and an impressed chrysanthemum design. 12cm (4 3/4 in) high.Footnotes:清康熙 素三彩歲寒三友筆筒Provenance: Ionides Collection, by repute William Clayton Ltd., London, 19 January 1967 (valuation for insurance)John E. Bodie OBE (1930-2023), London, collection no.69Provenance: Ionides舊藏，據傳倫敦古董商William Clayton Ltd.，1967年1月19日（保險評估）大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號69A related brushpot is illustrated by J.P.Stamen, C.Volk, and Ni Yibin, A Culture Revealed: Kangxi-era Chinese Porcelain from the Jie Rui Tang Collection, Boston, 2017, p.108, later sold at Sotheby's New York, 20 March 2018, lot 352.See also a pair of related turquoise-glazed bamboo-stem brushpots mounted as baskets with ormolu handles and stands, Kangxi, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol.2, London, 2016, nos.1438-1439. Another related pair of turquoise-glazed bamboo-stem brushpots, Kangxi, is illustrated by R.Krahl, The Anthony de Rothschild Collection of Chinese Ceramics, vol.2, n.p, 1996, no.262.See a related sancai-glazed openwork 'Three Friends of Winter' brushpot, Kangxi, which was sold at Bonhams London, 2 November 2023, lot 28.For further information on this lot please visit Bonhams.com
A SMALL GREEN AND YELLOW 'DRAGON' BOWLKangxi six-character mark, Qing dynastyThe exterior with two green striding five-clawed dragons in mutual pursuit of flaming pearls, above a band of ruyi heads at the foot and a foliate scroll at the flaring rim, all on a lemon-yellow ground, the interior with a single bold shou character. 10cm (4in) diam.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清 黃地綠彩游龍戲珠紋碗青花「大清康熙年製」楷書款Provenance Christie's London, 15 November 2000, lot 76An important European private collection來源: 倫敦佳士得，2000年11月15日，拍品編號76重要歐洲私人收藏According to the records in The Compilation of Qing Court History (國朝宮史) compiled in 1742, volume 17, the vessels decorated with green dragons against a yellow ground were commissioned for the second-rank concubines of the emperors, known as guifei (貴妃). Compare with a similar yellow 'dragon' bowl, Kangxi six-character mark and of the period, which was sold at Sotheby's London, 7 November 2018, lot 103. See also another yellow and green enamelled 'dragon' bowl, Kangxi six-character mark and of the period, which was sold at Bonhams London, 9 November 2017, lot 298.For further information on this lot please visit Bonhams.com
A PAIR OF RARE WHITE-GLAZED ANHUA 'DRAGON' CUPSEarly 18th centuryEach exquisitely potted of conical form rising from a short straight foot with recessed base, the tapering sides finely incised with two striding scaly dragons pursuing flaming pearls in the well, covered in a creamy white glaze save the foot revealing the white porcelain body. 6.8cm (2 5/8in) diam. (2).Footnotes:十八世紀早期 白釉暗花龍紋斗笠杯一對Provenance: Shiro collectionWilliam Clayton Ltd., London, 20 May 1971 (invoice)John E. Bodie OBE (1930-2023), London, collection no.102來源： Shiro舊藏倫敦古董商William Clayton Ltd.，1971年5月20日（收據）大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號102Anhua-decorated wares in 18th-century China represent a remarkable fusion of artistic technique and cultural symbolism. Anhua, meaning 'hidden decoration', involves incising or carving intricate designs into the surface of biscuit ceramics, which are then covered with a glaze, creating a subtle, understated effect. This decorative style flourished during the Qing dynasty, particularly in the 18th century, when it reached its peak of popularity. See a related but larger yellow-glazed conical bowl with dragon design, Kangxi, illustrated in The Complete Collection of Treasures of the Palace Museum: Monochrome Porcelain, Hong Kong, 1999, p.56, no.50.Compare with a related small white-glazed anhua-decorated wine cup with dragons, Yongzheng mark and of the period, which was sold at Sotheby's New York, 20 March 2019, lot 537.For further information on this lot please visit Bonhams.com
A VERY RARE YIXING STONEWARE 'DOUBLE-GOURD' BRUSHWASHERCheng Mingyuan seal mark and signature, early Qing Dynasty Naturalistically potted in the form of a double gourd, sliced horizontally in half, the interior smoothly hollowed and polished, the exterior with undulating tendrils issuing from the stem, issuing a leaf with insect bites and a small beetle over the rim, the stoneware of rich dark brown suffused with pale speckling, the base with a four-character inscription in xingshu calligraphy reading 'Chen Mingyuan zuo', fitted box. 13.4cm (5 1/4in) long. (2).Footnotes:清早期 紫泥葫蘆式洗「陳鳴遠」篆书印「陳鳴遠作」行书刻款Provenance: Hugh M. Moss Ltd., London, early 1970sMr & Mrs Gerard Hawthorn, London Bonhams Hong Kong, 28 November 2011, lot 209A Princely collectionIllustrated: P.Moss, 'I-Hsing-Tea-Taste', in Journal of the International Chinese Snuff Bottle Society, vol.10, no.3, September 1978, p.6, fig.3.來源：倫敦古董商Hugh M. Moss Ltd.，1970年代早期倫敦Gerard Hawthorn伉儷香港邦瀚斯，2011年11月28日，拍品編號209王子藏品著錄：P.Moss，《I-Hsing-Tea-Taste》，《Journal of the International Chinese Snuff Bottle Society》，第10冊，編號3，1978年9月，第6頁，插圖3For a nearly identical Yixing 'double-gourd' brushwasher in the Shanghai Museum, see Themes and Variations: The Zisha Pottery of Chen Mingyuan, Hong Kong, 1997, p.100, pl.17. A related Yixing lotus brush washer, also by Chen Mingyuan, Kangxi, is illustrated by P.Moss, The Literati Mode: Chinese Scholar Paintings, Calligraphy and Desk Objects, London, 1986, p.228, no.104.Chen Mingyuan stands out as a significant figure in the rich legacy of Yixing stoneware, despite the scarcity of historical documentation about his life. The specific dates of his birth and passing remain elusive, yet contemporary scholarship generally places Chen within the Kangxi/Yongzheng period (1662-1735), or potentially as early as the Shunzhi/Kangxi era (1644-1722). Chen adopted various artistic names, including Hefeng, Hecun, Shixia shanren, and Huyin. His exceptional talent and masterful craftsmanship are lauded in traditional assessments of Yixing pottery. In A Pictorial Study of Yangxian Pottery Teapots (Yangxian shahu tu kao) by Li Jingkang and Zhang Hong (1937:12), Chen's remarkable skills in crafting teapots and scholar's objects are likened to those of Xu Youquan and Shen Ziche, contemporaries who were equally revered alongside the renowned master Shi Dabin. Surviving examples attest to the significant interest in producing objects for the scholar's studio at the end of the Ming dynasty. In this context, Chen Mingyuan emerges as a pivotal figure, arguably the foremost successor and innovator in advancing this artistic tradition during the early Qing period.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A BLUE AND WHITE YENYEN VASEKangxiMeticulously painted on the lower part in vibrant tones of cobalt-blue with a seated dignitary surrounded by attendants receiving a visiting scholar in a mansion opening onto a terrace, the sharply-flaring neck with a dignitary in the same setting watching a performing archer in a fur-lined garment. 43cm (17in) high.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清康熙 青花人物故事圖鳳尾尊Provenance: An important European private collection.來源：歐洲重要私人收藏The intricate scenes depicted on the present vase draws inspiration from the vibrant narratives and imagery found in contemporary woodblock prints and literary works. Although it is difficult to pinpoint exactly from which story this came, it is interesting to note that the present vase depicts an archer in a fur-lined garment, something that would have been perceived by Han scholars at the time as foreign, perhaps even slightly barbaric, and associated with the Manchu figure. Indeed, the hairstyle and conical hat of the archer resembles nomadic styles compared with the Han style dress of the other dignitaries. See a similar blue and white 'figural' yenyen vase, Kangxi, which was sold at Sotheby's New York, 22 March 2023, lot 748, and another similar vase, Kangxi, which was sold at Sotheby's London, 16 May 2018, lot 128.For further information on this lot please visit Bonhams.com
A BLUE AND WHITE 'BUDDHIST LIONS' BALUSTER VASEKangxi Thickly potted and boldly painted in vibrant tones of cobalt-blue around the exterior with three playful Buddhist lions with curly manes cavorting with ribboned balls, a ruyi head band at the collar and a leiwen pattern at the rim. 45cm (17 3/4in) high.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清康熙 青花獅子戲繡球紋瓶Provenance: Christie's London, 9 May 1994, lot 62An important European private collection來源：倫敦佳士得，1994年5月9日，拍品編號62歐洲重要私人收藏The auspicious depiction of lions playing with embroidered balls is a popular decorative motif. See a related blue and white 'Buddhist lion' bowl with similar decoration, Jiajing mark but Kangxi period, in the Palace Museum Beijing (ac.no:新00114853).Compare with a related blue and white 'Buddhist lion' vase of different form but with similar decoration, Kangxi, which was sold at Sotheby's New York, 17 March 2021, lot 280.For further information on this lot please visit Bonhams.com
A RARE AUBERGINE-GLAZED SAUCER-DISHKangxi six-character mark and of the periodThinly potted with shallow curving sides rising from a short, slightly inward-tapering foot, to an everted rim, covered in a lustrous deep-violet glaze save the base glazed white. 20.1cm (7 7/8in) diam.Footnotes:清康熙 茄皮紫釉盤青花「大清康熙年製」楷書款Provenance: William Clayton Ltd., London, 19 January 1967 (valuation for insurance)John E. Bodie OBE (1930-2023), London, collection no.104Published, Illustrated and Exhibited: The Oriental Ceramic Society, The World in Monochromes, London, 15 April - 20 June 2009, no.245 (label). John E. Bodie loaned 8 pieces to this exhibition.來源： 倫敦古董商William Clayton Ltd.，1967年1月19日（保險評估）大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號104展覽著錄： 東方陶瓷學會，《The World in Monochromes》，倫敦，2009年4月15日至6月20日，編號245（據標籤）。John E. Bodie曾借展8件藏品給該展覽。A related aubergine-glazed dish, but incised with dragons, Kangxi six-character mark and of the period, is illustrated in Kangxi Porcelains from the Shanghai Museum Collection, Hong Kong, 1998, pl.224; another is published in Chinese Porcelain: The S.C. Ko Tianminlou Collection, Hong Kong, 1987, pl.144. Compare with a related aubergine-glazed incised 'dragon' dish, Kangxi six-character mark and of the period, which was sold at Bonhams London, 16 May 2019, lot 27.For further information on this lot please visit Bonhams.com
A POWDER-BLUE-GLAZED BALUSTER VASEChenghua six-character mark, KangxiThe slender and elongated ovoid body rising from a recessed base to a narrow cylindrical waisted neck with lipped mouth rim, covered in a lustrous dark-blue glaze except within the foot rim. 19.3cm (7 5/8in) high.Footnotes:清康熙 灑藍釉蘿蔔尊青花「大明成化年製」楷書款Provenance: Sotheby's Hong Kong, 2 May 1980, lot 95Bluett & Sons Ltd., London, 10 September 1980 (invoice and label)John E. Bodie OBE (1930-2023), London, collection no.71來源： 香港蘇富比，1980年5月2日，拍品編號95倫敦古董商Bluett & Sons Ltd.，1980年9月10日（收據和標籤）大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號71Compare with two powder-blue glazed baluster amphora vases, Kangxi, which was sold at Bonhams London, 2 November 2023, lot 127.For further information on this lot please visit Bonhams.com
AN UNDERGLAZE-BLUE, COPPER-RED AND CELADON-GLAZED BEAKER VASE, GUXuande six-character mark, KangxiPainted around the exterior in hues of cobalt-blue, copper-red and celadon, the central register adorned with a pair of dragons striding around the body, the upper and lower registers each decorated with a continuous mountainous riverscape depicting a figure seated on a boat, surrounded by pavilions, jagged rockwork, and trees; the base inscribed with an apocryphal Xuande mark. 41.9cm (16 1/2in) high.Footnotes:清康熙 釉裡三彩螭龍山水人物圖花觚青花「大明宣德年製」楷書款Provenance: an English private collection, acquired circa 1989來源：英國私人收藏，約獲得於1989年The porcelain type represented by the present piece is known as 'underglaze tri-coloured porcelain' (釉裡三彩), a distinctive form of high-temperature decorative porcelain that emerged during the Kangxi period. This art form involves the skilful combination of three colorants—cobalt, copper, and iron—to create a harmonious palette of blue-and-white, red, and celadon hues within a single piece. However, it presents a formidable challenge due to the differing temperature and kiln atmosphere requirements of these three high-temperature colours, achieving flawless coloration for all three pigments, as exemplified by the present lot. See a similar underglaze-blue, copper-red and celadon-glazed beaker vase, gu, Kangxi, in the Qing Court Collection, in the Palace Museum Beijing (acc.no. 故00148355).Compare with a related underglaze-blue, copper-red and celadon-glazed beaker vase, Kangxi period, which was sold at Bonhams New York, 18 March 2019, lot 625.For further information on this lot please visit Bonhams.com
A GRISAILLE-DECORATED 'FISHERMEN'S HAPPINESS' JARDINIERECirca 1730-1740Of compressed ovoid form, rising from a recessed base to a lipped rim, decorated around the exterior with a continuous scene of fishermen, three resting after a meal with a lady bringing a basket with food followed by a boy, by the shore another fisherman pulls a net, two fishermen using a basket and small net, while another on a raft employs two cormorants. 26cm (10 1/2in) diam. Footnotes:約1730-1740 墨彩漁家樂圖缸Provenance: Chait Galleries, New York (label)S.Byrne (1918-1996), New York, acquired circa 1970's-1980's, and thence by descent 來源： Chait Galleries，紐約（據標籤）S.Byrne (1918-1996)，紐約，約獲得於1970至1980年代，並由後人保存迄今Mr S.Byrne (1918-1996) was a renowned collector of Chinese art, known for his prolific acquisition of significant pieces from prominent auction houses and galleries in the New York area. His extensive collection encompassed a wide array of treasures, spanning from important Ming and Qing Imperial porcelain to rare examples of early pottery and tomb ware.Compare with a related scene, depicting fishermen enjoying a meal and playing games, entitled 'Fishermen's Happiness' on a Kangxi period vase, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red (III), Hong Kong, 2000, p.20, no.16. See also another related scene of 'Fisherman's Happiness' on a Kangxi period brushpot, also in the Palace Museum, Beijing, illustrated by Chen Runmin in Qing Shunzhi Kangxi chao qinghuaci, Beijing, 2005, p.304, no.204.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 MING-STYLE WHITE-GLAZED DEEP BOWLXuande six-character mark, KangxiElegantly potted with deep rounded sides rising from a tall slightly inward-tapering foot, covered in a bluish-white glaze. 16cm (6 1/4in) diam. Footnotes:清康熙 白釉蓮子碗青花「大明宣德年製」楷書款Provenance: Mrs Ann StokesSotheby's London, 18 May 1971, lot 179 (dated as Xuande mark and of the period), acquired through William Clayton Ltd., London, 20 May 1971 (invoice)John E. Bodie OBE (1930-2023), London, collection no.61Published, Illustrated and Exhibited: The Oriental Ceramic Society, The World in Monochromes, London, 16 April - 20 June 2009, no.128 (label). John E. Bodie loaned 8 pieces to this exhibition.來源：Ann Stokes夫人倫敦蘇富比，1971年5月18日，拍品編號179（斷代為宣德款及時期），從倫敦William Clayton Ltd.處獲得，1971年5月20日（據收據）大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號61展覽著錄：東方陶瓷學會，《The World in Monochromes》，倫敦，2009年4月16-6月20日，編號128（據標籤）。John E. Bodie曾借展8件藏品給該展覽。The present bowl would have been based on a prototype of the early Ming dynasty, when the use of white-glazed vessels during the Xuande period extended beyond mere utility. At the time, these vessels served as tangible expressions of filial piety and Imperial virtue, reflecting the emperor's solemn duty to honour his forebears. The purity and simplicity of the white glaze conveyed a sense of reverence and solemnity, making these vessels suitable for ceremonial and ritualistic purposes within the Imperial court. For a white-glazed bowl, Xuande mark and of the period, see the example in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Monochrome Porcelain, Hong Kong, 1999, p.113, no.103; see also a white-glazed bowl, Xuande mark and of the period, illustrated by J.Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, p.122, no.4:2.For further information on this lot please visit Bonhams.com
A PAIR OF LARGE BLUE AND WHITE 'ROMANCE OF THE THREE KINGDOMS' DISHESKangxiEach elaborately decorated with the bearded Dong Zhuo on Fengyi pavilion terrace gesturing towards the soldier Lü Bu, with a spear and feathery headdress, together with the elegant lady Diaochan, all within a garden setting with gnarled rocks and trees, within a border of peony, prunus and chrysanthemum sprays on the everted rim. 38cm (15in) diam. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清康熙 青花鳳儀亭人物故事紋盤一對Provenance: Sotheby's London, 7 December 1999, lot 84.An important European private collection來源：倫敦蘇富比，1999年12月7日，拍品編號84歐洲重要私人收藏The story on the present lot is taken from The Romance of the Three Kingdoms (San guo yanyi). The lady Diaochan was one of the four beauties of ancient China and was involved in a plot to bring down the tyrannical warlord Dong Zhuo by driving him apart from his foster son, the warrior Lü Bu. Diaochan used her beauty to incite jealousy between Dong Zhuo and Lü Bu.When Dong Zhuo was away for the day, Lü Bu clandestinely entered Dong Zhuo's bedroom, hoping to catch a glimpse of Diaochan. Upon discovering Lü Bu's presence, Diaochan feigns distress and, in a dramatic gesture, pretends to contemplate suicide by throwing herself into a nearby pond. She claims shame, alleging violation by Dong Zhuo, leaving Lü Bu devastated. In a fervent promise, Lü Bu vows to shield her from further suffering inflicted by Dong Zhuo. However, their emotional moment is interrupted as Dong Zhuo returns, catching sight of them embracing. In a swift escape, Lü Bu flees, prompting Dong Zhuo to pursue him, launching a spear in his direction but narrowly missing his target. Eventually, Lü Bu kills his foster father.See a similar blue and white dish, 18th century, which was sold at Bonhams London, 27 February 2013, lot 68.For further information on this lot please visit Bonhams.com
A RARE WUCAI 'MONTH' CUPKangxi six-character mark and of the periodExquisitely potted with deep rounded sides rising from a short foot to a flared rim, delicately enamelled around the exterior with a red-flowering peach tree with small blossoms among scant leaves, representing the third month, the reverse inscribed in underglaze blue with a poem followed by a seal mark reading shang (appreciation). 6.5cm (2 1/2in) diam. Footnotes:清康熙 五彩「桃花」花神杯青花「大清康熙年製」楷書款Provenance: T.Y.King Jr., Hong KongBluett & Sons Ltd., London, acquired from the above on 7 February 1965Allan D. Pilkington, acquired from the above on 15 November 1965Bluett & Sons Ltd., London, 11 June 1969John E. Bodie OBE (1930-2023), London, collection no.5來源： T.Y.King Jr.，香港倫敦古董商Bluett & Sons Ltd.，1965年2月7日從上處獲得Allan D. Pilkington，於1965年11月15日從上處獲得倫敦古董商Bluett & Sons Ltd.，1969年6月11日大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號5The present month cup, is one of a pair acquired by John E. Bodie from Bluett's. The other cup was sold at Sotheby's London, 6 November 2019, lot 149. Allan D. Pilkington was an active buyer from Bluett's between 1950 and 1962. For more information, see D.Jellinek and R.Davids, Provenance: Collectors, Dealers & Scholars in the Field of Chinese Ceramics in Britain and America, Oxford, 2011, pp.356-357. During the Kangxi reign, the Imperial kilns crafted 'Month cups', so called because each corresponded to a lunar month. These cups boasted an exceptionally thin wall, allowing the cobalt blue exterior decoration to subtly permeate the eggshell porcelain. Variations in size, colour, calligraphy, and markings among these cups suggest they may have been produced individually and assembled into sets later.The inscriptions on these cups feature couplets from Tang dynasty poems, reflecting the Kangxi Emperor's admiration for Tang poetry. This admiration culminated in the 1705 compilation of all recorded Tang poems, supervised by the official Cao Yin and endorsed by the Kangxi Emperor himself. Given this historical context, it is probable that these intricate 'Month cups', embellished with the Emperor's favoured verses, were crafted towards the end of the Kangxi reign, coinciding with the publication of the Tang poetry compendium.Each cup is adorned with specific floral motifs, often accompanied by an appropriate seasonal couplet from a Tang poem. The inscription on the present cup reads:'The swallow returns when the blossoms sway in the breeze,it is the season in late Spring when farmers return to their fields.'The twelve flowers depicted individually on 'Month cups' adhered to the traditions of the Flower Festival, a cherished event held on the 15th day of the second month in the Chinese calendar. This festival, which marked the onset of Spring and honoured the birthday of all flowers, enjoyed immense popularity during the Qing dynasty. Celebrants would create colourful paper flowers, adorn trees and plants with ribbons, and erect memorials for the Gods of Flowers. Given the festival's significance within the Qing Court, it is conceivable that the 'Month cups' played a role in the ceremonial observances dedicated to the Flower Gods.A complete set of famille verte 'Month cups', Kangxi marks and period, also including a very similar cup to the present example in the Qing Court Collection, is illustrated in The Complete Collection of Treasures from the Palace Museum: Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, pp.152-153, no.140; another complete set is in the Sir Percival David Collection, British Museum, London, illustrated by R.Scott, For the Imperial Court: Qing Porcelain from the Percival David Foundation of Chinese Art, New York, 1997, pp.82-83, no.23; and a further one is in the Metropolitan Museum of Art, New York, acc.no.50.145.267–.278.See a very rare famille verte 'lotus' month cup, Kangxi six-character mark and of the period, which was sold at Bonhams London, 2 November 2021, lot 21. Another famille verte month cup, Kangxi six-character mark and of the period, was sold in the same sale, lot 23.For further information on this lot please visit Bonhams.com
A COPPER RED 'THREE FISH' BOWLYongzheng six-character mark and of the periodThe vessel elegantly potted with deep rounded sides flaring to a slightly everted rim, delicately and boldly painted on the exterior with three evenly-spaced fish in underglaze copper-red of a pale raspberry tone, the interior plain. 15.2cm (6in) diam.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清雍正 釉裡紅三魚紋碗 青花「大清雍正年製」楷書款Provenance: Christie's London, 11 July 2006, lot 138An important European private collection來源:倫敦佳士得，2006年7月11日，拍品編號138歐洲重要私人收藏Finely potted and boldly decorated with three large fish in bright red tones, the present bowl is based on fifteenth century prototypes produced during the reign of the Xuande Emperor, when similar designs were created. The silhouette technique consisted in sandwiching copper-red glazes between layers of clear glaze, which resulted in intense red designs. The use of copper red was a challenge for the potter to master with any degree of consistency as the mineral could easily float within the thick and transparent glaze. It appears to have been successfully fired to a particularly even and bright red tone on the present vessel. See, for example, a small rounded bowl decorated with red fish, Xuande mark and period, illustrated in Exhibition of Imperial Porcelain of the Yongle and Xuande Periods Excavated from the Site of the Ming Imperial Factory at Jingdezhen, Hong Kong, 1989, no. 75. Yongzheng bowls of this type appear to vary considerably in size. A slightly larger Yongzheng bowl (22.3 cm. diam.) of this design is illustrated in Sekai Toji Zenshu, Tokyo, 1983, vol. 15, pl. 39. A bowl of identical size to the present example from the Nanjing Museum, is illustrated in, Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns, The Chinese University of Hong Kong, 1995, no. 49. Compare with a very similar bowl illustrated by R. Krahl, Chinese Ceramics from the Meiyintang Collection, vol.IV (II), London, 1994, no.1718. See a similar copper-red 'three fish' bowl, Yongzheng mark and period, which was sold at Sotheby's New York, 15 March 2017, lot 517.For further information on this lot please visit Bonhams.com
A RARE PAIR OF BLUE AND WHITE IRON-RED ENAMELLED 'DRAGON' DISHESDaoguang seal marks and of the periodEach finely potted with shallow rounded sides rising from an inward-tapered foot, decorated in the well with a central medallion enclosing an iron-red five-clawed dragon writhing in mid-air above a ground of swirling waves, the exterior similarly decorated with nine iron-red dragons variously dancing above waves, below a border of interlinked 'coin' motifs. Each 17.5cm (6 7/8in) diam. (2).Footnotes:清道光 青花礬紅海水龍紋盤一對青花「大清道光年製」篆書款Provenance: Helge von Knorring (1897-1985), Finnish Charge d'Affaires 1929-1932 to Shanghai and Envoy to Beijing 1952-1953, and thence by descent.來源： Helge von Knorring (1897-1985)，1929年至1932年擔任芬蘭駐上海臨時代辦，並於1952年至1953年擔任赴北京特使，並由後人保存迄今Helge von Knorring was a Finnish diplomat with a distinguished career within the Ministry of Foreign Affairs. von Knorring was appointed in the late 1920s as an attaché to Japan. He was then seconded to Shanghai in the position of Charge d'Affaires 1929-1932, followed by a return to Tokyo as an attaché. Further to various diplomatic posts, he was appointed as Envoy to Beijing 1952-1953, and Ambassador to Bern 1953-1956.See a related dish with designs of iron-red waves and blue-and-white dragons, Kangxi period, illustrated in The Complete Collection of Treasures of the Palace Museum: Miscellaneous Enamelled Porcelains, Plain Tricoloured Porcelains, Shanghai, 2009, p.188, pl.149. Compare with one very similar blue and white and iron-red-decorated 'dragon' dish, Daoguang seal mark and of the period, which was sold at Christie's London, 3 November 2020, lot 181.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 RED-GLAZED INCISED 'CLOUDS AND CHILONG' SAUCER-DISHXuande six-character mark, KangxiRising from a slightly tapering foot to well curved sides, covered in a mottled deep pink glaze thinning at the edges, the interior faintly incised with three cloud clusters encircled by four chilong, the base glazed white and inscribed with a six-character Xuande mark within a double circle. 16.4cm (6 1/2in) diam.Footnotes:清康熙 豇豆紅釉暗刻遊龍祥雲紋盤青花「大明宣德年製」楷書款Peach-bloom glaze was originally recorded as chui hong (blowing red) or chui qing (blowing green) in the Notes on the Southern Kiln (南窯筆記) composed during the reign of Emperor Qianlong. The glaze was applied by blowing into a tube. The opposite end of the tube was covered with gauze and immersed in the red glaze. The technique was employed until the entire biscuit body was entirely covered with red mottles. Since the late Qing dynasty, this type of glaze has been called jiangdou hong (cowpeas red) for the resemblance of its colour with that of cowpeas. Traditionally, there has been a prevailing belief that the peach-bloom glaze was exclusively used for application on vessels made for scholar's desks. However, a departure from this convention is evident in a peachbloom-glazed dish, Xuande mark, Kangxi period, in the Qing Court Collection, illustrated by Yang Jingrong, Gugong bowuyuan cang wenwu zhenpin quanji: yanse you, Hong Kong, 1999, p.23, pl.20.A very similar peachbloom-glazed incised 'clouds and chilong' dish with a Xuande mark, Kangxi period, was sold at Bonhams London, 20 May 2008, lot 228. See also a larger peachbloom-glazed dish, Kangxi period, with a Xuande mark, but without incised decoration was sold at Sotheby's New York, 19 March 2016, lot 1451.For further information on this lot please visit Bonhams.com
A FINE PAIR OF AUBERGINE-GLAZED BOWLSKangxi six-character marks and of the periodEach with deep rounded sides rising from a short foot to a straight rim evenly covered with a vibrant aubergine glaze, the base glazed white inscribed with the six-character reign mark within a double circle, box. 12.2cm (4¼in) diam. (3).Footnotes:清康熙 茄皮紫釉碗一對青花「大清康熙年製」楷書款Provenance: Rev. Victor Farmer(1898-1977), EnglandChristie's London, 8 June 2004, lot 459The Inder Rieden CollectionBonhams London, 10 November 2011, lot 58.A British private collection來源：Rev. Victor Farmer(1898-1977)，英格蘭倫敦佳士得，2004年6月8日，拍品編號459Inder Rieden收藏倫敦邦瀚斯，2011年11月10日，拍品編號58英國私人收藏Similar bowls can be found in important museum and private collections. See a similar pair of bowls from the collections of the Hon. M.W.Elphinstone and later E.G.Kostolany, H.M.Knight and the Hall Family, exhibited at the Royal Academy, International Exhibition of Chinese Art 1935-6, London, 1935, no.2626 and no.2632; for similar single bowls see J. Ayers, Chinese Ceramics in the Baur Collection, vol.II, Geneva, 1999, no.195 (A474); and R.Krahl, Chinese Ceramics from the Meiyintang Collection, vol.4(II), no.1806.Compare with a similar pair of aubergine-glazed bowls, Kangxi marks and of the period, which was sold at Christie's Hong Kong, 30 November 2023, lot 2823.For further information on this lot please visit Bonhams.com
A RARE FAMILLE VERTE 'OUTLAWS OF THE MARSH' SAUCER DISHThree-character mark Wen Xin Zhai mark, KangxiDepicting three figures from the novel Shuihu Zhuan, Lu Zhishen in blue robe with curly hair, bald pate and Buddhist beads around his neck, Lin Chong in green cloth cap and scaly armour picked out in gilt, and Li Jun dressed as a fisherman with pole and basket. 20.5cm (8in) diam. Footnotes:清康熙 五彩水滸人物圖盤青花「問心齋」楷書款Provenance: Sotheby's London, 16 May 1967, lot 140, acquired through Bluett & Sons Ltd., London, 22 May 1967 (invoice)John E. Bodie OBE (1930-2023), London, collection no.28來源：倫敦蘇富比，1967年5月16日，拍品編號140，從倫敦古董商Bluett & Sons Ltd.處獲得，1967年5月22日（據收據） 大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號28The present lot depicts three characters from the novel, Outlaws of the Marsh (Shuihu zhuan), also known as 'The Water Margin'. Considered one of the Four Great Classical Novels of Chinese literature, it chronicles the adventures of a band of 108 outlaws who resist oppressive and corrupt government officials during the Song dynasty. Two prominent characters in the novel are Lu Zhishen and Lin Chong. Lu Zhishen (shown on the far left), also known as the 'Flowery Monk', is a not-so-devout Buddhist monk with exceptional strength and a volatile temper. Lin Chong (shown in the middle), known as 'Panther Head', is a skilled martial artist and military officer who becomes a fugitive after being framed for a crime he did not commit. Li Jun (shown right, with name tag Hun Jianglong), also known as 'Iron Flail', is another notable character. He is portrayed as a skilled martial artist and a courageous warrior. Li Jun is known for his loyalty to his friends and his fierce combat abilities, wielding a flail as his weapon of choice. These characters play significant roles in the narrative, contributing to its enduring popularity and cultural significance in Chinese literature.The overglaze blue which can be seen on Lu Zhishen's robe as well as the accents of gold, were noted by Sir Michael Butler as features that appeared in enamel-only porcelain from the early Kangxi reign. See a related famille verte dish, Kangxi six-character mark and of the period, with four characters from the same novel, illustrated by T.Canepa and K.Butler, Leaping the Dragon Gate: The Sir Michael Butler Collection of Seventeenth-Century Chinese Porcelain, London, 2021, p.435, pl.III.4.90. Compare to a set of four similarly decorated famille verte dishes, Kangxi, in the Victoria and Albert Museum, London, one illustrated by R.Kerr, Chinese Ceramics: Porcelain of the Qing Dynasty 1644-1911, London, 1986, pp.102-103, no.81. Another dish in the Shanghai Museum is illustrated by Wang Qingzheng, Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, p.305, no.132.See also a related famille verte 'Water Margin' dish, Kangxi, which was sold at Sotheby's Hong Kong, 28 November 2018, lot 692. Another famille verte 'Water Margin' dish, Kangxi, was sold at Christie's London, 5 November 2019, lot 179.For further information on this lot please visit Bonhams.com
A BLUE AND WHITE 'THREE FRIENDS OF WINTER' BOWLXuande six-character mark, 18th centuryThe deeply curving sides rising from a short straight foot, painted around the exterior in vibrant tones of cobalt-blue with pine, prunus blossom and bamboo, the interior with a sprig of auspicious lingzhi fungus. 11.4cm (4 1/2in) diam.Footnotes:十八世紀 青花「歲寒三友」圖碗青花「大明宣德年製」楷書款Provenance: John E. Bodie OBE (1930-2023), London, collection no.103來源： 大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號103The 'Three Friends of Winter' motif, consisting of pine, bamboo, and plum blossoms, symbolises resilience, longevity, and perseverance in the face of adversity. Compare with a related blue and white bowl of similar shape, Kangxi six-character mark and of the period, but decorated with peonies in the central well, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red (III), Hong Kong, 2000, p.78, no.68.Compare with a related blue and white 'Three Friends of Winter' bowl, Kangxi six-character mark and of the period, which was sold at Bonhams London, 2 November 2023, lot 10.For further information on this lot please visit Bonhams.com
A COPPER-RED BEEHIVE 'MAGU' WATERPOT, TAIBOZUNXuande six-character mark, KangxiThickly potted with deep rounded sides tapering to a short open neck, finely painted in rich underglaze-copper-red with Magu in her chariot drawn by a deer and accompanied by a female attendant and a crane amid rocks and plants, fitted box. 11.5cm (4½in) diam. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清康熙 釉裡紅麻姑獻壽圖水盛青花「大明宣德年製」楷書款Provenance: Sotheby's London, 5 December 1995, lot 437An important European private collection來源：倫敦蘇富比，1995年12月5日，拍品編號437歐洲重要私人收藏 Magu is a figure in Chinese mythology often depicted as a beautiful young woman with feathered robes and with a deer. She is associated with longevity and immortality, and is said to possess magical powers, including the ability to brew an elixir of life from sacred herbs. It is unusual to find a piece painted with figures in copper-red, it is used more typically as an overall covering on small porcelain pieces; see, for example, the beehive brushpot in the Tsui Museum of Art, Chinese Ceramics IV: Qing Dynasty, Hong Kong, 1995, no.7. For an apple-shaped jar painted with a floral design in underglaze-red, Kangxi six-character mark and of the period, in the Shanghai Museum, see Wang Qingzheng ed., Underglaze Blue & Red, Shanghai, 1987, no.118.For further information on this lot please visit Bonhams.com
A FINE PAIR OF DOUCAI FLARING BOWLSJiaqing seal marks and of the periodEach painted in underglaze blue and enamelled in iron-red, green and gilt around the exterior with five medallions of fruiting and flowering trees between pomegranate sprays above a band of overlapping stylised ruyi-heads at the foot, wood stands. Each 15.6cm (6 1/8 in) diam. (4).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清嘉慶 鬥彩描金團花馬蹄式碗一對青花「大清嘉慶年製」篆書款Provenance: Sotheby's London, 7 December 1993, lot 286An important European private collection來源: 倫敦蘇富比，1993年12月7日，拍品編號286歐洲重要私人收藏Bowls of this type seem to draw inspiration from prototypes originating in the Kangxi period. See a doucai bowl with similar decoration but of different form, Kangxi, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, p.216. This distinctive pattern persisted through subsequent reigns, with documented instances from the Qianlong, Jiaqing, and Daoguang periods. Compare with a single doucai flaring bowl, Jiaqing seal mark, illustrated in Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.363.See one doucai bowl, Jiaqing seal mark and of the period, which was sold at Christie's London, 3 November 2020, lot 165.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A large Chinese blue and white 'ladies and boys' jar and coverQing dynasty, Kangxi periodRising from a stepped foot to broad shoulders, painted to the exterior with ladies and boys at play besides leafy trees below a band of scrolling clouds, a leaf within a double circle in underglaze blue to base, the cover with boys between bands of double circles, wood stand, 41cm high.清康熙 青花仕女童子圖紋將軍蓋罐Condition Report: Various chips to the rim of the cover, the largest being approx. 5cm across, three hairlines from the rim, the longest being approx. 4cm long. Restored chips to the neck of the vase, the largest being 6.5 x 4cm. A hair line associated with another restored chip of approx .5cm long from the mouth rim, a small chip of approx. cm above the foot, nibbling to the foot rim. General surface wear commensurate with age.Please request further images from the department for a full overview.
A Chinese famille verte 'floral' wine cupLate Qing dynasty/Republic period, apocryphal Kangxi six-character markEnamelled with insects alighting over flowering blooms, the mark in underglaze blue to base, 7.7cm diameter x 7.4cm high.晚清/民國 粉彩花卉紋酒杯 「大清康熙年製」寄託款Condition Report: Light surface wear, small rim nibble.
A Chinese famille verte 'animal and flower' dishQing dynasty, Kangxi periodPainted to the central roundel with a peony enclosed by a band of small circles, the cavetto divided in four equal fan-shaped cartouches painted with deer, chicken, mandarin ducks amidst stylised rocks, leafy floral branches and scrolling ruyi clouds, below a band of flower heads on iron red ground, 27cm diameter.清康熙 五彩繪花卉動物紋盤
A Chinese powder blue tea bowl and a coffee cupQing dynasty, Kangxi periodThe tea bowl, painted to the centre in iron red and gilt with a flower head below a band scrolling clouds to the rim, the exterior with gilt decoration, 6.8cm high; the coffee cup painted to the front and back within stylised panels with flowers, flanked by a S-shaped handle, rim applied with brown glaze, 8cm high (2).清康熙 灑藍地茶盃及咖啡盃
A pair of Chinese famille verte 'geese' platesQing dynasty, Kangxi periodEnamelled to the interiors with four geese alighting in a peony garden, the rims with a continuous landscape, the bases with underglaze blue jue within double rings, 22.3cm diameter (2).清康熙 五彩繪鵝紋盤一對Condition Report: One plate with star crack to base (8x7cm approx.) and at least three small rim chips. The other with at least one short rim hairline, fritting, and a few rim nibbles. Both with expected light surface wear and mild firing imperfections.
Six Chinese blue and white 'floral' cups and five 'sea creatures' saucersLate Qing dynasty, apocryphal Kangxi marksBoth sets with fluted rims, the cups painted with flowerheads to the exteriors, four-character marks to bases, 8.3cm diameters, the saucers with crabs and fishes amongst algae, the bases with possibly Arabic script, 13.2cm diameter (11).
A Chinese white-glazed moulded 'lotus' water dropper or 'nose-drinking' vesselQing dynasty, Guangxu mark and periodMoulded as a lotus leaf with hollow stem constituting the spout, covered overall in a bluish-white glaze, the reverse of the stem with underglaze-blue six-character mark in a vertical line, fitted box, 18cm long.The Property of a Lady. Purchased in Hong Kong throughout the 1980s and 1990s. 清光緒 白釉荷花式盃《大清光緒年製》款女士藏品。二十世紀八十至九十年代間購置於香港。Vessels such as the present lot are often described as 'nose-drinking cups', as nose drinking was said to be a custom in the South of China, around Yangzhou, during the Northern Song dynasty, as described in Jingdezhen Tao Lu, translated by G. R. Sayer in 1951, entry # 65, page 90.This custom was revived as a brief amusement during the Kangxi period, when lotus leaf-form vessels of the shape of the present lot were produced in susancai or aubergine glaze, and then again during the Guangxu period, when they were more often made in the shape of a flower head and enamelled pink.Condition Report: A short firing crack to the interior and some misfiring to glaze, otherwise generally good.
A group of Chinese and Annamese blue and white vesselsMing dynasty, 15th century - Qing dynasty, 17th/18th centuryComprising: four Annamese jarlets, 5.2cm, 5.6cm, 7cm ad 7.5cm high, and two boxes, 8cm and 9.5cm diameters, all painted with floral motifs, 15th/16th century; two Chinese bowls and a plate, 16th century, 15.5cm diameters; a jarlet, 9cm high, and a plate with apocryphal Chenghua six-character mark to base, 15.5cm diameter, Kangxi period (11).十五 - 十七/十八世紀 中國及安南瓷器一組
Eighteen Chinese various blue and white export dishes with floral decorationQing dynasty, Kangxi periodAll with various floral and landscape patterns, including three associated pairs and two associated triplets.22.5cm -23.5cm diameter (18).清康熙 外銷青花繪花卉圖紋瓷器一組十八件Condition Report: Due to the large number of items in the lot this will be a very brief description of the most significant damage. Please refer to department for additional images.Most with nibbles and small chips to rims.At least four plates with hairlines to either rims or centre.All with expected firing imperfections including iron spots, small pits and firing cracks.
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