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Lot 111
Bewick (Thomas) History of British Birds, 2 vol., sixth edition, 1826; History of Quadrupeds, eighth edition, 1824, title vignette and illustrations, bookplates to pastedown, uniformly bound in contemporary half calf, vol.1 of the first is rebacked preserving contemporary spine strip, lightly rubbed, Newcastle § Swammerdam (Jan) et al. The Natual History of Insects...intended as a companion to Buffon's Natural History, contemporary calf, worn, for Perth, R. Morrison, 1792; and another edition of Bewick's Quadrupeds, 8vo (5)
Lot 151
Lawrence (Sir Thomas) Engravings from the Choicest Works of Sir Thomas Lawrence, P. R. A., vignette title and 50 mezzotint plates, tissue-guards, occasional marginal spotting, near contemporary morocco, rubbed, defective spine covering, c.1840 § The Wilkie Gallery, engraved frontispiece, additional engraved title and plates, occasional spotting, contemporary morocco, gilt, a little rubbed, n.d. § Cunningham (Allan) The Cabinet Gallery of Pictures by the First Masters, 2 vol., plates, occasional spotting, contemporary half-morocco, rubbed, slight bumping to corners and extremities, 1836; and others similar, v.s. (c.40)
Lot 156
NO RESERVE Webb (Daniel) An Inquiry into the Beauty of Painting..., second edition, contemporary ink signature to head of title and notes to front pastedown, contemporary calf, R. & J.Dodsley, 1761 § Watelet (C.H.) L'Art de Peindre. Poeme...sur les differentes parties de la peinture, engraved frontispiece, title in red & black with vignette, engraved head-pieces and 2 plates (slightly shaved), old ink inscriptions, modern book-label of Pamela & Raymond Lister and bookplate of John Harris, pencil sketches to rear, contemporary mottled calf, rebacked, upper cover detached, Amsterdam, 1761 § Laugier (Marc Antoine) Maniere de bien juger des ouvrages de peinture, first edition, privilege leaf at end, light browning at beginning and end, contemporary mottled sheep, spine gilt, Paris, C.-A.Jombert, 1771, rubbed, 8vo et infra (3)
Lot 171
NO RESERVE Music.- Wagner (Richard) Ueber die Auffuhrung des Buhnenfestspieles der Ring des Nibelungen. Eine Mittheilung und Aufforderung an die Freunde seiner Kunst, first edition, a copy given as a gift by the author, occasional spotting, original printed wrappers, chipped, housed in later cloth-backed boards, Leipzig, E.W. Fritsch, 1871; and another, Wagner, large 8vo & 8vo (2)⁂ An inscription to foot of upper wrapper reads 'Geschenk von R. Wagner, Mai 1871, R. Pohl'.
Lot 188
⁂ Please note, the description of this lot has changed ⁂Ariosto (Lodovico) Orlando Furioso in English Heroical Verse by Sr John Harington..., second edition, title from third edition, collation: [par.]⁸ A-P⁶ Q⁴ R-2N⁶ 2O³, lacking 2O⁴-2R⁸ (53ff. of table at end), engraved title page with vignette portraits of Ariosto and Harington, 46 engraved plates, 3 plain and 43 hand-coloured, some hand-coloured initials and head- and tail-pieces, 3 ff. from another copy, lower corner to title repaired and restored, filled in by an early hand, c.15 ff. with marginal or corner restorations with few affecting printed side notes, plate 29 trimmed at bottom and reinforced to gutter, some damp-staining and finger-soiling, 18th century diced calf, rebacked and recornered preserving spine strip, a little rubbed and faded, spine worn, 8vo, by G. Miller for J. Parker, 1634.
Lot 212
NO RESERVE First published work.- Macaulay (Thomas Babington) Pompeii, first edition of the author's first published work, initial 'Notes' f., additional wood-engraved vignette title by R. Austin, some spotting, lightly browned, charming red wrappers in imitation of red straight-grain morocco, gilt, neatly rebacked, rubbed, 8vo, Cambridge, J. Smith, 1819.
Lot 249
NO RESERVE Jazz.- Carey (Dave) The Directory of Recorded Jazz and Swing Music, first edition, one or two faint spots, original paper wrappers, rubbed, small loss to spine head, Fordingbridge, 1949 § Davies (John R. T.) The Music of Thomas "Fats" Waller with Complete Discography, plates, newspaper clipping pasted inside upper cover, occasional red ink annotations, original paper wrappers, rubbed, n.d. § Autograph Book, c.60 signatures including Humphrey Lyttelton and Sid Phillips, one or two loose leaves, cracked hinges, original stiff card covers, rubbed and worn, loss to spine extremities, c.1948-50; and 11 others, jazz, v.s. (14)
Lot 43
London.- Way (Thomas R.) The Thames at Eventide, signed limited edition numbered 64 of 150, 6 mounted colour lithographs, each initialled by Way in pencil, original boards, rubbed and worn, slight bumping to corners and extremities, ob. 8vo, 1907.⁂ Scarce. Not on Library Hub. Way and his father taught Whistler the art of lithography and eventually published 'Mr Whistler's Lithographs'.
![R[ay] (J[ohn]) A Collection of English Proverbs, Digested into a convenient method for the speedy finding any one upon occasi](https://cdn.globalauctionplatform.com/e57fc01d-4601-4a97-bb27-ac5d00c4a35e/0b7b509f-cbe3-4f65-af4e-ac5d010d7c85/468x382.jpg)
Lot 46
R[ay] (J[ohn]) A Collection of English Proverbs, Digested into a convenient method for the speedy finding any one upon occasion ..., title in red and black, loss to edges and laid down, tear to A2, crudely repaired, previous owner's ink inscriptions and marginal annotations, occasional marginal loss or tears not affecting text, contemporary calf, rebacked, bumping to corners and extremities, [Wing R368], 8vo, Cambridge, by John Hayes, 1670.⁂ ? First edition of the most important book of English proverbs.
Lot 62
Africa.- Selous (Frederick Courteney) Travel and Adventure in South-East Africa, third edition, portrait frontispiece and illustrations, some damp-staining, endpapers browned, original pictorial cloth, gilt, extremities a little creased and bumped, 1893 § Lydekker (R.) The Game Animals of Africa, illustrations, original roan-backed cloth, spine gilt, a little rubbed and faded, 1926, 8vo (2)
Lot 93
NO RESERVE Britain.- Lambarde (William) A Perambulation of Kent: Conteining the Description, Hystorie, and Customes of That Shire, third edition, lacking engraved map, title and first two ff., first few ff. rather browned, some damp staining and soiling, 20th century calf-backed boards, by R. Hodgkinsonne, for D. Pakeman, [1656] § Boswell (James) The Journal of a Tour to the Hebrides, with Samuel Johnson..., third edition, some spotting to half-title and title, 20th century half calf, by Henry Baldwin, 1786; and c.80 others, British topography, v.s. (c.80)
Lot 95
NO RESERVE Crossley (F. H.) The English Abbey, 1935 § Jones (P. Thoresby) Welsh Border Country, 1938 § Massingham (H. J.) Chiltern County, 1940 § Cox (J. Charles) The Parish Churches of England, 1935 § Irving (R. L. G.) The Alps, 1939, first editions, illustrations, some plates, original cloth, dust-jackets by Brian Cook, some extremities chipped and creased but overall bright examples; and c.110 others, all by Batsford, most from the English Heritage series, 8vo (c.115)
Lot 226
The Wachowski siblings enthralled and captivated audiences with their 'bullet-time', special effects extravaganza "The Matrix" (1999). The 2003 sequel "The Matrix: Reloaded" took audiences deeper down the rabbit hole, and would become the most commercially successful R-rated film in history, until "Deadpool" (2016). This cleverly designed holofoil One-Sheet by Concept Arts offers audiences a glimpse inside the workings of the Matrix, as it invites invites the viewer to 'Free Your Mind'. 27" x 40" (69 x 102 cm)Condition: ExcellentRolled, flat and unfolded (as issued) with very minor handling wear. Presents to excellent effect.Artist: Concept Arts£300 - 500VAT Status: M
Lot 397
A group of reference books on collections and Japanese art and Bonhams cataloguesComprising the following: Ayers, John, The Baur Collection, Geneva: Japanese Ceramics, Geneva, Collections Baur, 1982; Barry Davies Oriental Art, Ko-Imari Porcelain from the Collection of Oliver Impey, exhibition catalogue, London, 1997; Bonhams, London: The Edward Wrangham Collection of Japanese Art, complete set of 6 volumes (2010-2015), The Misumi Collection, complete set of 3 volumes (2014-2017), The Julius and Arlette Katchen Collection, complete set of 3 volumes (2016-2018), The Robert S. Huthart Collection of Iwami Netsuke, complete set of 2 volumes (2019); Impey, Oliver, Jörg, Christiaan J. A., and Mason, Charles, Dragons, Tigers and Bamboo: Japanese Porcelain and its Impact in Europe, Vancouver, Douglas and McIntyre Publishers, 2009; Impey, Oliver, and Fairley, Malcolm, Treasures of Imperial Japan: Ceramics from the Khalili Collection, exhibition catalogue, London, National Museum of Wales and The Kibo Foundation, 1994; Impey, Oliver, and Fairley, Malcolm, Treasures of Imperial Japan: Ceramics from the Khalili Collection, exhibition catalogue, London, National Museum of Wales and The Kibo Foundation, 1994; Japan Society, The Burghley Porcelains: An Exhibition from The Burghley House Collection and based on the 1688 Inventory and 1690 Devonshire Schedule, exhibition catalogue, 1986; Kyushu Ceramic Museum, Shibata Korekushon ten (Shibata Collection), Tokyo, Seibundo, vols.1-6, 8 (1990-2002); Lang, Gordon, The Wrestling Boys: An Exhibition of Chinese and Japanese Ceramics from the 16th to the 18th Century in the Collection at Burghley House, exhibition catalogue, Eastbourne, Manor Park Press, 1983; Moes, Robert, Brooklyn Museum Japanese Ceramics, exhibition catalogue, 1979; Morse, Edward S., Catalogue of the Morse Collection of Japanese Pottery, Rutland, VT, and Tokyo, Charles E. Tuttle, 1979; Reichel, Friedrich, Early Japanese Porcelain: Arita Porcelain in the Dresden Collection, London, Orbis Publishing, 1981; Sargent, William R., The Copeland Collection: Chinese and Japanese Ceramic Figures, Salem, MA, Peabody Museum of Salem, 1991; Ströber, Eva, 'La maladie de porcelaine': Ostasiatiches Porzellan aus der Sammlung Augusts des Starken = East Asian Porcelain from the Collection of Augustus the Strong, Leipzig, Edition Leipzig, 2001; Tokyo National Museum, Oriental Ceramics: The World's Great Collections, vol.1, Tokyo, Kodansha International, 1982 (first published 1976). (a lot).For further information on this lot please visit Bonhams.com
Lot 48
A black-lacquer five-case inroBy Koma Bunsai, Edo period (1615-1868), mid-19th centuryOf upright form, the rich roiro ground lacquered with scattered maru-ni-mitsugashiwa mon of the Makino family of Tanabe among scattered formal flowerheads, in gold takamaki-e and zogan-nuri, the interior of nashiji with kinji edges, signed in a red gourd-shaped reserve Bunsai; with a gilt metal and enamel filigree ojime; unsigned. 9.5cm (3¾in) high.Footnotes:Provenance:Edward Gilbertson Collection.R. A. Pfungst Collection.Demaree and Dorothy Bess Collection.Charles A. Greenfield Collection, no.205.Sold at Eskenazi Ltd., London, 1990.Edward Wrangham Collection, no.2001.Published:Harold P. Stern, The Magnificent Three, Lacquer, Netsuke and Tsuba, New York, Japan Society, 1972, inro no.30.A. J. Pekarik, Japanese Lacquer, 1600-1900, New York, The Metropolitan Museum of Art, 1980, no.45.E. A. Wrangham, The Index of Inro Artists, Alnwick, Northumberland, Harehope Publications, 1995, p.32, Bunsai, Koma, right.Exhibited:Burlington Fine Arts Club, London, 1894, case XIII, no.31A.Japan Society Gallery, New York, 1972.Metropolitan Museum of Art, New York, 1980.The technique used on the smaller mon is zogan-nuri, which simulates cloisonné enamel by applying fine gold or silver wire.For further information on this lot please visit Bonhams.com
Lot 5
A pale boxwood netsuke of a badgerEdo period (1615-1868) or Meiji era (1868-1912), mid-late 19th centuryStanding and staring ahead in a human attitude, its body wrapped in a large lotus leaf, wearing a smaller lotus leaf hat, its short bushy tail visible from beneath the edge of the leaf on the reverse, its eyes inlaid with pale translucent horn; unsigned. 5.1cm (2in) high.Footnotes:For very similar examples of the subject by Toyokazu, see Neil K. Davey, Netsuke: A Comprehensive Study Based on the M. T. Hindson Collection, London, Faber & Faber and Sotheby Parke Bernet Publications, 1974, p.243, no.756, and Frederick Meinertzhagen, MCI: The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, New York, Alan R. Liss Inc., 1986, p.946. For an example by Toyomasa, see Marie-Thérèse Coullery and Martin S. Newstead, The Baur Collection Geneva: Netsuke (Selected Pieces), Geneva, Collections Baur, 1977, no.C1108, and for an unsigned example in the Victoria and Albert Museum (inv.no.A.919-1910), see http://collections.vam.ac.uk/itemO228598/netsuke-unknown/For further information on this lot please visit Bonhams.com
Lot 197
Lalique, a pair of Moineau pattern glass paperweights, now adapted into lamp bases, the sparrow modelled with head down, on a square integral socle, moulded R. LALIQUE FRANCE beneath the tail feathers, etched R. Lalique France to the base, each approximately 10cms high; set in contemporary chrome angular lamp fitments, 35cms high overall (2). Condition Report: Both are glued in- no attempt has been made to remove from their settings and full view of items is obscured. 1 Small nick to tail, large chip to base 2 chip to side of base Will benefit from a clean Condition Report Disclaimer
Lot 192
An imperial painting of a Vajraheruka 'twenty-one' deity mandalaTibeto-Chinese, Qianlong Period, circa 1750-1763 Distemper on cloth, inscribed on upper and lower border, with original silk mounts. 74cm (29 1/8in) high x 55.5cm (21 7/8in) wide; with silk mounts: 134cm (52 6/8in) high x 75cm (29 1/2in) wide.Footnotes:清乾隆，約1750-1763年 御製金剛鬘二十一尊壇城唐卡The vibrant composition is decorated with auspicious figures arranged around a lotus blossom within the walls of a palace, all above a large lotus with flaming border with flying garland-bearers, all set within a mountainous landscape interspersed with flowing streams and vaporous ruyi clouds, silk mount.Inscribed on the silk ribbon: ཉེར་དགུ་'Twenty-one' Inscribed along the top edge and on top of silk ribbon: རྡོ་རྗེ་འཕྲེང་བའི་དཀྱིལ་འཁོར་ཉེར་དགུ་པ་རྡོ་རྗེ་ཁྲག་འཐུང་ལྷ་ཉེར་གཅིག་གི་དཀྱིལ་འཁོར།།'Twenty-one deity mandala of Dorjé Trantung (Vajraheruka), the 29th mandala of the Vajrāvalī'.Inscribed along the lower edge: ལྕང་སྐྱ་སྤྲུལ་སྐུ་རིན་པོ་ཆེས་ཐིག་སོགས་ཀྱི་བཀོད་པ་གནང་ནས་རྒྱལ་སྲས་བཅུ་གཉིས་པ་ཡུན་ཐོའུ་གྱི་ལྷག་བསཾས་དག་པས་ཕུལ་པའི་རྡོར་ཕྲེངགི་དཀྱིལ་འཁོར་ ཉེར་དགུ་པ་རྡོ་རྗེ་ཁྲག་འཐུང་ལྷ་ཉེར་གཅིག་གི་དཀྱིལ་འཁོར།།'Twenty-one deity mandala of Dorjé Trantung (Vajraheruka), the 29th mandala of the Vajrāvalī offered by the twelfth prince Yuntou gyi Lhaksem Dakpa (Yintao) after a design bestowed by the Changkya Trülku Rinpoché. This remarkable painting would have been part of a larger set of probably forty-four paintings depicting the mandalas of the Vajravali compendium. In place of the deities are depictions of the main attributes of Vajraheruka, the deity to when this work was dedicated. Compositions such as the present example are known as 'symbol mandalas' and are equal in meaning and function to mandala paintings that depict all of the figures described in the elaborate Tantric ritual.According to the inscription located at the bottom of the painting, the present mandala was commissioned by the twelfth prince Yintao.According to contemporary records, Yintao spent his adolescence between Beijing and the various retreats and palaces around the capital. In the later phase of his life, he presided over various ceremonial and bureaucratic offices. When the issue arose of who would be the successor of his father and infighting took place within the Imperial household, Yintao and several of his brothers were demoted when Prince Yinzhen rose to become the Yongzheng emperor (r. 1722-1735). Following Yongzheng's death, Yintao regained some of his previous titles under the rule of his nephew, the Qianlong emperor (r. 1735-1796). See P.Berger, Empire of Emptiness: Buddhist Art and Political Authority in Qing China, Honolulu, 2003, pp.186-187. Changkya Rolpa'i Dorje (1717-1786) was raised in the Qing court and became the most important Buddhist figure in Beijing. At a young age, he was recognized as the next incarnation of the Changkya lineage, which was based at the Gönlung Jampa Ling, a Gelugpa monastery in Amdo. The monastery was eventually destroyed by the Qing forces when some of its residents rose up in rebellion against the Chinese court in 1724. Changkya was however invited back to Beijing, where he was raised within the court and instructed in Buddhist studies alongside Yongzheng's son, Prince Hungli, who later became the Qianlong emperor.In 1734, when Rolpa'i Dorje returned to Tibet to accompany the 7th Dalai Lama from his visit to Beijing, he travelled to Shigatse, where he studied under the Panchen Lama and was ordained as a full monk. Following the death of the Yongzheng emperor in 1736, he returned to Beijing where he was put in charge of the Buddhist affairs in the capital. There he served as religious preceptor to the Qianlong emperor. Throughout his career, Rolpa'i Dorje exerted great influence on the relations between the Qing court and the Buddhist institutions in Tibet. He advised Qianlong to recognise the Dalai Lama as the spiritual and secular leader of Tibet. This means led to the promotion of the Gelug sect over other Tibetan Buddhist schools. Rolpa'i Dorje had an active role in recognizing the next incarnation of the Dalai Lama in 1757, following the death of the seventh leader. He also encouraged the Panchen Lama to visit Beijing for an official audience with Qianlong in 1779. For the occasion, a set of paintings depicting the previous incarnations of the Panchen Lama were commissioned.The presence of Rolpa'i Dorje in Beijing led to a great development of Tibetan Buddhism within the capital. In 1741, the religious leader began to translate the Sutra on Iconometry (in Chinese, called Zaoxiang liangdu), together with Gonpokyab, a Mongolian monk. Laying out the methods for designing Buddhist images, the text became the standard for religious artists working in the Imperial court.A very similar 18th century mandala, inscribed with very similar inscriptions as the present lot and believed to originate from the same set as the present example, was sold at Christie's New York, 16 September 2014, lot 288.For further information on this lot please visit Bonhams.com
Lot 52
A famille verte 'Lotus Plucking' basinKangxiFinely enamelled with elegant palace ladies in boats plucking lotus flowers from the lake while the Emperor looks on with pleasure beside his favourite concubine beneath a covered pavilion, the flat everted lipped rim finely decorated with six cartouches containing the 'Hundred Antiques' on a diaper-pattern ground, metal rim. 42.5cm (16 3/4in) diam. Footnotes:清康熙 五彩採蓮圖大盆The theme of beautiful women picking lotus flowers from a lake was popular with poets, playwrights and artists in Imperial China as an activity representing hedonistic pleasure at court. This stems from the story of King Fuchai of Wu (r. 495-473 BC) and his infatuation with the legendary beauty and femme fatale Xi Shi who plucked lotus on the lake. The King was so bewitched by her beauty that he neglected affairs of state, and his kingdom collapsed. This motif would be employed again for the Tang emperor Xuanzong (685-762) who was also in love with another femme fatale, the Imperial Consort Yang Guifei, who bathed at the Huaqing pool reserved for emperors and where lotus were placed to recreate the scene. The emperor claimed that even the lotus was not as beautiful as his concubine Yang Guifei. Yang Guifei's influence in court eventually stirred the An Lushan rebellion, from which the Tang Imperial family would never completely recover. A basin painted with a similar subject, late Kangxi, is illustrated by C.J.A.Jorg in Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam, no.174, p.159. A famille verte rouleau vase with a similar design described as 'The Emperor Xuanzong standing beside Yang Guifei, the most beautiful woman in China looking on at ladies picking lotus flowers' is illustrated by Wang Qingzheng in Kangxi Porcelain Ware from the Shanghai Museum Collection, Hong Kong, 1998, no.127, pp.196-7.For further information on this lot please visit Bonhams.com
Lot 115
A rare Imperial embroidered yellow-ground Twelve-Symbol dragon robe, jifu19th centuryThe robe worked in satin stitch in shades of blue, green, red and pale violet and couched gold threads on the front and back panels, with nine five-clawed dragons pursuing 'flaming pearls' amidst clusters of clouds interspersed with bats, auspicious motifs and the Twelve Symbols of Imperial authority, all reserved on a rich Imperial yellow ground above the terrestrial diagram with lishui stripe at the hem, with dark blue-ground cuffs, collar and sleeve bands decorated with further dragons and clouds. 149cm (58 5/8in) long. Footnotes:十九世紀 明黃緞繡五彩金龍十二章紋吉服袍Provenance: Anne Moen Bullitt (1924-2007)Christie's London, 15 May 2009, lot 317 Anne Moen Bullitt was an American socialite, philanthropist, and horsebreeder. Her father, William Christian Bullitt, was the first American ambassador to the Soviet Union and later became his country's ambassador to France under President Franklin D. Roosevelt. In her youth she was regarded as a great beauty, and was known for assembling a wardrobe of rare and valuable classic haute couture items. She bought a 700-acre estate in County Kildare, where she enjoyed much success and fame in Ireland as a horse owner, breeder and trainer, and became the first woman in Ireland to be granted a racehorse trainer's licence.來源：Anne Moen Bullitt（1924-2007）舊藏 倫敦佳士得，2009年5月15日，拍品編號317Anne Moen Bullitt，美國名媛、慈善家及賽馬培育者。其父William Christian Bullitt曾任首位美國駐蘇聯大使，後在美國總統羅斯福任內任美國駐法大使。 Bullitt女士天生麗質，並以其品味獨到的經典高級女裝收藏而聞名。她在愛爾蘭基爾代爾郡購置了佔地700英畝的莊園，進行賽馬的培育和訓練，並成為了愛爾蘭首位獲得賽馬訓練師執照的女性，在育馬界獲得了巨大成功和聲望。Delicately embroidered with nine five-clawed dragons riding the heavens and worked in metallic gold and silver threads amidst a profusion of trailing clouds interspersed with the Twelve Symbols of Imperial Sovereignty, the present robe is a rare example of festive garments worn by the highest-ranking female members of the Qing society. Unlike robes worn by men, female garments lacked the two vents at the front and back.Robes decorated with designs drawn from the repertoire of court symbols, such as the dragons, reinforced the privilege of an educated and sophisticated elite focused on the power of textiles to convey social status to the viewers. The quintessential symbol of Imperial power, five-clawed dragons embodied royalty and dominion and expressed the visual metaphor of the good ruler who behaved wisely for the well being of his subjects. The Twelve Symbols of Imperial Authority further reinforce the emperor's essence over eloquence, articulation, forcefulness and vigour. According to the 'Book of History' (Shujing 書經), the legendary Emperor Shun, believed to have ruled during the third millennium BC, referred to these symbols as suitable decoration for Imperial formal attire and in 1766, the Qianlong emperor restricted the use of these motifs to imperial robes. See G.Dickinson and L.Wrigglesworth, Imperial Wardrobe, Berkeley, 2002, pp.14-30.A rigid scheme defined the position of the Twelve Symbols on the robes. The sun, moon, stars, and mountain, symbolised the four main ceremonies at which the emperor presided throughout the year at the Altars of Heaven, Earth, Sun and Moon. They were placed in pairs at the shoulders, chest and mid-back area. The paired dragons, the golden pheasant, the confronted ji character and the hatchet, represented all things on earth and the ruler's ability to make decisions. They decorated the chest area, while the sacrificial vessels, the aquatic grass, the grains of millet and the flames, representing ancestor worship and four of the Five Elements, were placed at the mid-calf level of the coat.The seven-shaded lishui bands are flawlessly woven and include the aniline purple tone, which was imported into China from Europe circa 1863 and was highly favoured by the Dowager empress Cixi. See R. Silberstein, Vicious Purple or a 'First Class Dye'?: Finding a Place for the Foreign in Nineteenth-Century Chinese Dress Culture, Paper presented at College Art Association Annual Conference, New York, 2013.Compare with a similar yellow-ground Twelve-Symbol robe, 19th century, a slightly later example, also a woman's robe, illustrated in Secret Splendors of the Chinese Court: Qing Dynasty Costume from the Charlotte Hill Grant Collection, Denver 1982, pp.60-61. A similar yellow-ground robe embroidered with the Twelve Symbols, 19th century, was sold at Christie's Hong Kong, 30 November 2011, lot 3143.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
Lot 133
A pale green and russet jade cupYuan/Ming DynastySolidly carved in cylindrical form, raised on a tall ribbed foot, one side with a circular ring-handle issuing a large pendent flange, the other side with a mythical beast-head, carved around the exterior of the body with archaistic C-scrolls above a band of stylised chilong, carved vertical ridges beneath, hongmu stand. 11cm (4 3/8in) high (2).Footnotes:元/明 青白玉帶皮雕螭龍紋單柄盃Provenance: a Swiss private collection來源：瑞士私人收藏The present cup follows the cylindrical form and archaistic design of Han dynasty prototypes, such as the famous cup and cover in the Freer Sackler Galleries, Smithsonian Institution, Washington D.C., published in Chinese Art in Overseas Collections, Taipei, 1985, pl.64.Compare with a related white jade cup, Ming dynasty, illustrated in the Compendium of Collections of the Palace Museum: Jade, 7, Beijing, 2011, p.221, no.209. A related jade archaistic cup, Ming dynasty, is illustrated by R-Y.Lefebvre d'Argencé, Chinese Jades in the Avery Brundage Collection, San Francisco, 1972, p.115, pl.L.This lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.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
Lot 14
A rare ochre glazed 'Parrot' cupTang DynastyOf shallow oval form, one end formed as a parrot lying on its back, the finely incised tail and wing feathers fanning out to form the cup, the head with large curling beak between sharp piercing eyes, all covered in a warm yellow-ochre glaze, stand. 13cm (5 1/8in) long. (2).Footnotes:唐 褐釉鸚鵡杯Provenance: Berwald Oriental Art, LondonProfessor Conrad Harris, UK, purchased on 20 February 2003 from the above.Published: Berwald Oriental Art Facing East, Expressions in Chinese Art, London, no.16.The result of Oxford Authentication Ltd. thermoluminescence test no.C101u72, dated 31 August 2001, is consistent with the dating of this lot.來源：英國倫敦古董商Berwald Oriental Art英國康拉德・哈里斯教授舊藏，於2003年2月20日購自前者出版：Berwald Oriental Art，「Facing East, Expressions in Chinese Art」，倫敦，圖錄編號16Oxford Authentication Ltd.公司熱釋光檢測結果（2001年8月31日，編號C101u72）顯示年代與本拍品年代一致。Conrad Harris became interested in Chinese pottery in the late 1990s, around the time he retired as Professor of General Practice at Leeds University. Having moved on from a career in medical academia, he took an academic approach to learning about the styles and artefacts of different periods - from the Neolithic to the great dynasties of China. Harris was a highly erudite collector, who travelled extensively in China, pursuing his interest in ancient pottery wares through many provincial museums. He gave regular lectures and, in 2002, gained a Diploma in Asian Art from the British Museum. He was an active member of the Oriental Ceramic Society and, in the 2003/04 Oriental Ceramic Society Transactions, he contributed the lecture 'Chinese ceramic horses and how they changed'. Most importantly, he gained immense pleasure from seeing his collection take pride of place on the shelves all around his study.The term yingwu bei, literally 'parrot cup', is first mentioned as early as the Sui dynasty, in a poem by Xue Daoheng: 'Together pour the fine buttery wine; together tip the parrot cup'共酌瓊酥酒，同傾鸚鵡杯。And it occurs again in a Tang poem by Luo Binwang:'The playing of flutes on the Phoenix Tower has ceased, the urgings to drink wine from the parrot cup has stopped.'鳳凰樓上罷吹簫，鸚鵡杯中休勸酒。The contemporary dictionary interpretation of the term 'parrot cup', which comes from a Tang source, is that it is a cup made from yingwu luo 'parrot snail', meaning perhaps a nautilus shell, named for its supposed resemblance to a parrot. As the exterior form of this cup resembles the shape and size of a nautilus shell, but the piece is fashioned from a representation of a parrot, cups such as this may have been produced as an amusing play on words. Although the parrot was a bird native to southern China, those most admired in the Tang court were the more colourful ones imported from South-East Asia. The later Tang emperor Taizong (r.627-649) commissioned a rhapsody poem to be written about a prized parrot that was a gift from the kingdom of Champa. Furthermore, the Tang emperor Xuanzong (r.712-756) adopted a talking parrot as a pet. Compare with a similar cup, but covered in a white glaze, Tang dynasty, which was exhibited in the Tokyo National Museum, Special Exhibition of Chinese Ceramics', Tokyo, 1994, pl.136. See also a Xingyao white glazed 'parrot cup', Tang dynasty/ Five dynasties, which was sold at Bonhams Hong Kong, 9 October 2014, lot 140.For further information on this lot please visit Bonhams.com
Lot 111
A SAPPHIRE AND DIAMOND OVAL CLUSTER 18CT GOLD RING WITH DIAMOND SET SHOULDERS the central oval mixed cut blue sapphire measuring approx. 6mm x 4mm, approx. 0.60 carat, surrounded by nine round brilliant cut diamonds, the shoulders with a further four round eight cut diamonds, a total diamond weight of approx. 0.50 carat, platinum setting, 18ct yellow gold shank, ring size R ½, gross weight 2.5 grams Condition Report : Condition: good, all stones/settings intact, wear and tear Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 49
A CARNELIAN SET YELLOW GOLD SIGNET RING cushion shaped tablet of carnelian to a plain polished traditional form signet ring, unmarked, assessed as 9 carat gold, ring size R, gross weight 2.9 grams Condition Report : Condition: very good Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 9
A LARGE SMOKY QUARTZ SINGLE STONE 9 CARAT GOLD DRESS RING the rectangular cut corner smoky quartz approx. 18mm x 15mm, four claw set to plain polished yellow gold shank, unmarked, assessed as 9 carat gold, ring size R, gross weight 10.8 grams Condition Report : Condition: good, no obvious damage or repair, wear and tear only Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 106
Selection of Royal Sussex Cap Badges consisting WW2 plastic economy (one blade absent) ... Silvered and gilt (slider) ... Brass economy (slider) ... White metal (lugs) ... Bronzed by J R Gaunt London (lugs) ... Bi-metal (slider) ... Anodised by “Smith & Wright Ltd” (slider) ... Bronzed 2nd VB Royal Sussex (lugs). 8 items.
Lot 107
Selection of Royal Sussex Regiment Titles and Buttons titles consisting brass R Sussex ... Brass T4 Royal Sussex ... Brass T5 Royal Sussex ... Brass T6 Royal Sussex ... White metal T5 Royal Sussex ... Printed Royal Sussex . Buttons include gilt, Vic crown, 35 Royal Sussex ... Brass 107 Bengal Infantry ... White metal, Vic crown Sussex Rifles ... White metal Vic crown Cinque Ports Volunteer Rifles ... Brass 5th Bn Cinque Ports ... White metal 5th Bn Cinque Ports. 21 items.
Lot 122
Small Selection of Victorian and Later Buttons including gilt 42nd ... Gilt Vic crown 97th ... Gilt 51st ... Gilt 15th ... Gilt 87th ... Gilt Vic crown 78th ... Gilt Vic crown 16th .. Silvered Vic crown, rectangular W.C.Y.C ... Silvered Vic crown Bedford Militia .... Silvered Vic crown Royal Cumberland Militia ... Brass Vic crown 55th ... Gilt 29th ... Brass 1st B’ham Batt R Warwickshire ... 2 x gilt Vic crown Regiment of Artillery cap buttons. 22 items.
Lot 125
Selection of Current Cavalry and Yeomanry Arm Badges including QC white metal Queens Dragoon Guards ... Bullion embroidery Scots Dragoon Guards ... Plated 13/18 Hussars ... Bullion embroidery QC 15/19 Hussars ... Bullion embroidery R Wessex Yeo B Sqn ... Plated 5th Dragoon Guards ... Plated 9/12 Royal Lancers ... Bullion embroidery QC Queens Royal Hussars. 12 items.
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