CHILD'S PLAY 2 (1990) - Good Guy Factory DollA Good Guy factory doll from John Lafia's horror sequel Child's Play 2. Multiple Good Guy dolls were seen at various stages of their production throughout the Play Pals Inc. factory sequence during the film's finale.This doll is made of plastic, with resin eyes and a removable synthetic ginger wig. The doll's head and limbs are secured to the body by ball joints which allow them to be moved and rotated. The doll is dressed in custom-made clothing, comprising a striped long-sleeved knit top; a pair of dungarees featuring a toy print pattern; a pair of red socks; and a pair of red canvas shoes. Both the front pocket on the dungarees and the shoelaces display the doll's brand name, "Good Guys". This lot exhibits wear from production use, including yellow stains, plastic label tags in the dungarees, and a hinged cut-out panel at the top of the head which has since been glued shut. Dimensions: 77 cm x 64 cm x 18 cm (30 1/4" x 25 1/4" x 7") Estimate: £8,000 - 12,000 ΩThis lot will be auctioned on Thursday, November 3rd. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Friday, November 4th; Saturday, November 5th; or Sunday, November 6th.
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JAMES BOND: THE WORLD IS NOT ENOUGH (1999) - Peter Nelson Collection: Nuclear Facility Control PanelA nuclear facility control panel from Michael Apted's Bond film The World Is Not Enough. Renard's (Rober Carlyle) henchmen used a control panel while stealing nuclear materials and a bomb. The control panel is made of resin and painted red. It has two control sticks (one labelled "Robot Arm" and one "Lift"), an arrangement of buttons and a screen which reads "Main Operation". A thick black cable protrudes from the right side. It has been intentionally distressed with dirt and has some additional paint wear. Dimensions: 35.5 cm x 19.5 cm x 10 cm (14" x 7 3/4" x 4") From the personal collection of Peter Nelson, previously displayed at his two museums, "The Cars of the Stars" and "The Bond Museum" in Keswick, Cumbria, until they closed in 2011. Estimate: £400 - 600 MThis lot will be auctioned on Saturday, November 5th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Friday, November 4th; or Sunday, November 6th.
PROMETHEUS (2012) - Prometheus Light-up Sleep PodA light-up sleep pod from Ridley Scott's sci-fi prequel Prometheus. The Prometheus' crew journeyed to the moon LV-223 in sleep pods. Numbered "P-04", this resin pod features an MDF-and-fibreglass frame, a retractable upper panel, and clear acrylic casing. Its interior is lined with futuristic resin and metal components, and its base is lined with flexible plastic mesh. Electronics, including light-up control panels, buttons, white LED strip lights, and computer consoles, are installed internally and externally. The pod is finished in white and applied with an array of Weyland Corp. decals, safety warnings, and numbers. Its panel base exhibits cracking on both sides, and the frontal video screen is no longer present. Dimensions: 250 cm x 90 cm x 140 cm (98 1/2" x 35 1/2" x 55")Contains electronics; see electronics notice in the Buyer's Guide.Special shipping required; see special shipping notice in the Buyer's Guide. Estimate: £3,000 - 5,000 †ΔThis lot will be auctioned on Sunday, November 6th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Friday, November 4th; or Saturday, November 5th.
ROCKETMAN (2019) - Elton John's Miniature MansionElton John's miniature mansion from Paramount Pictures' biographical musical Rocketman. At the end of a sequence charting Elton's rise to fame, he and John Reid opened the front of a miniature mansion to reveal a golden Goodbye Yellow Brick Road record.Based on the Brocket Hall estate, this miniature mansion features detailed wood and resin brickwork, tiling and chimneys, with acrylic exterior windows. The front opens on metal hinges revealing six small rooms and a central chamber lined with detailed portraits. Each room displays paper floor tiling, felt rugs and white miniature furniture. It also features wired ceiling LEDs, the control panel for which is missing. This mansion exhibits some peeling paper flooring and exterior dirt from production use and storage. Dimensions: 64 cm x 115 cm x 76.5 cm (25 1/4" x 45 1/4" x 30 1/4")Contains electronics; see electronics notice in the Buyer's Guide. Estimate: £1,000 - 1,500 †ΔThis lot will be auctioned on Sunday, November 6th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Friday, November 4th; or Saturday, November 5th.
ELF (2003) - Santa's (Ed Asner) Light-up Scaled Sleigh Dashboard with Spirit ClausometerSanta's (Ed Asner) light-up, scaled sleigh dashboard with a Spirit Clausometer from Jon Favreau's Christmas movie Elf. Jovie (Zooey Deschanel) started a sing-along to raise the Clausometer on Santa's sleigh after Buddy (Will Ferrell) lost his Christmas spirit.This dashboard was custom-made by the SFX team for shots of the fully-operational sleigh at a smaller scale in order to make Buddy appear oversized. It features a panel of chrome-plated buttons and gauges, including a "Spirit Clausometer," a pressure gauge, and buttons labelled "Ho Ho Ho," inset into a polished wooden compartment. Following production, electronics on the reverse were switched out by SFX crew with a more automated system which illuminates buttons and raises gauges when connected to an AC outlet. Several lights are dimming and the wood exhibits scratches from production use. Dimensions: 58.5 cm x 18 cm x 28 cm (23" x 7" x 11")Contains electronic components; see notice in the Buyer's Guide. Estimate: £5,000 - 7,000 ΩThis lot will be auctioned on Thursday, November 3rd. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Friday, November 4th; Saturday, November 5th; or Sunday, November 6th.
ELF (2003) - Light-up Empire State Building Elevator Button PanelA light-up Empire State Building elevator button panel from Jon Favreau's Christmas movie Elf. After he witnessed an elevator button lighting up, Buddy (Will Ferrell) was overcome with excitement and pushed every button to light more up.Custom-made by SPFX Coordinator Tony Lazarowich's team, this lot consists of a metal elevator panel with working buttons and individual plugs and cables rigged to each light. The back bottom of the panel features a written label for "Tony SFX." The panel requires a 12V car battery to operate the lights. This lot exhibits burnt out bulbs in buttons 80, 76, 78, 49, 51, 24, 17, L, and Alarm. Dimensions: 38.25 cm x 131 cm x 7.75 cm (15" x 51.5" x 3")Contains electronics; see electronics notice in the Buyer's Guide. Estimate: £4,000 - 6,000 ΩThis lot will be auctioned on Thursday, November 3rd. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Friday, November 4th; Saturday, November 5th; or Sunday, November 6th.
SPIDER-MAN (2002) - Spider-Man's (Tobey Maguire) Prototype Web-ShooterA prototype web-shooter from the production of Sam Raimi's superhero film Spider-Man. During the film's development, it was intended that Spider-Man (Tobey Maguire) would use mechanical wrist-mounted web-shooters, as in the comics. However, Raimi ultimately decided that the webs would be generated organically from Spider-Man's wrists, but not before concept art, set photos and some early promotional clips showed Peter Parker (Maguire) testing his DIY mechanical device.The prototype web-shooter features black resin panels mounted to a brass bracelet with a circuit board stapled on top. The shooter includes a pad-activated servomechanism designed to squeeze "webs" from a cartridge through a nozzle on the front of the board. The prototype does not feature any functional mechanical or electronic component. It exhibits rusting, a missing bracelet panel and production wear. Dimensions: 20 cm x 10 cm x 5 cm (8" x 4" x 3/4") Estimate: £600 - 800 ΩThis lot will be auctioned on Sunday, November 6th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Friday, November 4th; or Saturday, November 5th.
STAR TREK: THE NEXT GENERATION (T.V. SERIES, 1987 - 1994) - Small LCARS KeypadA small LCARS access panel from the sci-fi series Star Trek: The Next Generation. The crew of the Enterprise used keypads to access the ship's main computer system, the LCARS (Library Computer Access and Retrieval System) throughout the series. Designed to appear illuminated when backlit, this black acrylic panel features a sheet of graphics with simulated purple, red, and orange touch-screen buttons in the series' iconic LCARS (Library Computer Access and Retrieval System) style taped to the back. The acrylic exhibits some scratching, and the tape is peeling in some places from production. Dimensions: 16 cm x 11 cm x 0.75 cm (6.25" x 4.25" x 0.25") Estimate: £1,000 - 1,500 ΩThis lot will be auctioned on Sunday, November 6th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Friday, November 4th; or Saturday, November 5th.
STAR TREK: DEEP SPACE NINE (T.V. SERIES, 1993 - 1999) - Framed Light-Up Klingon Wardroom PanelA framed light-up Klingon wardroom panel from the sci-fi series Star Trek: Deep Space Nine. Klingon panels lined Deep Space Nine's wardroom throughout the series, including in the Season 7 episode "When It Rains.." when General Martok (J.G. Hertzler) was inducted into the Order of Kahless.This large colour panel is designed to illuminate from behind when plugged into an AC power outlet. It comes mounted behind glass in a black metal frame. The panel exhibits some discolouration from production use and age along its edges. Dimensions: 139.75 cm x 75 cm x 2.5 cm (55" x 29.5" x 1")Contains electronic components; see notice in the Buyer's Guide. Estimate: £600 - 800 ΩThis lot will be auctioned on Sunday, November 6th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Friday, November 4th; or Saturday, November 5th.
STARGATE SG-1 (T.V. SERIES, 1997 - 2007) - Goa'uld Ship UGDO PanelA Goa'uld ship UGDO panel from the sci-fi action series Stargate SG-1. Goa'uld ships were lined with panels known by production as UGDOs, or Universal Garage Door Openers, due to their use on multiple Goa'uld sets throughout the series.This panel features components added for the Season 6 "Descent," including an art deco-inspired cover, a rare ornately designed interior portion behind the front plate, and eight removable multicolour pegs. Also included is a Stargate Propshop Certificate of Authenticity. The lot exhibits wood splintering, scratches, and faded and chipped paint from production. Dimensions: 31.75 cm x 43.25 x 14 cm (12.5" x 17" x 5.5") Estimate: £1,000 - 1,500 ΩThis lot will be auctioned on Sunday, November 6th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Friday, November 4th; or Saturday, November 5th.
GREMLINS 2: THE NEW BATCH (1990) - Lunging Gremlin Mohawk PuppetA lunging gremlin Mohawk puppet from Joe Dante's horror comedy Gremlins 2: The New Batch. After he transformed into a gremlin, Mohawk burst out of the studio's control panel and wreaked havoc on employees at Clamp Centre.This lot consists of a waist-up, foam-filled latex gremlin puppet with outstretched arms designed to "burst" out of a console. It features Mohawk's reptilian-like painted spikes and eyes, latex fin appendages, and resin claws along with his namesake spiny mohawk. A new black base is included to provide internal support for Mohawk and his arms. This puppet has been painstakingly restored by Brian Penikas, a painter for the original production of Gremlins, and his team at Make-Up and Monsters Studios. This lot exhibits fragility in the foam and latex with cracks in the paint and missing pieces in the spines and spikes from age. Dimensions: 82.75 cm x 53.5 cm x 96.75 cm (32.5" x 21" x 38") Estimate: £20,000 - 30,000 ΩThis lot will be auctioned on Thursday, November 3rd. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Friday, November 4th; Saturday, November 5th; or Sunday, November 6th.
ORVILLE, THE (T.V. SERIES, 2017 - PRESENT) - Light-up Planetary Union Plasma ShotgunA light-up Planetary Union plasma shotgun from sci-fi comedy TV series The Orville. Security personnel aboard the USS Orville carried PM-488 Titan shotguns, most notably when the Kaylon attacked and boarded the Orville in Season 2.The shotgun is made primarily of resin painted to resemble metal, and features two small buttons on the top, one of which illuminates a small torch on the barrel front, the other illuminating a panel at the top. The panel is magnetically attached to the weapon and can be removed, revealing the battery compartment. The bottom of the grip features a barcode sticker which has "Orville Yr1" printed above it. Dimensions: 54 cm x 6 cm x 18 cm (21 1/4" x 2 1/4" x 7") Contains electronics; see electronics notice in the Buyer's Guide. Estimate: £4,000 - 6,000 MThis lot will be auctioned on Thursday, November 3rd. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Friday, November 4th; Saturday, November 5th; or Sunday, November 6th.
SHORT CIRCUIT 2 (1988) - Johnny 5 Model Miniature with GliderA model miniature Johnny 5 robot from Kenneth Johnson's comedy sci-fi sequel Short Circuit 2. After living robot Johnny 5 learned that Fred (Michael McKean) intended to sell him, he escaped by crashing through an office window and deploying a glider to fly through the city.This model is mostly made of cast resin and wood, with a metal shoulder bar and joints. It has a highly detailed paint finish in metallic grey, with a red toolbox and bronze-and-blue panels and buttons. The model features a swivelling head, and moveable shoulder joints, elbows, eye guards, toolbox and back wheel. A motor and wiring are present inside a removable front panel on the body, indicating the model was once remote controlled.Accompanying the model is Johnny 5's yellow-and-orange glider, which is made of resin and biscuit foam, with a metal frame that can slot into the back of the model, though this should be attempted with care. This lot exhibits wear from production use and age, including paint wear, chips, and cracks to the front treads, back wheel guard and surface of the glider. Dimensions (robot): 28 cm x 21.5 cm x 39 cm (11" x 8 1/2" x 15 1/2")Contains electronics; see electronics notice in the Buyer's Guide. Estimate: £40,000 - 60,000 M This lot will be auctioned on Thursday, November 3rd. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Friday, November 4th; Saturday, November 5th; or Sunday, November 6th.
STAR TREK: THE NEXT GENERATION (T.V. SERIES, 1987 - 1994) - Main Engineering Master Systems Display Table LCARS Keypad Panel 02A Main Engineering master systems display table LCARS keypad panel from the sci-fi series Star Trek: The Next Generation. Chief Engineer Geordi La Forge (LeVar Burton) and his team used the master systems display table in Main Engineering as they investigated issues with the Enterprise-D.Designed to appear illuminated when backlit, this black acrylic panel features graphics paper labelled "Subsystem Operational Status" with simulated yellow and purple touch-screen buttons in the series' iconic LCARS (Library Computer Access and Retrieval System) style taped to the back. It exhibits scratching throughout, and the tape is loose in places. Dimensions: 29.25 cm x 19 cm x 0.75 cm (11.5" x 7.5" x 0.25") Estimate: £4,000 - 6,000 ΩThis lot will be auctioned on Thursday, November 3rd. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Friday, November 4th; Saturday, November 5th; or Sunday, November 6th.
STAR TREK: VOYAGER (T.V. SERIES, 1995 - 2001) - Light-Up Compression Phaser RifleA light-up compression phaser rifle from the sci-fi series Star Trek: Voyager. USS Voyager crew used compression phaser rifles throughout the series.This futuristic rifle is constructed from resin and machined aluminium painted silver-colour and black with red ribbing on the two-pronged split-emitter and acrylic panels inset on top. One AA battery-powered light hand-marked "C" on the interior and concealed behind the backmost panel illuminates via a front button. Metal wiring for securing straps and fastening strips are affixed below dual grips. The rifle exhibits visible signs of production use and wear, with chips and paint scuffing throughout the resin, and has been sympathetically repaired following fracturing to the emitter. Dimensions: 91.5 cm x 28 cm x 20.5 cm (36" x 11" x 8")Contains electronic components; see notice in the Buyer's Guide. Estimate: £3,000 - 5,000 ΩThis lot will be auctioned on Thursday, November 3rd. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Friday, November 4th; Saturday, November 5th; or Sunday, November 6th.
BEATLES, THE - Altec 605A Abbey Road Studio MonitorsA pair of Altec 605A monitors which originally came from Abbey Road Studios. Altec monitors were introduced to the control room in Studio 2 at Abbey Road in 1959 and remained there throughout the 1960s. Additional pairs were used as transportable monitors in other studios and around the building. Record producer George Martin used Altec monitors to mix most of The Beatles' recordings.In 1969, The Beatles moved to Twickenham Film Studios and Apple Corps headquarters to record their album Let It Be and the documentary of the same name, directed by Michael Lindsay-Hogg. Four Altec 605A monitors (including these two) were taken to both locations for the recording sessions. The monitors were numbered by music studio EMI, one "4" and "6" (the other duo were numbered "3" and "8"). They can be seen in "Part 2: Days 8-16" and "Part 3: Days 17-22" of Peter Jackson's 2021 documentary series The Beatles: Get Back, as Jackson utilised original footage from the Let It Be sessions. Both pairs were later sold by another collector to music archivist Chris Hewitt. Both these monitors have received sympathetic restoration to the plywood carcasses and have been restored using the original type of Altec paint used in the 1950s. They comprise a silver-painted plywood exterior; a protective black fabric panel on the front; and a green plaque with the Altec branding and a control switch on the back. Inside both monitors is an EMI Records Limited branded label with the Abbey Road address printed along the top. One label reads "Altec 605A No 4", and the other features the text "Altec 605A No 6" . Each monitor has intertwined red and black cables running out of the back; the electronics were tested by Hewitt and are still functioning. The exteriors exhibit minor scuffing, and one of the green plaques displays notable marks. The lot is accompanied by three printed behind-the-scenes photos.This lot comes from the personal collection of Chris Hewitt, noted audio archaeologist and author of several books on vintage sound equipment. A letter from him is included. Dimensions (each monitor): 45 cm x 64.5 cm x 75 cm (17 3/4" x 25 1/4" x 29 1/2")Special shipping required; see notice in the Buyer's Guide.Contains electronics; see electronics notice in the Buyer's Guide Estimate: £60,000 - 100,000 MThis lot will be auctioned on Friday, November 4th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Saturday, November 5th; or Sunday, November 6th.
A RARE BLACK-GROUND 'BOYS AND RAMS' BROCADE PANEL15th/16th centuryThe silk satin panel finely woven with repeating patterns of boys riding white goats or rams, each figure elegantly dressed in fur-trimmed red and green winter robes, carrying a flowering prunus branch suspending a bird cage over the shoulders, all surrounded by camelias and the Precious Objects including flaming pearls, coral branches, jewels, ruyi heads, lozenges, scrolls, cash and double axe heads, all on a black ground, mounted.59cm (23 2/8in) long x 23.5cm (9 2/8in) wide.Footnotes:十五/十六世紀 黑地童子騎羊紋錦Provenance: Jacqueline Simcox Ltd., LondonAn English private collectionPublished and Illustrated: Jacqueline Simcox Ltd., Chinese Textiles and Works of Art, London, 2005, p.23來源：倫敦古董商Jacqueline Simcox Ltd.英國私人收藏出版著錄：Jacqueline Simcox Ltd.，《Chinese Textiles and Works of Art》，倫敦，2005年，頁23Elegantly woven in black silk, the present panel is remarkable for its vivid imagery and well-preserved colour. The popular design of boys riding goats is associated with the arrival of spring, and with it, the new year, Winter Solstice, conveyed by the character yang for ram being a homonym for sun, which also represents the male principle thus investing the word with connotations of new life and fertility. The Winter Solstice marked the rebirth of the sun and the beginning of the yang (male) half of the year, and the prunus and camellia flowers, some of the first Spring blossoms, herald the end of winter.Compare with a very similar 'boys and goats' silk panel, 15th/16th century, illustrated by Feng Zhao, Treasures in silk, Hong Kong, 1999, no.08.09.For further information on this lot please visit Bonhams.com
AN IMPERIAL CHESTNUT-GROUND SILK 'BATS AND SHOU SYMBOLS' BROCADE RECTANGULAR PANELWanliFinely woven in a repeating pattern with six rows of large bats in flights, each carrying a vaporous lingzhi cloud supporting a golden Shou character, all interspersed with cruciform clusters of wispy clouds and reversed wan symbols on a light-chestnut ground, mounted.110cm (43 2/8in) high x 52cm (20 1/2in) wide.Footnotes:明萬曆 御製福壽紋錦Provenance: Jacqueline Simcox Ltd., LondonAn English private collectionPublished and Illustrated: Jacqueline Simcox Ltd., Chinese Textiles and works of art, London, 2005, p.25來源：倫敦古董商Jacqueline Simcox Ltd.英國私人收藏出版著錄：J.Simcox，《Chinese Textiles and works of art》，倫敦，2005年，頁25Delicately woven with elegant designs conveying a highly-powerful and auspicious symbolism, the present panel may have been commissioned for the Wanli Emperor. An identical silk panel was excavated from the tomb of the Wanli Emperor, illustrated by Zhao Qichang and Wan Wang, The Royal Treasures of Dingling Imperial Ming Tomb, Beijing, 1989, p.271.Combined with bats, homophone for 'happiness' (fu), the Shou characters, symbolising longevity, represent the rebus 'May you live happy for eternity', fushou. In addition, the combination of Shou and double wan from the rebus Wan Wan Shou meaning 'May you live for 10,000 years', which was the Imperial birthday greeting for the Emperor.The combination of bats and Shou characters appears to have been reserved for use by the Emperor and his innermost family circles. See an embroidered silk festive badge, Wanli, decorated with the Shou characters and double wan, similarly positioned over a cluster of ruyi clouds on the back of an animal, a deer in this case, illustrated by J.Rutherford and J.Menzies, Celestial Silks: Chinese Religious & Court Textiles, Sydney, 2004, no.40.For further information on this lot please visit Bonhams.com
A VERY RARE HUANGHUALI CLOTHES RACK, YIJIAMid Qing DynastyThe two slender corner posts of square section and joined to the top rail terminating with dragon-heads, three additional horizontal openwork panels of chilong, coin-shaped scrolls, and angular floral scrolls, all fitted into shoe feet carved with large florettes and standing spandrels with openwork dragons, the wood of dark-chocolate tone. 188cm (74in) high x 56cm (22in) deep x 202cm (79 1/2in) wide. (9).Footnotes:清中期 黃花梨龍首衣架In China, clothing racks were used in men's and women's sleeping quarters for the temporary placement of garments. Clothes could be draped over the top rail or middle panel. At night, nobles tossed their discarded robes over a garment rack to protect them from wrinkles. Clothes racks also functioned as a way of displaying fashionable pieces of clothing. They often formed part of the dowry and were decorated with auspicious symbols to promote marital bliss and longevity. While a clothes rack was a common piece of furniture in the sleeping quarters of both men and women, only a few hardwood examples have survived. See a similar huanghuali clothes rack, with similar coin design, illustrated by Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, vol.II, London, 1990, p.183, E39. See also K.Mazurkewich, Chinese Furniture, Hong Kong, 2006, p.156. A related mahogany clothes rack, Qing dynasty, is illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties, vol.2, Hong Kong, 2002, p.281, no.237. Compare also with a related huanghuali clothes rack, Qing dynasty, which was sold at Christie's Hong Kong, 28 May 2021, lot 2825.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 RARE HUANGHUALI 'FALCON STAND', YINGJIA18th centuryThe two slender posts, fitted with bronze 'mythical beast' finials, framing two horizontal stretchers, the top one fitted with a knob, enclosing a panel carved with a hunting scene on one side and a gilded landscape on the other, joined by two rails above and below the panel, framing 'cloud' and 'scrolling chrysanthemum' spandrels, the toprail padded with rope and fitted with a metal ring, all set on two solid feet decorated with two pairs of Buddhist lions. 114cm (44 7/8 in) high x 110cm (43 5/16 in) wide x 43cm (3 15/16 in) deep.Footnotes:清十八世紀 黃花梨鷹架Hunting and falconry were important pastimes of the Qing dynasty, both as a form of entertainment and as a way of learning military skills. It served to maintain and develop Manchu martial tradition. A related falcon stand with similar decoration is depicted in a painting by the Italian Jesuit Court painter Giuseppe Castiglione 郎世寧 (1688-1766), of a white falcon; see He Chuanxin, ed., Portrayals from a Brush Divine: a Special Exhibition on the Tricentennial of Giuseppe Castiglione's Arrival in China, Taipei, 2015, pp.228-231. The detailed line drawings of the bronze 'mythical beast' finials fitted to the posts and the two pairs of Buddhist lions on the stand are both similar to the present lot. The padded rope on the top rail is for the falcon to grip and protect its talons, while the knob on the horizontal panel is said to be for the hood for the bird.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 HUANGHUALI THREE-SHELF BOOKCASE, JIAGEMid Qing Dynasty Of rectangular form and standard mitre, mortise and tenon construction, the round slender corner posts framing the softwood top panel and three shelves, one of which surmounts a pair of drawers, and secured around the shelves by a three-sided openwork railing comprising of kuilong patterns, the corner posts extending to form the feet, joined by plain apron and spandrels. 188cm (74in) high, 79.5cm (31 1/4in) wide, 41cm (16in) deep.Footnotes:清中期 黃花梨三層透雕夔龍紋圍子欄杆帶抽屜大架格The present lot is notable for the added decorative touch of the intricately-reticulated three-sided kuilong galleries, elegant proportions and extravagant use of high-quality huanghuali wood.Open-shelf stands (jiage) are one of the four types of cabinets with shelves created by Chinese furniture makers, along with round-corner cabinets yuanjiaogui, cabinets with open shelves lianggegui and square-corner cabinets fangjiaogui. See Wang Shixiang, Connoisseurship of Chinese furniture: Ming and Early Qing Dynasties, Hong Kong, 1990, vol.1, pp.82 and 85. Bookcases shuge are open-shelf stands with three-sided railing to hold the books in place and to prevent them from falling, see Zhongguo gudian jiaju shoucang yu jianshang quanshu, vol.1, Tianjin, 2005, p.179. Bookcases were also a symbol of culture and education as an important feature in any scholar's studio. Open-shelving fulfilled two roles, as it allowed scholars to create elegant displays of scholar's objects and also functioned for storage of albums and books.Compare with a huanghuali and wumu four-shelf bookcase in the Minneapolis Institute of Arts, illustrated by R.D.Jacobsen and N.Grindley, Classical Chinese Furniture in the Minneapolis Institute of Arts, Minneapolis, 1999, pp.142-43, no.49. See also another huanghuali bookcase, Ming dynasty, illustrated by Wang Shixiang, Connoisseurship of Chinese furniture, Beijing, 2007, p.142, D6, where the galleries are elaborately carved with cruciform-latticework.See a related huanghuali three-shelf bookcase with three-sided openwork galleries of repeated quadrilobed and lotus motifs and key-fret galleries on separate shelves, 17th century, which was sold at Christie's New York, 17 September 2015, lot 2028. Compare also with a huanghuali three-shelf bookcase with three-sided openwork railing, 18th/19th century, which was sold at Sotheby's New York, 23 September 2020, lot 731.This lot is subject to the following lot symbols: * TP Y* 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.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 VERY RARE GILT-DECORATED BLACK-LACQUERED PANEL AND CARVED CINNABAR LACQUER FRAME FOR THE IMPERIAL COURTLate 18th centuryThe black lacquer panel exquisitely decorated in gilt with a mountainous landscape dotted with pavilions, some of the roofs decorated in the kirikane technique, all amidst various trees, and a waterfall on the right from which a boisterous river with swirling currents curves across, some gnarled rocks slightly raised in the takamaki-e technique, all framed by a carved cinnabar lacquer frame with lotus scrolls, an ornate metal hook ontop. 96cm (37 3/4in) wide x 88cm (34 1/2in) high.Footnotes:十八世紀晚期 御用剔紅邊框鑲黑漆描金風景紋屏Provenance: Vanderven Oriental Art, 's-Hertogenbosch, The Netherlands; acquired at TEFAF, Maastricht 來源： 於馬斯特里赫特歐洲藝術和古董博覽會，購自荷蘭斯海爾托亨博思古董商Vanderven Oriental ArtThe present panel is exceptionally rare and demonstrates the fascination of the Qing Court with foreign representations as well as its admiration of the technical virtuosity of lacquering techniques and decoration imported from or influenced by Japan. The lavish use of gold on black lacquer became particularly popular during the reign of the Yongzheng emperor, who especially appreciated and collected Japanese gold and silvered lacquer (maki-e). During the Yongzheng reign, Japanese lacquer was presented to the Imperial Court by Sui Hede, Gao Qizhuo and Zhun Tai, the Jiangnan silk manufacturing agent, the Suzhou Imperial inspector and the Superintendent of the Fujian customs house respectively. See Yuancang riben qiqi tezhan, Taipei, 2002, p.19. Yongzheng's appreciation for Japanese lacquer can be seen for example, in the 'Twelve Beauties at Leisure' painted for Prince Yinzhen (the Future Yongzheng emperor), in which one painting shows a woman with a Japanese style black lacquered box with gilt decorated bamboo, illustrated by E.Rawski and J.Rawson, China: The Three Emperors 1662-1795, London, 2005, p.259. Japanese boxes were particularly highly regarded at Court where they were used to store precious objects and antiques; see for example a Japanese lacquer box in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Small Refined Articles of the Study, Shenzhen, 2009, pp.8-9, no.4. Chinese artisans also imitated Japanese lacquer pieces. See for example, a handled case with gold-painted landscape in the same raised technique, in imitation of a Japanese case, 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, Hong Kong, 2006, p.192, no.144.The black lacquer panel in the present lot was probably made in Japan; takamaki-e techniques of slightly raised gold-leaf as can be seen on the rocks of the present lot, was used in Japan, and the landscape scene itself appears to have its origins in Japanese designs. See for example, a Japanese black lacquer and gilt-decorated cabinet (one of a pair), at the Qing Court Collection, with a very similar landscape but with a party of people in Edo period dress, illustrated in The Emperor's Private Paradise: Treasures from the Forbidden City, New Haven and London, 2010, p.178, pl.54. The same cabinet is also illustrated in A Lofty retreat from the Red Dust: The Secret Garden of Emperor Qianlong, Beijing, 2012, nos.44 and 45, where it is described as Qianlong. The cinnabar lacquer frame on the present lot, however, is demonstrably Chinese. See for example a related black lacquer and mother-of-pearl-inlaid panel with cinnabar lacquer frame, Yongzheng/Qianlong, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties, vol.2, Hong Kong, 2002, p.207, no.179.Despite the lack of official diplomatic ties between Qing China and Tokugawa Japan in the 18th century, Sino-Japanese trade was maintained sustainably, either through Chinese traders in Nagasaki or European intermediaries; see Hao Peng, Trade Relations between Qing China and Tokugawa Japan, 1685-1859, Singapore, 2019. Government sponsored and private merchant ships bound for Japan were often dispatched from Nanjing, Ningbo, Taiwan, Xiamen, and Guangdong. Private operations run by family businesses required strong government connections and sound financial backing. Official records of the 18th century reveal that in 1693 the Suzhou silk agent Li Xu presented ten items of Japanese lacquer to the Court. In this way, Japanese lacquer could enter the Qing Court, where it was highly prized as demonstrated in its use to contain precious works of art.Compare the landscape of the present lot with the landscape on a black lacquer and gilt-decorated cabinet in the National Palace Museum, Taipei (acc.no.gu.qi07.00.000392), and also a black lacquer box and cover, also in the National Palace Museum, Taipei, (acc.no.guqi07.11.000376).See a related black lacquer panel with cinnabar lacquer frame, late Qing dynasty, which was sold at Christie's London, 9 December 1991, lot 61.For further information on this lot please visit Bonhams.com
A RARE BLUE AND WHITE 'DRAGON' EWERQianlong, the Persian metal cover and mounts 19th centuryElegantly potted of flattened pear-shape rising from a short spreading foot, moulded and painted in a vibrant cobalt blue on either side with a tear-drop-shaped panel depicting a writhing five-clawed dragon amidst clouds and flames, reserved on a dense floral meander between key-fret pattern and lappets around the neck and a classic scroll around the foot, the tapered spout with florets and cloud scrolls, and connected to the neck with a ruyi-cloud strut, the metal mount forming the arched handle, the flaring neck and the high domed cover engraved with Arabic calligraphic roundels alternating with rabbits and birds between scrolling arabesques, the finial inset with green glass. 36.9cm (14 1/2in) high.Footnotes:清乾隆 青花雲龍紋執壺 配鑲十九世紀波斯壺柄及蓋Provenance: Christie's London, 12 July 2005, lot 169來源：倫敦佳士得，2005年7月12日，拍品編號169The roundels on the upper and lower parts of the mount are invocations: ya ghafran (O Forgiving One)ya sultan (O Sovereignty)ya Hanan (O Compassionate One)ya musta'an (O Requiter)ya 'azum (O Mightly One)The inscribed band on the rim is the basmallah (invocation in the name of Allah) followed by the Qur'anic text of Surah 68, verse 51:Bismillah al-rahman al-rahim wa an yakad al-din kafaru al-yuzliqunak bi-basrihim lama sami'ua al-dhikaru wa yaqulun innhu lamajnun - 'When they hear Our revelations, the unbelievers almost devour you with their eyes. 'He is surely possessed', they say. (Translation from The Koran by N.J.Dawood, Harmondsworth, revised edition, 1979, p.63.)The present lot is extremely rare, and there are only two known blue and white ewers of this type with decoration of dragons and Qianlong mark published. One is in the collection of the Topkapi Saray, Istanbul, illustrated by J.Ayers and R.Krahl, Chinese Ceramics in the Topkapi Saray Museum Istanbul, vol.3, London, 1986, pp.1106-1107, no.2566. See also a ewer from the Roemer-Museum in Hildesheim illustrated by U.Wiesner, Chinesisches Porzellan: Die Ohlmer'sche Sammlung im Roemer-Museum, Mainz am Rhein, 1981, no.70. Pear-shaped ewers, such as the present example, appear to be based on an earlier round sectioned prototype produced during the Yuan and early Ming dynasties, which in turn were inspired by Central Asian and Middle Eastern metal vessels. See, for example, a blue and white ewer, Yongle, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglaze Red, vol.1, Hong Kong, 2000, p.43, no.41. Similarities can also be drawn with a group of tianbai ewers, Yongle, excavated from the Imperial kilns at Jingdezhen despite these specimens display a wider neck and a square spout; see Imperial Porcelain of the Yongle and Xuande periods Excavated from the Site of the Ming Imperial Factory at Jingdezhen, Hong Kong, 1989, pp.96-97, no.7. Although the shape of this ewer does not appear to have been made in the following reign periods, it was revived in the Jiajing reign on both monochrome white and with underglaze blue wares; see for example, a blue and white ewer with a design of children playing, Jiajing, in the Percival David collection in the British Museum, illustrated by R.Scott and R.Kerr, Ceramic Evolution in the Middle Ming Period, London, 1994, p.30, no.51. The Western Asian metal mounts on the present ewer vessel suggest that the ewer was previously in a Western Asian collection. The chased decoration on the mounts is Qajar Persian dating to the 19th century. Compare with a blue and white ewer, Kangxi, which displays a similar mount and cover, from the Victoria and Albert Museum, London (acc.no.476.18-6). See also a 15th century blue and white ewer from the Topkapi Saray museum, Instanbul, fitted with a related but lesser rounded metal cover; see ibid., p.519, no.618. A pair of similar ewers with handles and covers, Qianlong, was sold at Sotheby's, Hong Kong, 1 May 2001, lot 537.For further information on this lot please visit Bonhams.com
A RARE IMPERIAL YELLOW-GROUND SILK EMBROIDERED THRONE-CUSHION COVERQianlongFinely embroidered with a summer scene of layered rocks rising in peaks from rolling waves, the group of jagged rocks picked up in blue threads surrounding a tall paulownia tree, flanked by further rocks issuing flowering peony branches and large peaches, all on a vibrant yellow ground interspersed with wispy clouds and bats, mounted.128.7cm (50 1/2in) wide x 116.8cm (46in) long.Footnotes:清乾隆 御製明黃地福壽紋座褥Provenance: Jacqueline Simcox Ltd., London, June 2008An English private collection來源：倫敦古董商Jacquelin Simcox Ltd.，2008年6月英國私人收藏Finely embroidered in multi-coloured counted stitch and wrapped gold thread with a paulownia tree rising from the terrestrial diagram, reaching up to the heavens, flanked by fruiting branches bearing nine large peaches and peony stems, this remarkable panel would have likely served as cover to a throne cushion gracing one of the halls within the Forbidden City.Throne cushions provided decoration and comfort to the wide thrones and raised kang platforms placed throughout the ceremonial halls and principal residencies of the Forbidden City. Set with low tables and cushions, these heated brick platforms became a focus of domestic activity especially during the colder months. These platforms served as couches, seats and beds, and their cushions were often decorated with delicate tendril patterns and floral designs, such as the present panel. Regardless of the thematic content, cushion decoration was always symmetrically arranged and throughout the Qing dynasty, most textiles commissioned by the Palace were designed by Court artists working for the 'Wish-Fulfilling Studio' Ruyiguan; see J.Vollmer, Imperial Silks. Ch'ing Dynasty Textiles in the Minneapolis Institute of Arts, Minneapolis, MA, 2000, pp.827-828.The Imperial Household Department regularly sent specifications for decorative furnishing to one of the three southern Imperial Workshops centres for fabrication. The rigidity of traditional furniture and the luxurious taste of the Chinese elites resulted in a variety of upholstered covering which were at the same time functional, decorative and hierarchal.Compare with a very similar yellow-ground throne cushion, Qianlong, in the Fitzwilliam Museum, Cambridge, illustrated by S.Jenyns, Chinese Art: The Minor Arts, New York, 1963, no.11.For further information on this lot please visit Bonhams.com
A RARE PALE GREEN AND RUSSET JADE IMPERIALLY-INSCRIBED 'CHRYSANTHEMUM' MOONFLASK, BIANHUQianlongThe vessel finely carved with a flattened circular shape supported on a rectangular foot, with a bulbuous neck flanked by a pair of arched leaf-scroll handles, decorated to the exterior with a large circular panel to each side framed by a leiwen border, one depicting blossoming chrysanthemums issuing from Taihu rocks, the reverse inscribed with an Imperial poem about chrysanthemums, the stone of pale green tone with some russet inclusions, box. 14cm (5 1/2in) high. (2).Footnotes:清乾隆 青玉菊石圖御題詩文抱月小瓶Provenance: an English private collection來源：英國私人收藏The poem inscribed on the present vessel is entitled 'Chrysanthemums, Imperially Inscribed'. It reads: 周書惟載有黃華，後世侵尋五色誇。自是椎輪生大輅，濫觴寧獨傲霜花。御製題菊Which may be translated as: 'The book of Zhou only records the yellow flower,Later generations searched and boasted of the five colours. Naturally, the petals verticillate like a large carriage wheel, Originally it prefers tranquil solitude and scorns frost'. The poem is included in Qing Gaozong Yuzhi Shiwen Quanji ('Anthology of Imperial Qianlong poems and text', Yuzhi Shi San Ji ('Imperial poetry'), vol.3, vol.39, p.6. Chrysanthemums are one of the 'Four Gentlemen' flowers along with bamboo, orchid and prunus. They are also associated with a joyful retirement. They were the favourite flowers of Tao Qian, or Tao Yuanming (365-427), a poet living during a turbulent period in China who retired in midlife to a small estate to live out his days in rustic obscurity, drinking wine and writing poetry; see S.Nelson, 'Revisiting the Eastern Fence: Tao Qian's Chrysanthemums', The Art Bulletin, 2001, vol.83, no.3, pp.437-460. It is probable therefore, that the Qianlong emperor wrote this poem on chrysanthemums in his later years as his thoughts also turned to retirement.For further information on this lot please visit Bonhams.com
A RARE EMBROIDERED SILK IMPERIAL LANDSCAPE18th CenturyThe panel finely embroidered in gold thread and counted satin stitch with a landscape scene depicting shrubs of lingzhi, paulownia and prunus issuing from Taihu rocks, all interspersed with four of the Five Noxious Creatures including the snake, centipede, scorpion and toad issuing an elegant pavilion from the vapours of its mouth, all beneath the sun and trailing clouds, all on a gilded background, bordered with a leiwen band and a midnight-blue brocade woven with a lotus scrolls, framed and glazed. Actual silk surface 99cm (39in) wide x 68cm (26 6/8in) high.Footnotes:十八世紀 刺繡山水紋屏The group of the 'Five Poisons', Wudu, including the toad, lizard, scorpion, centipede and snake, was thought to form an elixir that neutralises evil during the 'Dragon Boat Festival, Duanwujie, which fell on the fifth day of the fifth month. The event marked the beginning of summer and it was commonly believed that one could ward off the potential negative influences caused by the five animals by possessing a charm which incorporated their imagery. The absence of the spider from the present composition suggests that the present textile was once a slightly larger panel that incorporated the multi-legged insect.Stylistically, the present panel can be compared to a number of silk embroidered textiles in the Palace Museum, Beijing. The shaded blue rocks and double-layered lingzhi fungi, for example, closely compare with those embroidered on a silk panel embroidered with auspicious designs of birds and flowers, Qianlong, illustrated in The Complete Collection of Treasures of the Palace Museum. Textiles and Embroideries of the Ming and Qing Dynasties, Hong Kong, 2005, p.198, no.219; by the same token, see a silk embroidered scroll depicting a landscape with pavilions, mid Qing dynasty, in the Qing Court Collection, illustrated in Ibid., p.199, no.220.For further information on this lot please visit Bonhams.com
A RARE PART-SET OF SIX FAMILLE ROSE 'IMMORTALS' PLAQUESJiaqingThe rectangular panels all superbly enamelled with groups of Immortals and sages clad in colourful robes and holding various attributes, engaged in various leisurely pursuits in a mountainous river landscape defined by a profusion of crashing waves, dotted with pine, bamboo, prunus and paulownia trees, all beneath a blue sky interspersed with wispy clouds.The largest plaque 62cm (24 2/8in) high x 24cm (9 1/2in) wide. (6)Footnotes:清嘉慶 粉彩道教人物圖屏 六件Provenance: George Kidston CMG, Head of the Eastern Department of the British Foreign Office, 1919-20, and thence by descent to the the estate of the late Hon. Mrs Patricia A. Kidston (1927-2021)來源：George Kidston勳爵舊藏，曾於1919年至1920年任英國外交部東方事務部主管；並由後人Patricia A. Kidston夫人（1927-2021）保存Superbly enamelled in vibrant colours and notable for the meticulous attention devoted to portraying the smallest details, such as the joyful expressions of the figures, the various floral and geometric patterns decorating their robes and the elaborate details of the headdresses, the present plaques would have been inset in a precious frame making up a screen gracing one of the Imperial halls. The decorative subjects presented the beholder with auspicious wishes associated with the Daoist Immortals. It is likely the screen containing these plaques would have been commissioned for a special Imperial celebration such as an Imperial birthday. The format, dimension and decoration of the present plaques closely compare with those making up a very rare Imperial famille rose and huanghuali twelve-leaf screen, Jiaqing, which was sold at Bonhams London, 15 May 2014, lot 88. The Qianlong emperor, though abdicating his throne in 1796 out of filial respect to his grandfather the Kangxi emperor, continued ruling in effect until his death in 1799. Therefore, the Imperial taste and demand as well as the zenith of craftsmanship achieved during the Qianlong period, continued into the Jiaqing period. Screens were commonly used in ancient China to keep out draughts, shut out light and partition rooms. Apart from practical functions however, screens also had an essential social and decorative function. In the Imperial halls, they were often used as backdrops to thrones, reinforcing the Imperial eminence and stature behind the throne. The importance of such screens is further demonstrated in that no cost was spared in their production, using precious materials generously, such as zitan and huanghuali woods, cinnabar lacquer, gilt on black lacquer and embellishments with porcelain panels, hardstones, and cloisonné and painted enamels.The present plaques are exquisitely decorated with mythical imagery of Daoist Immortals, auspicious flowers underscoring auspicious puns, rebuses and symbolism. Accordingly, the first panel on the far left depicts Liu Hai tempting his three-legged toad with strings of gold coins: together, they are symbolic of wealth and prosperity. The Chinese word for 'toad', chan (蟾), is homophone with the character qian (錢). Bentah Liu Hai stands a sage holding a large peach: he may be Shou Lao, also known as Shouxing, Daoist God of Longevity. This plaque thus underscores the auspicious wish for wealth, good fortune and long life.The second and third plaques depicts various female Immortals including Magu attended by a spotted deer, symbolic of longevity; He Xiangu carrying a basket of flowers, the only female in the Eight Immortals group; Guanyin, bodhisattva of compassion, standing on a Buddhist lion, and other deities carrying lingzhi fungi and jars storing the elixir granting Immortality.The fourth and fifth panel some wizened old sages and female deities, as well as the remaining figures making up the Group of the Eight Immortals, namely Li Tieguai standing on his double-gourd emanating a cluster of a cluster of vaporous clouds, Zhang Guolao riding his white mule; Lan Caihe holding a basket of peaches, Can Guojiu holding a pair of clappers; Han Xiangzi carrying a flute; Zhongli Quan holding a fan; Lu Dongbin holding a whisk.The sixth panel depicts the Hehe Erxian, the Twin Immortals, floating on the clouds, carrying a lotus he (荷) and a box he (盒), both homophones with harmony (和) and union (合).A pair of famille rose plaques, Qianlong, decorated with similar subjects as the present examples, was sold at Bonhams London, 12 May 2022, lot 178.For further information on this lot please visit Bonhams.com
A HUANGHUALI SEAL CHEST, GUANPIXIANG18th centuryThe chest of rectangular shape with a flat top opening to a shallow single tray, above a pair of well-figured, single-panel doors revealing seven drawers fitted with baitong pulls, the chest mounted with a circular lockplate and a ruyi-form clasp, the sides set with bail handles, the whole raised on a flat base with corner mounts, the vividly-grained wood of a rich reddish-brown. 32cm (12in) high x 33.5cm (13 1/8in) wide x 23cm (9in) deep.Footnotes:十八世紀 黄花梨官皮箱Provenance: a British private collection來源：英國私人收藏The present lot forms part of a distinguished collection of classical Chinese furniture devotedly collected and lived with over the past three decades. The owner had the privilege of learning from the pre-eminent scholar of classical Chinese furniture, Wang Shixiang, as well as from the well-known dealer in classical Chinese furniture, Grace Wu Bruce.Boxes such as the present one were typically designed for use on the scholar's desk, where they would have held a number of seals as well as the other trappings necessary to make seal impressions. These containers, however, were also employed by women and likely held their cosmetics. A similar seal chest to the present example is depicted on a table top in an illustration titled 'Reading a Letter at the Cosmetic Table', included in a woodblock edition of the 'Romance of the Western Chamber', dating to the Wanli period (1563-1620).Compare with a similar huanghuali seal chest, 18th century and fitted with seven drawers, illustrated by T.Liu, Arts from the Scholar's Studio, Hong Kong, 1986, p.257 fig.252. See also a 17th century huanghuali chest from the Honolulu Academy of Art, Hawaii, illustrated by S.L.Little and J.Jensen, 'Chinese Furniture in the Honolulu Academy of Arts. The Frederick Mueller Bequest', in Chinese Furniture. Selected Articles from Orientations 1984-1999, Hong Kong, 1999, p.63, fig.15.A related huanghuali chest with lobed circular mounts, 17th century, and another with square and lobed mounts, 17th/18th century, were sold at Christie's New York, 16 September 1999, lots 68 and 60.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 ZITAN-FRAMED KINGFISHER-FEATHER-INLAID 'LANDSCAPE' PANEL18th/19th centuryExquisitely decorated with lavish use of turquoise-blue kingfisher feathers reserved on a luxurious velvet ground, depicting rugged mountains surrounding a lake with two large pavilions in the foreground, all amidst pine, bamboo and wutong trees, a full moon hanging in the sky, all set in a skilfully carved zitan frame with cloud scrolls. 89.5cm (35 1/4in) long x 71.5cm (28 1/4in) wide.Footnotes:十八/十九世紀 紫檀邊框點翠山水圖掛屏Provenance: a European private collection來源：歐洲私人收藏This remarkable panel demonstrates the exceptional artistry of the 18th century craftsmen reproducing idyllic landscapes in a variety of materials and in the case of the present lot, utilising the brilliant enduring colours of kingfisher feathers meticulously inlaid within the design. The popularity of the use of the prized feathers in appliqué technique reached its peak in the 18th century, with the majority of workshops specialising in utilising the feathers for decoration and in carving the precious zitan wood, located in Guangzhou. Such works were commissioned by the Qing Court and made as Imperial tribute. Compare with a pair of related screens with kingfisher feather decoration, Qianlong, in the Shengyang Palace Museum, and a further panel in the Forbidden City, illustrated by B.Jackson, Kingfisher Blue: Treasures of an Ancient Chinese Art, Berkeley, Toronto, 2001, pp.30-31 and 186. See also three other screens decorated with kingfisher feathers, mid Qing dynasty, made in Guangzhou as Imperial tribute, illustrated by Hu Desheng, Ming Qing Gu Gongting Jia Zhu Da Guan, vol.1, Beijing, 2006, nos.388, 394 and 396.Compare with a related pair of zitan-framed kingfisher feather inlaid 'landscape' screens, Qianlong, which were sold at Bonhams London, 2 November 2021, lot 49.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
KINKOZANA Satsuma Ovoid Vase Meiji era (1868-1912), late 19th/early 20th centuryDecorated in enamels and gilt, the body with two large rectangular panels enclosing in one a scene of a cockerel and hen amongst differently coloured wisteria, the other panel depicting a pair of pheasants by a cherry tree, flowering hibiscus and morning glory, all on a cobalt-blue ground of cherry blossoms and karakusa ('Chinese grasses'); signed Kinkozan tsukuru. 31cm (12 3/16in) high.For further information on this lot please visit Bonhams.com
KINKOZANA Satsuma Rectangular Vessel and Cover Meiji era (1868-1912), late 19th/early 20th centuryDecorated in enamels and gilt, each face with a different figure scene enclosed within a lobed panel comprising: (1) An elegantly clad young woman looking into a mirror, surrounded by attendants; (2) Fully armoured samurai sheltering a princess in a wealthy mansion; (3) Families picnicking and enjoying the hanami (cherry-blossom-viewing) season; (4) A group of fully armoured samurai paying respects to their lord, the cover surmounted by a fruiting three-leaf knop; signed on the base with a red seal Kinkozan. 18.5cm (7¼in) high. (2).Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
CHIKUSAIA Satsuma Ovoid Vase Meiji era (1868-1912), late 19th/early 20th centuryDecorated in enamels and gilt, the continuous central band depicting a samurai procession, a group of participants carrying an elaborate festival float, another group pulling a large cart filled with blossoming flowers, the shoulder and foot decorated with colourful brocade panels, each panel with a fan or lobed reserves enclosing scenes of birds and flowers, women and children, and scenic landscapes; signed Chikusai in a red seal beneath a maru ni juji mon (crest of a cross within a circle), emblem of the Shimazu clan. 25.7cm (10 1/8in) high.For further information on this lot please visit Bonhams.com
A SILK-EMBROIDERED PANELProduced by the Iida Shinshichi House of Takashimaya, Meiji era (1868-1912), late 19th/early 20th centuryWorked in the finest silk and metallic threads, inventively deploying long and short stitches, flat and twisted threads in various palettes (now faded) to depict a grove of flowering trees and plants on the shores of a lake, within the original art-nouveau gilt and wood glazed frame with brocade backing, inscribed on a blue-enamelled copper plate: S. Iida 'Takashimaya' Kyoto, Tokyo, Yokohama in Roman letters beside the mark of Takashimaya, fixed onto the middle top edge of the frame on its reverse side. Overall: 72.2cm x 93.5cm (28 3/8in x 36 5/8in); image: 46.5cm x 67cm (18¼in x 26 3/8in). For further information on this lot please visit Bonhams.com
ANONYMOUS, KANO SCHOOLEdo period (1615-1868), mid-17th/18th centuryTartars Hunting and Hawking in a Mountain LandscapePair of six-panel byobu (folding screens) painted in ink, mineral colours, gold, and gold leaf on paper with silk borders within black lacquer frames; the right-hand screen depicting Tartars on horseback hunting wild boars, rabbits, and a deer; at top right a Tartar leader looking on accompanied by his retinue including attendants holding a parasol and a banner, the lower foreground occupied by a group of mounted Tartars engaged in the hunt using bows and arrows and spears, at far left another group looking on, at top left a tiger and cub on a crag; the left-hand screen including two mounted falconers and a variety of wild birds, the three rightmost panels with a lake and rice paddies; all set against a background of Kano-style mountains, waterfalls, and trees interspersed with gold clouds and gold flecks. Each overall: 173.5cm x 353.8cm (68¼in x 139 5/8in); image: 158cm x 337.2cm (62 3/16in x 132¾in). (2).Footnotes:Painted screens depicting the northeast Asian nomadic hunters known as Dattanjin or Tartars (also written Tatars), although less numerous or well-known than the so-called Nanban ('Southern Barbarian') screens—with Portuguese ships, their exotic crews, and Christian priests arriving at Japanese ports—reflect the same global outlook that developed during the sixteenth century as trade in goods and information increased between Japan and the outside world, including both Europe and the Asian continent. Similar depictions of Tartars, based on Chinese paintings of the thirteenth to sixteenth centuries and identifiable by their dashing equestrian poses, prominent banners and weapons, and distinctive fur-trimmed hats (later also seen in netsuke and inro), are featured in several important examples preserved in Japanese and American collections. One of the earliest, in the Museum of Fine Arts, Boston and attributed to no less an artist than Kano Eitoku (1543-1590), shows Tartar envoys bringing tribute (inv. no. 11.4450), but Tartars are more usually shown—in contrast to Southern Barbarians—in their home country, either hunting or playing polo in wild mountain landscapes, often, as here, with senior groups viewing the proceedings from lofty positions. Along with other screens in Boston dating from the sixteenth and seventeenth centuries (see collections.mfa.org/search/objects/*/tartars), there are fine pairs in the National Museum of Asian Art, Washington D.C. (by Kano Jinnojo, active 1610s-1640s, asia.si.edu/object/F1968.62-63/) and Kyushu National Museum (bunka.nii.ac.jp/heritages/detail/514464). The present pair, of slightly later date, continues in a well-established tradition where Chinese prototypes are augmented by the use of mineral pigments and gold and shown in the much larger, and quintessentially Japanese, screen-pair format.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
ATTRIBUTED TO SHIBA KOKAN (1747-1818)Edo period (1615-1868), circa 1774A chuban yoko-e print from the series Mamesuke (Bean Man), depicting a courtesan in front of a pine decorated six-panel byobu (folding screen), smoking tobacco from a long kiseru (pipe) and turning to her client seated on a futon in a Yoshiwara brothel, inscribed Harunobu ga on the screen and with the collector's seal of Hayashi Tadamasa at bottom right corner; mounted on card. 18.6cm x 24.9cm (7 5/16in x 9¾in).Footnotes:Provenance:Hayashi Tadamasa (1853-1906) Collection.For further information on this lot please visit Bonhams.com
SOMADA LINEAGEAn Inlaid Lacquer Four-Case Inro Edo period (1615-1868), 19th century The flattened broad roiro body decorated in typical Somada-style inlays of iridescent, minutely cut shell and kirikane arranged with alternating repeated horizontal bands of foliate motifs within hexagonal shapes enclosed within a rectangular lobed panel, surrounded by stylised chrysanthemums among scrolling vines, the top and bottom surfaces with repeated shippo-tsunagi (linked-cash), the interior of rich nashiji; unsigned. 7.8cm (3in) high.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A CHINESE ELM AND GILT METAL MOUNTED TABLE WORK BOX EARLY 20TH CENTURY The panel doors enclosing an arrangement of short and a long drawer 34cm high, 44cm wide, 27cm deep Condition Report: Marks, knocks, scratches, abrasions overallDoors warped, the lock in poor condition, gilt metal mounts discolouredPlease see additional images for visual reference to conditionCondition Report Disclaimer
A FRENCH LOUIS XVI STYLE ORMOLU MANTEL CLOCK, L. LEROY ET CIE, PARISCIRCA 1900 The circular eight-day bell striking movement with platform lever escapement regulated by sprung bimetallic balance, the backplate boldly engraved No. 19482 to the upper left hand edge and signed L. Leroy & Cie A Paris to lower edge, the 4.5 inch circular convex white enamel Roman numeral dial further inscribed L. Leroy & Cie, PARIS, 7 Boul'd de la Madeleine to centre and with Arabic five minutes beyond the minute track, with fine scroll-pieced gilt hands set behind convex glazed hinged engine-milled gilt bezel, the case crisply cast and chased with surmount of basket of flowers draped down to a pair of goats each standing on hind legs on top of D-shaped side platforms held aloft by a pair of winged putti, the front with fine Neo-classical panel relief-cast with flaming torch flanked by acanthus scrolls issuing cornucopiae beneath the dial, on D-ended cavetto moulded platform base incorporating panels cast in high relief with fruiting swags over toupe feet.42cm (16.5ins) high, 31cm (12.25ins) wide, 13cm (5ins) deep. The firm of 'Leroy et Cie' can be traced back to 1785 when the business was founded by Basille Charles Le Roy at 60 Galerie de Pierre, Palais Royal, Paris. During the Revolutionary years the firm relocated to 88 Rue de L'Egalite before finally settling at Galerie Montpensier, 13 and 15 Palais Royal. In 1828 Basille Charles died leaving the business to his son, Charles-Louis, who continued producing clocks signed 'Le Roy & Fils' until 1845 when the firm was sold to his former employee Casimir Halley Desfontaines; who in turn was succeeded by his son M. George Halley Desfontaines in 1883. In 1888 M. George Halley died leaving the business to his brother Jules Halley who then took-in as a partner Louis Leroy (apparently no relation to the founders of the firm). In 1899 the firm left Palais Royal and moved to Boulevard de La Madeleine where it continued trading in the hands of various successors until well into the 20th century. The current lot would have been made very shortly after L. Leroy et Cie's relocation to 7 Boulevard de La Madeleine in 1899.Condition Report: Movement has been converted form Brocot-type anchor escapement regulated by a pendulum to platform lever balance escapement. The movement is fully wound and will strike correctly; the going train will run for a couple of seconds before stopping indicating that a clean/service is required. The dial has chipping around the left hand winding hole and a filled hole for the Brocot pendulum regulation (now removed) to the upper margin (above '60'). The front glass is cracked otherwise the case is in good original condition retaining good strong gilding with minimal wear albeit with some patchy discolouration/tarnishing mainly to the rear.Dimensions between winders 5cm, dimensions from winders to centre point of hands 2.5cmThere is no key present with the clock. Condition Report Disclaimer
A GEORGE III MAHOGANY MERCURY STICK BAROMETER, WILLIAM BOWLEY, SHREWSBURYEARLY 19TH CENTURYWith open triangular pediment over silvered Vernier scale calibrated in barometric inches opposing the usual observations, the right-hand upper corner with engraved signature W'm Bowley, Shrewsbury, Fec't within a circular cartouche, set behind hinged glazed door over chevron strung and crossbanded trunk with visible tube flanked by angled banded veneers, above rounded base fitted with ring-turned domed cistern cover.100cm (39.5ins) high excluding brass finial, 15cm (6ins) wide. William Bowley is recorded in Banfield, Edwin BAROMETER MAKERS & RETAILERS 1660-1900 as an engraver working from Wyle Cop, Shrewsbury, 1809-18. Condition Report: The tube is intact and contains mercury but has extensive air locks hence will need refilling. The silvered scale is in sound original condition but has heavy patchy tarnishing/discolouration. The case is in sound original condition with faults limited to a filled bump/chip to the right hand side of the rounded base panel and minor bumps, scuffs, chips to mouldings and shrinkage; the surface is in untouched condition hence is a little dull/uneven hence would benefit from the attention of a good furniture finisher. Condition Report Disclaimer
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