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RARE WHITE JADE 'DAYLILY' PENDANT JIN DYNASTY, 12TH CENTURY carved on the domed surface in openwork with two symmetrical daylilies blossoming with three luscious leaves, with well-defined flower petals and veins of the leaves, the stone of pale white tone with some white spot inclusion, some metal corrosion stuck in between the concave parts on the back side (Dimensions: 7.5cm wide) (Qty: 1)(7.5cm wide)Qty: (1)Footnote: Provenance: Private English collection, acquired from UK market about 10 years ago; possibly sold to the UK market during the mid-20th century for earning foreign currency Note: a closely comparable example, dated to the Jin dynasty, is in the collection of the National Museum of China

VERY RARE BRONZE RITUAL TRIPOD VESSEL NEOLITHIC-TO-BRONZE-AGE-STYLE, MONGOLIA, DONGHU TRIBE the shallow hemisphere body sturdily cast on three splayed tall feet with pointed ends, the slightly ribbed rim flanked with two looped ring handles on either side, the vessel covered overall with green and blue patination (Dimensions: 18.5cm wide) (Qty: 1)(18.5cm wide)Qty: (1)Footnote: Provenance: formerly in the Robert Hatfield Ellsworth (1929-2014) Collection, acquired from Sotheby's New York on 19th March 2002, lot 30 Note: Robert Hatfield Ellsworth (July 13, 1929 – August 3, 2014) was a Manhattan-based American art dealer of Asian paints and works of art. His art collection is mainly found in museums in the United States. He was a supporter of architectural restoration in Huangshan, China and is an honorary Chinese citizen.

PAIR OF VERY RARE BRONZE RITUAL TRIPOD VESSELS NEOLITHIC-TO-BRONZE-AGE-STYLE, MONGOLIA, DONGHU each vessel composed of a shallow dish body with inward turning rim, sturdily supported on a tall, hollowed foot terminating to a splayed base, the vessel covered overall with green and blue patination (Dimensions: 20.2cm high each) (Qty: 2)(20.2cm high each)Qty: (2)Footnote: Provenance: formerly in the Robert Hatfield Ellsworth (1929-2014) Collection, acquired from Sotheby's New York on 19th March 2002, lot 30 Note: Robert Hatfield Ellsworth (July 13, 1929 – August 3, 2014) was a Manhattan-based American art dealer of Asian paints and works of art. His art collection is mainly found in museums in the United States. He was a supporter of architectural restoration in Huangshan, China and is an honorary Chinese citizen.

A rare 1950's Longines All Guard automatic gentleman's wristwatch, the signed black dial with baton hours, on a black leather strap33mm diameter

A collection of Elvis Presley DVD's and CD's including rare "Tickle Me" CD, and various box sets

Dinky - A collection of 4 boxed 1950s Dinky lorries including # 522 Big Bedford lorry, # 533 Leyland Cement wagon, # 555 Commer fire engine with rare tan coloured ladder. All models show signs of play use and would benefit from cleaning. The # 531 Leyland Comet lorry is missing the bottom half of its box but still has its lid with full label intact. The others have their complete original boxes with labels intact.

Rare George 111 1817 gold half sovereign near unc condition

Small rare 1874 USA 1/2 dollar cal gold coin holed

Rare 1989 Tudor Rose gold £5 Five Pound

Rare Enicar Sherpa Super Jet gents chronograph wristwatch and original strap thw watch is ticking but no warranty given

Rare Hamilton G.C.T 4992B Navigation Deck Watch 24 hour dial not working balance spins freely does not tick

Rare Kings Crown GV1 metropolitan police cap badge high ranking officers badge made by firmin

Seltene französische Modepuppe "Parisienne" von Jumeau Feiner Biskuitporzellan-Kurbelkopf mit durchstochenen Ohren, geschlossenem Mund, fest eingesetzten blauen Augen und erg. Echthaar-Perücke mit Korkdeckel auf Biskuitporzellan-Brustplatte sowie aufwändigem, stark tailliertem Lederkörper mit einzeln abgenähten Fingern. Aufwändig bekleidet. Hinterkopf gemarkt: 4. sowie Körper JUMEAU Medaille d'Or Paris. Bespielt. H. 36 cm.A rare French fashion doll with porcelain head and Jumeau body.Frankreich. Paris. Jumeau. Um 1880.

Seltenes kleines "Bébé" von Léon Casimir Bru Biskuitporzellan-Kurbelkopf mit durchstochenen Ohren, geöffnetem Mund, fest eingesetzten braunen Augen und hellbrauner Echthaarperücke auf Gliederkörper aus Holz und Masse. Bekleidet. Schuhe bez. Déposé. Im Nacken gem. BRU Jne R 2. Bespielt. Haarriss am Hinterkopf. Körper teilw. farblich überarbeitet. H. 28 cm.A rare French porcelain head Bébé by BRU. Head with hairline crack. Body partly revised in colour.Frankreich. Léon Casimir Bru. Um 1890.

Seltenes großes "Eden Bébé" von Fleichmann & Bloedel Biskuitporzellan-Kurbelkopf mit durchstochenen Ohrlöchern und Ohrringen, geöffnetem Mund, fest eingesetzten blauen Paperweight-Augen sowie langer brauner Echthaarperücke auf Gliederkörper aus Holz und Masse. Im Nacken gem. EDEN BÉBÉ PARIS 13 Déposé. Alt bekleidet sowie Wachstuchschuhe. Bespielt. Körper teilw. besch.; H. 73 cm. Dazu kleiner mechanischer Hund.A rare large porcelain head "Eden Bébé" and a mechanical toy dog. Body with flaws.Paris. London. Fürth. Fleichmann & Bloedel. Um 1890-1900.

Großes seltenes "Bébé Le Parisien" von Jules Nicolas Steiner Biskuitporzellan-Kurbelkopf mit geschlossenem Mund, durchstochenen Ohren mit Ohrringen, fest eingesetzten, blauen, sog. Paperweight-Glasaugen sowie langer brauner Echthaarperücke mit Korkdeckel auf Gliederkörper mit schlanken Fingern und abstehendem Zeh aus Masse. Aufwändig alt bekleidet mit Lederschuhen, bez. 10 Paris Marque Déposé mit Heißluftballon. Am Hinterkopf gem. A. 17 Paris sowie roter Stempel Le Parisien Bte S.G.D.G. Bespielt. Winziger Chip am Ohrloch. Minim. Haarriss an der Stirn. H. 31 cm.A rare large porcelain head Bébé by Steiner. Minor chip to one ear and small hairline crack to the forehead.Jules Nicolas Steiner. Um 1890-1900.

Äußerst seltene Drei-Gesichter-Puppe von Carl Bergner Drehbarer Biskuitporzellankopf mit drei unterschiedlichen Charaktergesichtern, teilw. mit eingesetzten, leicht besch. blauen Glasaugen auf Masse-Brustblatt sowie Pappkörper mit Wachstuchüberzug sowie Unterarmen und -beinen aus Masse. Kopf gem. 3; Brustblatt mit blauem Stempel CB im Kreis. Teilw. alt bekleidet. Bespielt. H. 38 cm.An extremly rare German biscuit head doll with three faces by Carl Bergner. Eyes with flaws.Sonneberg. Carl Bergmann. Um 1900.

Zwei seltene Handpuppen sog. Marotte. Biskuitporzellan-Brustkopf mit geöffnetem Mund, blauen bzw. brauen, fest eingesetzten Augen sowie teilw. aufgeklebten Mohair-Haaren. Griff aus Bein bzw. Holz. Harlekin-Kostüm. Im Nacken gem. Germany. Bespielt. Spielwerk teilw. defekt. H. 32-36 cm.Two rare German marotte dolls with porcelain heads. Musicbox damaged.Deutsch. Um 1900.

Seltener lachender Charakterjunge von S.F.B.J. Biskuitporzellan-Kurbelkopf mit lachenden Charakterzügen, offen-geschlossenem Mund, modellierten Zähnen, braunen Schlafaugen sowie brauner Mohairperücke auf sog. Toddlerkörper aus Holz und Masse. Im Nacken gem. 21 S.F.B.J. 236 Paris -6-. Bekleidet sowie alte Lederschuhe. Bespielt. Produktionsbedingter Makel an der hinteren Kopfkrone. H. 38 cm. Dazu kleiner Puppenstuhl.A rare French laughing character porcelain head doll by S.F.B.J. Production related flaw to the back of the head (under the wig). In addition a doll chair.Frankreich. S.F.B.J. Um 1910.

Seltenes kleines "Bébé" von Jules Nicolas Steiner Biskuitporzellan-Kurbelkopf mit geschlossenem Mund, durchstochenen Ohren, braunen Glasaugen mit seitlichem Hebelmechanismus sowie fest aufgeklebter dunkelblonder Mohairperücke auf Gliederkörper mit gleichlangen Fingern aus Masse. Alt bekleidet mit Lederschuhen, bez. L.I.; Am Hinterkopf gem. S TE A 2/0 sowie seitlich der Kopfkrone Stempel STEINER B S.G.D.G. bzw. undeutl. Bougouin?. Bespielt. Chip am Ohrloch. H. 31 cm.A rare small porcelain head Bébé by Steiner. Chip to one ear.Jules Nicolas Steiner. Um 1890-1900.

Seltenes großes Charakterbaby "Lori" von Swaine & Co. Biskuitporzellan-Vollkopf mit leicht modelliertem Haar, geschlossenem Mund und blauen Schlafaugen auf Babykörper aus Masse. Bekleidet. Im Nacken gem. D LORI 1 sowie grüner Firmenstempel S & Co.; Körper mit undeutl. Stempel Hermann Kotzech Blasewitz. Bespielt. H. 58 cm.A rare large German porcelain head doll by Swaine & Co.Hüttensteinach. Swaine & Co. Um 1910.

Rosenzweig in der Art von Karl Fabergé. Zweig aus vergoldetem Silber mit Blättern aus Nephrit und seltener gelber Citrin-Blüte. Gest. Kokoschnik 88; "Fabergé" (kyrillisch). L. 21,5 cm.A rare Russian yellow citrine rose blossom on silver gilt twig in the style of Karl Fabergé. Standard mark 88.Russland. 20. Jh.

Großes Tablett Gemasertes Birkenholz mit Silbergriffen. Rechteckig, mit gering ansteigender Fahne. Handhaben sechseckig, in Akanthusblättern auslaufend. Beschaumarke, undeutl. Meistermarke. L. 67 cm.A rare Dutch wooden tray with silver handles. Assay mark, Indistinct master´s mark.Niederlande. Um 1880.

Italienischer Bildhauer (Tätig im 19. Jh. in Venedig)Seltenes Paar MohrenkinderGegenstücke. Holz, vollplastisch geschnitzt, gefasst und vergoldet. Auf Kissen sitzende, aufschauende Kinder in unterschiedlichen Posen. Minim. besch.; H. 50 cm-51,5 cm.Italian sculptor active 19th century in Venice. Rare pair of carved and painted wooden blackamoor children figures. Minor flaws.

Seltener Tischspiegel mit Chinoiserien Holz, mit flächendeckendem Dekor aus teilw. gefärbter Strohmarketerie. Rechteckige Spiegelrahmung mit hochgewölbtem oberen Abschluss. Umlaufend der Wandung Figuren, stilisierte Landschaften und Früchte. Altersspuren. 40,5 cm x 30,5 cm.A rare German mirror with chinoiserie. Signs of age.Deutsch. 18. Jh.

Seltene Ansicht "Rudera von Salzderhelden" Originaltitel Altkolorierter Kupferstich von Christian Andreas Besemann (1760 - 1818) nach Johann Albrecht Schumburg, 1795. In der Platte sign., bez. u. betitelt sowie Dedikation "Seiner Hochfürstl. Durchlaucht dem Prinzen August von Braunschweig (...) unterthänigst gewidmet von Joh. Albrecht Schomburg". Blick über die Leine auf pittoreske alte Häuser und die Ruine der Heldenburg. Breitrandiges Exemplar. Plattenmaß ca. 19 cm x 23,5 cm. Rahmen.A rare hand-coloured copper engraving with a view of Salzderhelden in Lower Saxony engraved by Christian Andreas Besemann after Johann Albrecht Schomburg, 1795.

Carl Loedel (Lödel) (1825 Göttingen - 1868 Colditz)"Auszug der Studenten aus Göttingen am 17ten März 1848 Mittags 12 Uhr". OriginaltitelRadierung und Aquatina/Papier. In der Platte sign. u. betitelt. Historisch bedeutendes, seltenes Zeitdokument der Revolution von 1848 mit vielfiguriger, szenischer Darstellung des demonstrativen Auszuges der Göttinger Studenten am Weender Tor in Richtung Northeim, von Professoren und der Bürgerschaft mit Ehrerbietung verabschiedet. Stockfleckig. Blatt ca. 33 cm x 40 cm. Rahmen.Rare etching and aquatint on paper depicting a scene during the March Revolution in Göttingen on the 17th of March 1848. Foxing.

Carl Felix von Schlichtegroll und Edmund von Zoller (Hrsg.): "Portrait-Gallerie der regierenden Fürsten und Fürstinnen Europa's. Deutschland". OriginaltitelLuxusausgabe. Stuttgart, Verlag K. F. Gläßer, o. J. (1889-1892). Blätter mit Porträts in Tiefdrucktechnik, geschützt durch Zwischenlagen aus fein gewebter Seide mit Krone, Herrscherinsignien und lateinischer Devise. Äußerst selten, bibliographisch kaum nachweisbar. Widmung auf dem Vorsatz: "Dieses Album soll nach dem Wunsch der hochsel.(igen) Prinzessin Militza haben: Vera, Freiin von Kopfingen. Rom, 14.VI. 1950 (...)". Ledereinband mit Läsuren. Ca. 47 cm x 41 cm. Beigefügt: Zwei Fotografien von Vera von Kopfingen als Hofdame der Kronprinzessin Militza von Montenegro sowie mit der Kronprinzessin.Provenienz: Aus dem Besitz der Konprinzessin Militza von Montenegro geb. Jutta Herzogin Jutta zu Mecklenburg (1880 -1946).A rare portfolio with portraits of the reigning German monarchs published in Stuttgart 1889-1892. Flaws to the cover. From the estate of Her Royal Highness Princess Militza of Montenegro Duchess Jutta of Mecklenburg-Strelitz. Accompanied by two photographs of the Princess and her gentlewoman.

Iznik-Fliese Quarz-Fritte-Keramik mit polychromer Unterglasurmalerei in Blau, Türkis, Bolus-Rot und Schwarz. Flächendeckender, stilisierter, ornamentaler Dekor aus floralen Motiven. Ger. best.; Ca. 24,3 cm x 24,3 cm.A rare Ottoman dynasty Turkey Iznik pottery tile with polychrome painted decoration. Minor chipped.Türkei. Iznik. 2. Hälfte 16. Jh.

A rare antique 18th Century Georgian burl / burr yew and solid yew wood 8 Day longcase grandfather clock by Hugh Willis of Suckley in Bucks. Stepped top hood with glazed door over burr yew wood trunk case door with solid yew wood interior. The gilded brass dial of square form having ornate corner spandrels depicting cherubs holding crowns, Roman numeral chapter ring, subsidiary date aperture and faceted hands. Complete with weights and pendulum. Some age related wear to the case.  Measures approx 232cm x 44cm x 22cm. Face 12" dial 11".

An antique late 18th / early 19th Georgian Bristol Blue sugar bowl gilded with legend ' I wish you well ' along with a rare Bristol Blue Ketchup bottle cruet of similar period. The bowl having a cylindrical stem with folded circular foot and the bottle having faceted and gilded stopper. Measures approx 12cm tall.

A rare 18th Century Georgian Scottish 8 day oak & mahogany cased longcase grandfather clock by William Small of Peterhead having an swan neck pediment top with brass details and glazed door flanked by reeded columns. The trunk having reeded columns and detailed door over stepped lower section. The brass face having gilt spandrels, silvered Roman Numeral chapter ring, day aperture and subsidiary dial. Measures approx; 214cm x 47cm. Dial 11" face 12".

An antique 18th Century Georgian rare baluster tazza having a circular plate top with raised gallery edge raised on a central knopped baluster column over a domed circular foot. No visible damage. Measures approx; 25m wide.

A rare antique 19th Century English country house yew and elm wood childs / childrens Windsor armchair / armchair of typical form having a hoop backrest with yew decorative pierced splat and railed upright supports leading to the elbow rests with having a light scroll to the ends. The saddle seat supported on turned legs united by Crinoline stretcher. Measures approx; 62cm x 45cm x 35cm.

A rare antique 18th Century English bronze and brass patch / pills / snuff pot of cylindrical form. The pot set with two Battle Of The Nile 1798 bronze medals with one side showing Admiral Lord Nelson and the bottom showing the reverse of the coin a naval engagement. Measures approx; 3cm  x 4cm diameter.    

A rare and unusual 18th Century Georgian 8 day longcase grandfather clock by John Draper of Maldon having a painted Chinoiserie type case with gilt, black and red borders throughout and hand coloured scene to doors depicting courting couples. The hood having further matching details with brass ball finials arched top, glazed door and columns to sides. The brass face having gilt ormolu 'C' scroll adorned spandrels, silvered Roman Numeral chapter ring and faceted hand. The arched top set with an engraved heraldry depiction of the sun with faceted hands and winding holes. Complete with painted pendulum, key and weights. Measures approx; 224cm tall.

A rare single bottle of Martell VSOP Medallion Fine Champagne Cognac Liqueur Brandy Produce Of France complete in presentation box in the form a typical 18th Century French Chateau with a pair of glasses. 

A RARE TURQUOISE-GLAZED PEAR-SHAPED VASEQianlong seal mark and of the period The compressed globular body supported on a short spreading foot, rising to a long waisted neck flaring at the rim, covered in a lustrous turquoise-blue glaze with fine 'snake-skin' crackle. 22.5cm (8 7/8in) high.Footnotes:清乾隆 孔雀藍釉長頸瓶「大清乾隆年製」篆書款Turquoise is among the rarest of glaze colours found on Imperial marked monochromes. A turquoise-glazed meiping vase, 18th century, in the National Palace Museum, Taipei, is illustrated in Catalogue of the Special Exhibition of K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware from the Ch'ing Dynasty in the National Palace Museum, Taipei, 1986, no.25.See a turquoise-glazed meiping vase, Qianlong seal mark and of the period, which was sold at Bonhams London, 8 November 2018, lot 116.For further information on this lot please visit Bonhams.com

A RARE REVERSE GLASS 'LANDSCAPE' MIRROR PAINTING18th centuryThe rectangular mirror painting finely decorated with a colourful riverscape dotted with elegant pavilions perched on high cliffs and interspersed with pine trees and floral shrubs, all set above tumultuous turquoise waves, the zitan frame finely enamelled with a continuous scroll of wispy clouds and bats. 93cm (36 6/8in) high x 68cm (22 7/8in) wide.Footnotes:十八世紀 山水樓閣圖玻璃鏡畫Provenance: an Italian private collection, and thence by descent來源：意大利私人舊藏，並由後人保存至今Mirroring the 18th century European fascination for things Chinese, resulting in the 'Chinoiserie' style, so too did the Qing Imperial court have a fascination for all things Western, including clocks, trinkets European inspired furniture, paintings and designs. This fascination for the exotic west is encapsulated on painted enamel wares and mirrors such as the present lot. A closely related pair of oval shaped mirrors with zitan frames inlaid with painted enamel, mid Qing dynasty, is illustrated in Imperial Furniture of Ming & Qing Dynasties: Classics of the Forbidden City, Beijing, 2008, p.27.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE VERY PALE GREEN JADE 'BAJIXIANG' 'MARRIAGE' BOWLQianlongCrisply carved around the exterior with the 'Eight Buddhist Emblems' amidst scrolling lotus, flanked by a pair of butterfly handles each suspending a loose ring, the interior worked in medium relief with a nine-headed lingzhi fungus and nandina, all raised on four ruyi-feet, the stone of pale greyish-green tone. 25cm (9 3/4in) wide.Footnotes:清乾隆 青玉雕八吉祥紋雙蝶耳活環洗Provenance: a Scottish private collection來源：蘇格蘭私人收藏This very fine jade bowl with its superbly-carved butterfly handles belongs to the category of 'marriage' bowls alternatively carved with butterfly, bat or dragon handles, popular in the Qing dynasty Imperial court. The two butterfly handles suspending loose rings in mirror image symbolise 'Joyful encounter' (Xi xiangfeng 喜相逢), and by extension marital happiness. For a related example of the use of butterfly handles see a white jade censer and cover with four butterfly handles suspending loose rings, illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (II), Beijing, 2008, pl.27. See also a related white jade 'marriage' bowl, Qianlong, illustrated in The Woolf Collection of Chinese Jade, London, 2013, no.71; and a similar jade 'marriage' bowl, Qianlong, illustrated by R.Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, Hong Kong, 1996, no.88, which was later sold at Christie's Hong Kong, 27 November 2007, lot 1503.See also the related pale green jade 'marriage' bowl, 18th century, which was sold at Bonhams London, 17 May 2012, lot 40.For further information on this lot please visit Bonhams.com

A RARE PAIR OF ARMORIAL KENDI FOR THE DUTCH MARKET18th century Each with a globular body rising from a short straight foot to a tall narrow neck with flaring mouth, set to one side of the shoulder with a short mamiform spout, brightly enamelled and gilt to either side with a large coat-of-arms and helmet crest of De Heere. 23.3cm (9 1/2in) high. (2).Footnotes:十八世紀 荷蘭家族紋章軍持一對The arms belong to the Heere family of Middelburg, the Netherlands. This family, originally from the Rotterdam area, included several painters among its members, in addition to a Governor of Ceylon for the Dutch East India Company (VOC) in 1697, and other members who were part of the VOC at the beginning of the 18th century.The accollé coats of arms are those of Jan de Heere and his wife (unidentified), who married in 1704. However, given the likely date of production, it would seem more plausible that this pair of kendi was produced for Huijbert Johan de Heere (1731-1777) who had left the Netherlands to join the VOC in Batavia; he married Jacoba Frederica Nemegheer in Sumatra in 1758 and returned to the Netherlands in 1763, probably with all these armorial ceramics.For further information on this lot please visit Bonhams.com

A RARE PAIR OF FAMILLE VERTE COCKERELSKangxiEach naturalistically moulded standing above pierced rockwork, with iron-red and gilt combs and wattles, and short yellow beaks between large eyes, the feathers incised and vividly painted in purple, yellow, and green enamels. 26.5cm (10 3/8in) high. (2).Footnotes:清康熙 五彩雄雞一對See a very similar pair of famille verte cockerels, Kangxi, illustrated by P.Kjellberg, Objets Montes: du Moyen Age a nos jours, Paris, 2000, pp.94-95. A related pair of famille rose cockerels, 1740-1760, is illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol.I, London, 2016, pp.318-319, nos.725-726.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A VERY RARE PAIR OF 'PRONK' VASES AND COVERSCirca 1740Each of square section, the tapering body rising from a stepped foot to a tall waisted neck with an everted rim, each face painted with a white and pink floral bloom borne on a leafy branch extended up to the neck, all reserved on a lilac diaper ground, the domed covers similarly decorated and surmounted by a lotus-bud finial. 33.5cm (13 1/4in) high. (4).Footnotes:約1740年 紫地花卉紋「普隆克式」方蓋瓶一對The present lot is extremely rare as no other vases of this type appear to be recorded with their original covers. A single similar vase, without cover, was sold at Christies New York, from the H. B. Frelinghuysen Jr Collection on 24 January 2012, lot 89.Cornelis Pronk (1691–1759) was a Dutch draughtsman, painter and porcelain designer, known particularly for his numerous drawings of cities, towns and buildings (so-called topographical drawings), as well as for his porcelain designs. In 1734 the Dutch East India Company commissioned Pronk to produce designs for a set of plates. This porcelain was produced in China, then shipped to Europe and sold there at a very high price.See a related five-piece garniture without covers, which was sold at Christies New York, 30 January 1993, lot 72.For further information on this lot please visit Bonhams.com

A RARE CLOISONNÉ ENAMEL PALE-BLUE-GROUND TRIPOD INCENSE BURNER, DINGEarly Ming DynastyCast with a compressed globular body supported on three short tapered gilt legs, surmounted by a short waisted neck and gilt rim surmounted by a pair of arch handles, the sides enamelled with large stylised lotus flowers in blue, red, yellow, white and red, each borne on a foliate scroll, the underside with four further florets wreathed in stylised foliage, all reserved on a pale blue ground. 14.5cm (5 3/4in) diam.Footnotes:明早期 銅胎掐絲琺瑯纏枝蓮紋沖耳爐The present lot is very rare due to its early date and unusual pale blue ground. See a closely related turquoise-blue-ground cloisonné enamel tripod incense burner, Yuan dynasty, illustrated in The Compendium of Collections of the Palace Museum: Enamels, Cloisonné in the Yuan (1271-1368) and Ming (1368-1644) Dynasties, Beijing, 2011, pp.70-71, no.10. See also a cloisonné enamel tripod incense burner, Ming dynasty, illustrated by H.Brinker and A.Lutz, Chinese Cloisonné: The Pierre Uldry Collection, New York, 1989, no.54. A further example, early Ming dynasty, is illustrated by B.Quette, Cloisonné. Chinese Enamels from the Yuan, Ming and Qing Dynasties, New York, 2011, p.96, fig.5:25.The present incense burner derives its shape from an archaic vessel, liding, which had the body divided into three lobes. This shape appears to have been revisited during the fifteenth century; see B.Quette, ibid., pp.94-95.A related incense burner, Ming dynasty, 15th century, was sold at Christie's Paris, 9 June 2015, lot 54.For further information on this lot please visit Bonhams.com

A RARE CAFÉ-AU-LAIT-GROUND FAMILLE ROSE 'ORCHID' BOWLDaoguang seal mark and of the periodFinely potted with deep rounded sides rising to an everted rim from a short, tapered foot, the exterior delicately enamelled with three clusters of orchids reserved on a café-au-lait ground below the gilt rim, one side with a calligraphic inscription. 11.5cm (4 1/2in) diam.Footnotes:清道光 米黃地粉彩水仙花盌礬紅「大清道光年製」篆書款Provenance: a European private collection, and thence by descent來源：歐洲私人收藏，並由後人保存迄今Compare with a similar café-au-lait-ground famille rose bowl, Daoguang iron-red seal mark and of the period, which was sold at Christie's New York, 19-20 September 2013, lot 1395 (part lot).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 VERY LARGE AND RARE FAMILLE ROSE 'DRAGON AND PHOENIX' SAUCER-DISHGuangxu six-character mark and of the periodBoldly enamelled to the centre with a pair of confronted striding dragons pursuing a flaming pearl amongst cloud scrolls and thunderbolts, encircled by the Eight Buddhist Emblems, each ribbon-tied on a ground of blossoming flowers, all below a border of key-fret, the reverse with four exotic long-tailed phoenix flying amidst vaporous clouds, all delicately picked out in multi-coloured enamels, the base with the six-character mark in iron red. 51.3cm (20 1/2in) diam.Footnotes:清光緒 粉彩雙龍戲珠紋大盤礬紅「大清光緒年製」楷書款The present dish is a magnificent and visually imposing example of the technical proficiency of craftsmen employed at the Imperial kilns, conveyed by the large size of the vessel and the dense designs of writhing dragons interspersed amidst the Eight Buddhist Emblems clouds, combined with phoenix hovering amidst clouds on the reverse.In form and design, the present dish appears to be inspired by enamelled wares produced during the Yongzheng and Qianlong reigns. Compare with a large doucai dish, Yongzheng mark and period, in the Qing Court Collection, decorated with a pair of phoenix and the Eight Buddhist Emblems, illustrated in The Complete Collection of the Treasures of the Palace Museum: Porcelains in Polychrome and Contrasting Colours, Hong Kong, 2007, no.231. See also a doucai dish decorated with phoenix and the Eight Buddhist Emblems, Qianlong mark and period, illustrated in Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, pp.300-301.A small yellow-ground famille rose dish decorated with the Eight Buddhist Emblems similarly ribbon-tied on a ground of blossoming flowers, Guangxu mark and period, in the Qing Court Collection, is illustrated in The Complete Collection of Treasures from the Palace Museum. Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Shanghai, 1999, p.257. A famille rose dish decorated with phoenix and dragon designs, Guangxu mark and period, in the Shanghai Museum, is illustrated in Appreciation of Qing dynasty porcelain, Shanghai, 1994, p.279, pl.370.For further information on this lot please visit Bonhams.com

A RARE AND LARGE GILT-BRONZE HEAD OF A GUARDIANYuan/early Ming DynastyThe fierce face finely cast with large bulbous eyes beneath protruding furrowed brows and large nose defined by wide nostrils between full cheeks, above long moustaches and pursed lips, all flanked by pendulous ears, the hair framed by a curved diadem, metal stand. 13cm (5 1/8in) high. (2).Footnotes:元/明早期 銅鎏金天王頭像This powerfully cast head would have belonged to a large Buddhist figure of one of the four 'Celestial Kings of the Directions', Tianwang, the Guardians of the Four Quarters of the world. The Heavenly Kings were originally placed on the four sides of stupas, guarding the Buddhist relics inside. However, in China, the figures took the form of various Chinese warriors and would have been situated at the entrance to a temple in order to protect against evil spirits and barbarian invasions. The imagery of the Four Heavenly Kings was also adopted into the Daoist tradition. In addition, each king was associated with a specific direction and with the 'Four Heraldic Animals' of Chinese astrology, ensuring favourable weather for crops and peace throughout the land; see P.B.Welch, Chinese Art: A Guide to Motifs and Visual Imagery, Vermont, 2008, p.194. 'The Hall of the Heavenly Kings' is a standard component of Chinese Buddhist temples and gilt-bronze figures of the Tianwang were often placed in important temples.Compare with a related gilt-bronze head of a Heavenly Guardian, Ming dynasty, in Compton Verney House, Warwick, acc.no.CVCSC 0244.2.A. See also a large gilt-bronze head of Dvarapala, Yuan dynasty, in the British Museum, acc.no.1960,0729.1.For further information on this lot please visit Bonhams.com

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

A RARE EMBROIDERED SILK 'DOUBLE SILVER PHEASANT' RANK BADGE17th century The badge for a fifth-rank civil official colourfully embroidered with a pair of confronted silver pheasants, the lower one standing on prism-like rocks issuing from rolling waves embroidered in silk floss using long stitches and couched threads, all amidst five-coloured ruyi clouds worked in red, blue, green, yellow and pink, further embellished at the centre with gold thread, the edges raised over an under-thread to convey a three-dimensional effect, all on a ground of dark blue silk with a twisted thread for a matt effect, mounted. 38cm (15in) x 36cm (14 1/2in).Footnotes:十七世紀 刺繡白鷴紋五品文官補子Provenance: Myrna Myers, Paris, 2006A distinguished French private collection來源：2006年，巴黎古董商Myrna Myers法國傑出私人收藏The present badge was probably part of a large group comprising over thirty similar silk badges, mainly representing lions, silver pheasants and egrets, once sewn into a large curtain or canopy in Palazzo Corsini, Florence. The bold design of the present badge, with large lozenge-shaped clouds and prism-like rocks, reflects aesthetic developments of the later phases of the Ming dynasty.During the 17th century, under pressure from the Manchu to institute their own style of court attire, the shape of the buzi or insignia badges, became more exactly square. A similar embroidered silk 'double silver pheasants' badge, 16th/17th century, is illustrated by J.Vollmer, Silks For Thrones and Altars: Chinese Costumes and Textiles from the Liao Through the Qing Dynasty, Paris, 2003, no.11, pp.36-37. A similar silk court 'double pheasant' rank badge, 17th century, was sold at Bonhams London, 7 November 2019, lot 126.For further information on this lot please visit Bonhams.com

A VERY RARE GILT-BRONZE FIGURE OF VAJRAPUTRA14th/15th century The figure sturdily cast seated in rajalita asana with the left foot resting on a lion cub, holding a bead of mala from a rosary in his right hand and a ruyi sceptre in his left, the contemplative face with a serene expression defined by gently-pursed lips and downcast eyes beneath long, arched eyebrows flanked by pendulous ears and curly locks at the temples, the beard arranged in small curls around the chin, wearing a loosely-fitting shawl covering the shoulders above a diaphanous dhoti finely detailed with incised floral scrolls at the hem, falling gently over the legs and secured by a bow around the bare chest, stand. 23cm (9in) high. (2).Footnotes:十四至十五世紀 銅鎏金笑獅羅漢像Provenance: a distinguished Italian private collection來源：歐洲傑出私人收藏The present figure is a rare and fine example of Buddhist portraiture, displaying remarkable casting and vividly-exemplified craftmanship. The figure is elegant and well proportioned, and meticulous attention to detail has been devoted to the harmonious rendering of the gentle facial expression, the tight curls of the hair and beard, and finally the elegant features of the garments, from the fine gentle folds of the shawl, conveying the weight and texture of the fabric, to the bowed sash securing the robe around the waist.Vajraputra was a lion hunter before converting to Buddhism. After the attained Enlightenment, a little lion came playfully to his side. The animal seemed to be grateful to him for giving up the life of killing lions, sparing its parents and brothers. Since then, Vajraputra and the lion have become inseparable. The lion with its roar symbolises the invincibility of Buddhism; see T.Watters, 'The Eighteen Lohan of Chinese Buddhist Temples', in Journal of the Royal Asiatic Society of Great Britain and Ireland, 1898, pp.329-347.Luohan were perfected beings, disciples of Buddha who attained Enlightenment but chose to remain engaged in the world, postponing nirvana, in order to aid all sentient beings. These figures achieved Enlightenment through instruction, not meditation, and as a result, ranked just below bodhisattvas. In Buddhist texts, the Buddha is described variously as being accompanied by luohan, either fifty, five hundred, or multiples of this number. These numbers are usually taken to give an indication as to the size of the multitude, and are not meant to be literal. In Chinese art however, these numbers became a convenient convention for portraying these worthy disciples of the Buddha. One of the earliest portrayals of the luohan dating to the 6th century, depicts them as a group listening to the Buddha's teachings in a Buddhist cave at Longmen, in Henan Province. The earliest reference to a group of sixteen arhats, believed to be the earliest followers of the Buddha, occurs during the 8th century. By the Song dynasty (960-1279), this number had expanded to eighteen and by the Ming dynasty, arhats were also depicted in set of sixteen, as seen in the figures sculpted in the Shuanglin Temple, Pingyao, Shanxi Province, illustrated in Buddhist Sculpture of Shanxi Province, Beijing, 1991, pp.193-226.The facial features and garments worn by the present figure closely compare with a gilt-bronze figure of Avalokiteshvara, Yuan dynasty, and another gilt-bronze figure of a luohan, Ming dynasty, Hongzhi period, 1426, both illustrated in Buddha: 2000 Years of Buddhist Art. 232 Masterpieces, Cologne, 2016, pp.178-179, no.62, and pp.182-183, no.64.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 VERY RARE CIVIL OFFICIAL'S 'GOOSE' RANK BADGE, BUZIKangxiMade for a fourth-rank civil official, the elegant bird worked in gold satin stitch and black tips standing on a rock emerging from waves tossed with jewels, focused towards the sun disk and surrounded by wispy ruyi clouds and the sun finely worked in satin stitch in shades of blue, green, charcoal and coral, all slightly raised and reserved on a rich ground of couched gold threads, within an added blue brocade border, mounted. 39cm (15 3/8in) x 38cm (15in).Footnotes:清康熙 刺繡雲雁紋四品文官補子Provenance: Linda Wrigglesworth, LondonA distinguished French private collection來源：倫敦Linda Wrigglesworth法國傑出私人收藏Boldly designed in brilliant colourful silk, making lavish use of couched-gold thread worked in a geometric pattern, the present badge is a rare example dating to the Kangxi period and would have been made for a civil official of the fourth rank.Badges were made to be worn in pairs, respectively to the back and the front of the surcoat, the latter was split to allow the garment to be buttoned up at the front. The present badge would have been therefore designed to be sewn onto the back of the garment. Although a variety of symbols had been used since antiquity to indicate rank, an all-inclusive court-ranking system was instituted in 1391 and continued in force with small adjustments until 1911. Different categories of animals distinguished the aristocracy from the gentry, while other types differentiated status within the nine grades of the military and civil bureaucracies; see S.V.R.Camman, 'The Development of of the Mandarin Squares', in Harvard Journal of Asiatic Studies, vol.8, no.2, 1944, pp.71-130.Badges decorated with different types of birds were reserved for use by the civil officials. The birds used as a rank insignia were based on real, rather than imaginary species. Accordingly, civil officials of the first rank wore badges displaying the Manchurian crane; second-rank officials wore badges decorated with golden pheasants; the third rank wore peacocks, the fourth wild geese shown with ochre plumage, the fifth silver pheasants; the sixth egrets; the seventh mandarin ducks; the eight quails; the ninth paradise flycatchers. Birds generally symbolised literary elegance and were thus a suitable creature to designate civil officials who had gained their position through examinations based on the classics of the Confucian canon; see L.Wrigglesworth and G.Dickinson, The Imperial Wardrobe, London, 1990, pp.121-122. Compare with a related silk badge embroidered in couched gold thread and peacock-feather-wrapped thread, depicting a qilin, Kangxi, in the Philadelphia Museum of Art, illustrated in Art of China. Highlights from the Philadelphia Museum of Art, New Haven and London, 2018, p.153. See another related silk badge depicting a crane, embroidered in couched gold thread, Kangxi, illustrated by L.Wrigglesworth and G.Dickinson, The Imperial Wardrobe, London, 1990, p.121.Compare with a related silk embroidered badge of a crane, Kangxi, which was sold at Christie's Hong Kong, 30 May 2012, lot 4032.For further information on this lot please visit Bonhams.com

AN EXCEPTIONALLY RARE IMPERIAL YELLOW-GROUND SILK EMBROIDERED 'LADIES AND LIONS' SCREEN PANELQianlongComprising nine sections superbly and colourfully embroidered in satin stitch with a continuous scene of eight female Immortals engaging in leisurely activities with nine playful Buddhist lions, all set in a wondrous Immortal landscape dotted with elegant pavilions, meandering streams, jutting ornamental rocks and various delicately-rendered trees including the fabled tree bearing the large peaches of Immortality, each Immortal figure wearing a feathered cape or apron over highly-detailed garments, one shown on a raft besides a flower vase holding lotus, two other figures conversing whilst crossing a natural footbridge, one carrying a hoe, the other a basket of lingzhi, followed by a joyful lion trailing behind them, two figures holding, respectively, a brocade ball and a cub gazing at its mother standing at a short distance, another pair standing in similar poses as the previous figures, a further figure standing beside a female lion holding a small cub on its back, all reserved on a brilliant Imperial yellow silk satin ground, mounted. 255cm (100 3/8in) wide x 121cm (47 5/8in) high.Footnotes:清乾隆 御製明黃地繡仙山瑞獅仕女采芝圖屏Provenance: Sotheby's Belgravia, early 1980'sLinda Wrigglesworth, London來源：二十世紀八十年代初，購自倫敦蘇富比貝爾格萊維亞倫敦Linda WrigglesworthThe superb satin-stitch embroidery of the present panel, combined with the rich yellow ground, the meticulous attention to detail and the extraordinary sense of realism and liveliness conveyed by the decorative subjects, reflect the highest standards achieved by Imperial commission during the Qianlong period. It was under the emperor's patronage that the silk industry reached its artistic zenith. Every detail, no matter how small, is realistically reproduced with very fine silk floss threads. The patterned textiles of the garments and the serene facial features of the figures, from the eyebrows to the lips and the subtlety of the hairlines, the depictions of lichen on rocks, the shimmering mane of the Buddhist lions and their joyful expressions, and the smallest architectural elements, are all embroidered with utmost precision and care. The graduated shape and size of the panels making up the present lot suggest that it was made for an Imperial screen. The outer two lengths are in fact considerably narrower, a feature noted in several surviving palace screens. Although drawn as a continuous scene and now stitched together, each panel was embroidered individually up to the selvage edges of the cloth but not across the vertical seams. See for example a nine-panel black lacquer screen, Yongzheng, featuring nine embroidered dragons stitched in gold thread, and the panels inserted within the frame of a black lacquered screen, Yongzheng/Qianlong, both 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, pls.198 and 200.The allusion to Immortality, conveyed by the subjects depicted on the present screen panel, indicates that this textile may have been created to celebrate the birthday of Dowager empress Chongqing (1669-1777), mother of the Qianlong emperor, to whom he was particularly close and visited daily. The screen panel may have been commissioned for the Dowager empress's residence, the Palace of Longevity and Health, Shoukang Gong, which was completed in 1736. The complex included a Main, Rear and Rearmost Hall, respectively dedicated to the performance of court rituals, devotional activities and living quarters. The Palace of Longevity and Health was furnished with a dazzling array of sumptuous objects, many decorated with objects underscoring wishes for longevity conveyed by depictions of Immortal deities; see J.Stuart, Empresses of China's Forbidden City 1644-1912 2018, Salem MA, pp.78-87. The scene depicted may relate to the mythical Immortal realm of Kunlun. The Zhuangzi, thought to have been composed between 370 BC and 280 BC, is one of the earliest textual references to this wondrous realm, mentioning: 'In the far-away mountains of Gushe live divine humans. Their skin is cool as frost and snow; they are shy and delicate as virgins. They do not eat grains, but breathe wind and drink dew'; see S.Little, Taoism and the Arts of China, Chicago, 2000, p.36. The peaches growing in the Orchard of Immortality of Kunlun were believed to ripen only once every three thousand years and could prolong one's life for another six thousand years. Compare with a continuous scene depicting the Immortals gathering to celebrate Xiwangmu's birthday, which includes similarly-clad female Immortals and Buddhist lions, depicted on a famille rose twelve-leaf screen, Jiaqing, which was sold at Bonhams London, 11 May 2017, lot 214. Two lions playing with an embroidered or brocade ball is a common design, which may have the same significance as two dragons fighting for the pearl of supremacy, thus symbolising Imperial power. Undoubtedly, Buddhist lions were also viewed in connection with beliefs in Immortality as they were often depicted as companions to female Immortals from at least the Song dynasty; see, for example, 'Picking Up Lingzhi Fungi to Celebrate Longevity', a painting by Li Zhaoqing, attributed to the Song dynasty, in the National Palace Museum, Taipei, acc.no.001256-00001. See also the playful lions accompanying the female deities depicted on the Imperial famille rose twelve-leaf screen, Jiaqing, which was sold by Bonhams London, 11 May 2017, lot 214. The embroidery style of the present lot closely compares with a yellow-ground panel depicting an Immortal landscape, Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures from the Palace Museum. Textiles and Embroideries of the Ming and Qing Dynasties, Hong Kong, 2005, p.199, fig.220. See also a related yellow-ground embroidered panel depicting Immortal female figures, Qing dynasty, illustrated in Beauty of Tapestry and Embroidery, Taipei, 1995, p.156. Compare also a large embroidery, Qianlong, depicting the birthday celebration of General Guo Zhiyi, illustrated in The Complete Collection of Treasures of the Palace Museum. Embroidered Pictures, Shanghai, 2005, no.54.A related blue-ground embroidered Daoist Immortals panel, Qianlong, much smaller than the present example, was sold at Christie's New York, 22 March 2019, lot 1654.For further information on this lot please visit Bonhams.com

AN EXTREMELY RARE IMPERIAL HEIR-APPARENT APRICOT-GROUND SILK EMBROIDERED DRAGON ROBE, JIFUQianlong/JiaqingMeticulously worked on the front and back in satin stitch and couched gold threads with nine writhing, five-clawed dragons clutching or pursuing flaming pearls amidst dense trailing scrolls of five-coloured clouds interspersed with bats, Shou characters and Wan symbols, all above the terrestrial diagram and lishui stripe at the hem, picked out in vibrant shades of blue, yellow, red, coral and green, reserved on a deep apricot ground, the matching dark-blue-ground collar and cuffs worked with further dragons amidst further bats, clouds and waves, lined in blue silk. 166cm (65 3/8in) wide x 149cm (58 5/8in) long.Footnotes:清乾隆/嘉慶 杏黃地繡金龍彩雲紋皇太子吉服袍Provenance: an American private collectionLinda Wrigglesworth, London來源：美國私人舊藏倫敦Linda WrigglesworthSuperbly embroidered on both the inner and outer surface with nine resplendent lively five-clawed dragons riding the heavens, finely worked in metallic gold threads amidst a profusion of five-coloured trailing clouds interspersed with a multitude of bats, the present robe is a rare and remarkable example of its type. The remarkable embroidery and auspicious symbolism relating to the ten thousand folds of happiness is conveyed by the combination of multiple bats and wan symbols, making it very likely that the robe would have been worn by Aisin Gioro Yongyan, before he was enthroned as the Jiaqing emperor following the Qianlong emperor's formal retirement in 1795. All parts are original including the apricot-orange ribbed sleeve extenders.The impeccable tailoring and the depictions of dragons clutching, rather than chasing, flaming pearls, suggest that this robe would have been worn by a high-ranking individual. According to the 'Illustrated Regulations for the Ritual Paraphernalia of the Imperial Court'Huangchao liqi tushi 皇朝禮器圖式, edited in 1759, the apricot-orange colour xinghuang of this magnificent robe, was one of the 'Five Imperial Yellows' that could only be worn by the Heir Apparent to the emperor, as well as Princes and Princesses of the First Rank and Imperial Consorts of the Second and Third Degree; see M.Medley, The Illustrated Regulations for Ceremonial Paraphernalia of the Ch'ing Dynasty, London, 1982, and L.Wrigglesworth, Imperial Wardrobe, Berkeley, 2002, pp.14-30. The 'Regulations' confirmed the importance of a new type of robe, the jifu or longpao, as semi-formal court wear and brought the cosmic purpose of Imperial rule into sharp focus. The careful arrangement of sinuous dragons writhing amid clouds and above the universal ocean washing against the earth mountain, quickly transcended the political and ethnic priorities of Imperial government to become universal symbols of the empire. Dragon robes thus became supreme significant social markers representing access to power. The right to wear such garments was dependent on rank and status. The Manchu rulers of the Qing dynasty were keen on projecting an evocative and powerful image of themselves, and their court costumes conveyed legitimacy and heritage. Despite their initial reluctance to wear the same type of robes as their Ming predecessors, by the reign of the Kangxi emperor, the Manchu elites were keen wearers of richly-ornamented dragon robes on semi-formal court occasions and official duties. In Han Chinese thought, the five-clawed dragon was the quintessential symbol of Imperial power, embodying royalty, dominion and expressing the visual metaphor of the good ruler who behaved wisely for the wellbeing of his subjects. Capable of flying high in the sky and diving back into the sea, dragons were regarded as intermediaries between Heaven and Earth and credited with extraordinary powers that compared to those of the emperor. Even the number nine, for the dragons depicted on the present robe, is highly evocative and likened to the power of Heaven. The product of three threes, nine has a long association with the emperor. In addition, the 'Records of the Grand Historian' Shiji, completed during the first century BC, recounts that, having tamed the floods that once engulfed the land, the mythical emperor Yu divided the territory into the Nine Provinces and collected bronze in tribute from each one. Thereafter he cast the metal into nine large tripod cauldrons. These vessels thus were at the heart of ruler's possessions and symbolic conveyers of power.Wearing robes decorated with dragons, therefore, facilitated the Manchus' transformation of their image in the eyes of the Han populations from chieftains to legitimate rulers of China. The Qing robes, however, had their own distinctive shapes and trimmings. For example, the slits appearing at the centre seams, at the front and back hem, as well at the sides, were Manchu innovations that made it comfortable for the garment to be worn during riding. In addition, dragon robes were secured at the waist with ceremonial belts suspending narrow and straight streamers, and sometimes, purses. Other conspicuously-displayed accessories further identified Manchu dress, such as a hat, a surcoat and a necklace; see V.Garrett, Chinese Dress From the Qing Dynasty to the Present, 2008, North Clarendon VT, pp.16-17.Compare with a related apricot-ground silk embroidered dragon robe, late 18th century, illustrated by R.D.Jacobsen, Imperial Silks: Ch'ing Dynasty Textiles in the Minneapolis Institute of Arts, vol.1, Minnesota, 2000, pp.146-147, no.44. See also a related apricot-ground dragon robe, Jiaqing, in the Qing Court Collection in the Palace Museum, Beijing, acc.no.00042987.For further information on this lot please visit Bonhams.com

A VERY RARE IMPERIAL YELLOW SATIN EMBROIDERED CHUBAThe silk YongzhengThe side-closing chuba tailored in Tibet from Chinese 18th century Imperial yellow silk brocade, finely worked in gold and multi-coloured threads with five-clawed dragons grasping flaming pearls within a background of wispy clouds picked out in various colours of pink, blue, green and ochre, all above the terrestrial diagram and lishui stripe at the hem, the collar and facing fashioned from waves taken from the original border, with pale blue silk lining. 180cm (71in) wide x 142cm (56in) long.Footnotes:清雍正 御製黃地織錦緞彩雲金龍紋藏袍袍料Provenance: Linda Wrigglesworth, London, 2006A distinguished French private collection來源：倫敦Linda Wrigglesworth，2006年法國傑出私人收藏Finely tailored from sumptuous Imperial yellow-ground embroidered silk, the present garment is a brilliant and ingenious adaptation of 18th century Chinese court costume to formal Tibetan ceremonial attire.Whilst the rather elaborate medallion on the inner flap of the robe, a feature rarely encountered on this type of garment, would have been originally intended to make up a cushion cover for a throne, the rest of the embroidery would have made up a dragon robe worn by one of the innermost members of the Qing court. This is evident in the neck area, which suggests that a separate embroidered collar and lapel were once applied and then removed to obtain a simpler Tibetan-style closure. According to Linda Wrigglesworth, the lack of the gold thread, which would have typically outlined the water and waves, was a feature typically encountered on robes tailored for female members of the court and indeed suggest that the dragon robe incorporated in the present chuba was originally destined for an Imperial consort. This assumption is reinforced by the counter-clockwise coiling posture of the dragons to the chest area and back, which suggests that the wearer stood to the right of the emperor. It was normal practice for Imperial consorts to stand on either side of the emperor, who took the central position in a formal ceremony. It would make sense, therefore, for an Imperial consort to wear a robe whose dragons coiled towards the Imperial throne. See for example the painting depicting the Dowager empress Chongqing, mother of the Qianlong emperor, as she sits at a banquet table on a raised platform. Sitting to her left is her son, the Qianlong emperor, and further to the sides, her son's many consorts; see J.Stuart and Daisy Yiyou Wang, Empresses of China's Forbidden City 1644-1912, Salem, 2018, p.155, pl.7.During the Qing dynasty, it became an established practice for the court to send gifts of silks and garments to Tibet because of the strong attachment of the Manchu rulers to Tibetan Buddhism and the political relations; see J.Hevia, 'Lamas, Emperors, and Rituals: Political Implications in Qing Imperial Ceremonies', in Journal of the International Association of Buddhist Studies, vol.16, no.2, 1993, pp.243-278.The Qing emperors made Beijing a major centre for the study of Tibetan Buddhism. The Qianlong emperor, in particular, recognised the supremacy of the religious authority of the Dalai Lama, and in turn Tibetans acknowledged the emperor as an incarnation of the Bodhisattva Manjusri, a manifestation of the Buddha of the Future; see M.Henss, 'The Bodhisattva Emperor: Tibeto-Chinese Portraits of Sacred and Secular Rule in the Qing Dynasty', in Oriental Art, vol.47, no.3, pp.2016.During the eighteenth century, the Qing court produced richly-decorated silk costumes specifically for use in Buddhist rituals and bestowed large quantities of Imperial dragon robes that became the customary formal dress for aristocratic Tibetans. At the time, regulations governed the quantity of yellow silks destined for religious leaders. In 1655, shortly after a visit by the Fifth Dalai Lama to Beijing, it was decreed that only high lamas with the title Gelung were allowed to receive yellow silks. This honour was regularly accorded to the Dalai and Panchen Lamas and the Grand Lama of Urga, the head of the Mongolian Buddhist hierarchy; see E.Sperling, 'The Fifth Karma-pa and Some aspects of the Relationship between Tibet and Early Ming', in M.Aris and Aung San Suu Kyi, Tibetan Studies in Honour of Hugh Richardson, Proceedings of the International Seminar on Tibetan Studies, Oxford, 1979, pp.280-289.The Tibetans traditionally wore robes featuring very long sleeves characterised by wider cuts and a simpler style of front overlap and fastening. The front part of the garment slanted from the neck to a fastening under the right arm. Sometimes the narrower Chinese robes were widened at the sides for easier movement and lengthened by the addition of material around the waist, which was concealed by the sash worn over the robe. These alterations were achieved by the Tibetans tailors by substituting the front underlap of the garment with another material, or by cutting off some of the deep wave border to extend the arms or widen the sleeves. The overall result conveyed a rather harmonious and eccentric effect obtained by combining different materials.For a discussion about 'dragon' robes tailored as Tibetan chuba, see J.Simcox and J.Vollmer, Emblems of Empire: Selection from the Mactaggart Art Collection, Edmonton CA, 2009, pp.200-217. Compare also with a similar yellow-ground silk chuba, 18th century, in the Art Gallery of South Wales, Sydney, illustrated by J.Rutherford, Celestial Silks. Chinese Religious and Court Textiles, Sydney, 2004, p.43, no.17.A related yellow-ground brocade silk chuba, 18th century, was sold at Christie's New York, 17 september 2008, lot 174.For further information on this lot please visit Bonhams.com

A FINE IMPERIAL KESI 'DRAGON' ROUNDEL FROM A CEREMONIAL GARMENTQianlongFinely woven with a gold front-facing five-clawed dragon with its body coiled around a flaming pearl as it leaps amidst ruyi clouds interspersed with the Eight Buddhist Emblems, Bajixiang, above billowing waves, all woven in fine gold and multi-coloured threads on a black silk ground.28.5cm (11 1/2in) diam.Footnotes:清乾隆 御製緙絲袞服雲龍圓補Provenance: a European private collection, 19th century.Linda Wrigglesworth, London來源：十九世紀，歐洲私人舊藏倫敦Linda WrigglesworthFinely embroidered with a front-facing striding dragon pursuing the flaming pearl, the present roundel would have likely decorated an Imperial ceremonial surcoat. The Qing emperors made Beijing a major centre for the study of Tibetan Buddhism. The Qianlong emperor, in particular, recognised the supremacy of the religious authority of the Dalai Lama, and in turn Tibetans acknowledged the emperor as the incarnation of the Bodhisattva Manjusri, a manifestation of the Buddha of the Future.The origin of Imperial surcoats, gunfu appears to date to the Zhou dynasty (circa 1050-265BC). The name continued to be used throughout the Qing dynasty, suggesting the emperors' intention of representing themselves as Chinese emperors. The emperor's surcoat was decorated with four roundels each centred with a five-clawed dragon, long. The roundels positioned at the shoulders were also decorated with the symbols of the sun and the moon, two of the most important Twelve symbols of Imperial Authority. One of the first reference to the garment in the early eighteenth century court regulations specifies the wearing of the gunfu on the occasion of the first day of the annual sacrifices at the Altar of Heaven; see S.V.R.Camman, China's Dragon Robes, New York, 1952, p.28. By the mid eighteenth century, wearing a surcoat over a semi-formal dragon robe jifu, was widespread throughout the court.Compare with a related silk embroidered dragon roundel from a ceremonial garment, early 18th century, similarly decorated with a front-facing five-clawed dragon surrounded by the Eight Buddhist Emblems, from the Metropolitan Museum of Art, New York, acc.no.62.97.36.A related and rare Imperial kesi dragon roundel from an emperor's surcoat was sold at Christie's New York, 19 March 2008, lot 5.For further information on this lot please visit Bonhams.com

A RARE CIVIL OFFICIAL'S 'GOLDEN PHEASANT' EMBROIDERED RANK BADGE, BUZITongzhiMade for a civil official of the second rank, worked in fine Suzhou satin stitch and couched gold thread; the long-tailed, multi-coloured bird shown facing the magenta sun while standing on a rock emerging from rolling waves above a two-colour gold lishui stripe and surrounded by many details incorporating the Eight Buddhist Emblems, bats and flowers amidst ruyi clouds, all picked out in shades of blue, green, pale coral, yellow, white, black and magenta, within a flower-scroll border, mounted.29.5cm (11 1/2in) x 30cm (11 7/8in).Footnotes:清同治 刺繡錦雉紋二品文官補子Provenance: Linda Wrigglesworth, LondonPublished and Illustrated: L.Wrigglesworth, 'Making the Grade'. The Badge of Rank III, London, 1996, p.9.來源：倫敦Linda Wrigglesworth出版著錄：L.Wrigglesworth，《'Making the Grade'. The Badge of Rank III》，倫敦，1996年，頁9Compare with a similarly-embroidered 'cloud Goose' rank badge for a civil official of the fourth rank, mid 19th century, illustrated by M.Blackman, Emperor's Court to Village Festival. Chinese Costume and Textiles from the Collection of the Otago Museum, Dunedin, 2000, p.33, no.36.For further information on this lot please visit Bonhams.com

A RARE SILK KESI 'QILIN' FIRST-RANK MILITARY RANK BADGE, BUZI1820-1850Made for a military official of the first rank, the mythical creature standing beneath the sun on a rock emerging from froth-capped waves tossed with the Eight Buddhist Emblems above a lishui stripe, surrounded by ruyi clouds interspersed with the Eight Daoist Attributes reserved on a ground of scrolling tendrils in gold wrapped thread, all in brilliant shades of blue, coral-red, green and white, with painted details, within a border of gold foliate scroll. 30.5cm (12in) x 29.6cm (11 6/8in).Footnotes:1820至1850年 緙絲麒麟紋一品武官補子Provenance: Linda Wrigglesworth, purchased in the 1980's來源：Linda Wrigglesworth，購於二十世紀八十年代Badges puzi displaying fabulous creatures, birds or animals were worn by the members of the Qing ruling elites as part of their court dress. The various species, whether real or imaginary, signified the wearer's rank and the badges were worn in pairs on the bufu. Accordingly, one badge was attached to the back of the surcoat, the other was made in two parts, which were respectively placed to the right and left hand side of the opening on the chest. Badges made for military officials of the highest ranks appear to have survived in lesser number than examples used by civil officials. They always had a central animal, as opposed to birds which decorated the civil insignia. Symbolic imagery was an important part of Chinese life and played a significant role in the design of the badges. As the 19th century was a period of turmoil in China, with the Opium Wars and the Taiping Rebellion, it could be argued that the political instability may have contributed to the proliferation of lucky symbols and auspicious plants employed as decorative designs on badges. The trend is reflected in the present example: one of China's most important mythological animals, the qilin was a mythical beast of great powers, representing prosperity, grandeur and wise administration. In addition, floating above the waves and around the qilin are the Daoist Attributes relating to the Eight Immortals, namely the fan representing Zhongli Quan, the bamboo and rods of Zhang Guolao, the sword of Lü Dongbin, the castanets of Cao Guojiu, the double-gourd of Li Tieguai, the flute of Han Xiangzi, the flower basket of Lan Caihe and finally, the lotus of He Xiangu.Compare with a nearly-identical silk kesi 'qilin' badge, Daoguang or Xianfeng, in the Royal Ontario Museum, Toronto, acc.no.950.100.328; and a related silk kesi qilin badge, circa 1850, illustrated by B.Jackson and D.Hugus, Ladder to the Clouds. Intrigue and Tradition in Chinese Rank, Berkeley, 200, fig.185.Compare also with a silk painting of the first-rank military official's surcoat decorated with a 'qilin' badge, in the Illustrated Regulations for Ceremonial Paraphernalia of the Qing dynasty, circa 1780-1781, in the Victoria and Albert Museum, London, illustrated by L.Wrigglesworth and G.Dickinson, The Imperial Wardrobe, London, 1990, p.134, pl.118.For further information on this lot please visit Bonhams.com

A DARK-BLUE OFFICIAL'S SURCOAT, BUFU, AND A PAIR OF 'WILD GOOSE' RANK BADGES, BUZI19th centuryElegantly fashioned from rich dark-blue silk with front, back and side vents and a front opening fastened with gilt buttons, with bright blue lining, 159cm (62 5/8in) wide x 113.5cm (44 5/8in) long; the rank badges made of colourful and rare appliqué silk kesi, each depicting a wild goose for the Fourth Civil Rank, the bird standing atop a rock arising from foaming waves interspersed with the Eight Buddhist Emblems bajixiang above rolling waves, all reserved on a ground of wan diaper and embroidered in very fine counted stitch, 25.5cm (10in) x 24cm (9 1/2in). (3).Footnotes:十九世紀 文官服 及 緙絲雲雁紋四品文官補子一對Provenance: Linda Wrigglesworth, 1994來源：英國Linda Wrigglesworth，1994年Qing Court officials could be recognised by their court surcoat, or outer coat bufu, such as the present example. A pair of identical insignia badges puzi, were stitched respectively on the back and chest of the garment, indicating the rank of the wearer. When the Qing dynasty was established in 1644, regulations concerning rank badges were among the first edicts enacted by the Manchu government. The shapes of the badges conveyed religious and philosophical concepts that were themselves tied to the maintenance of social order.Following the Imperial Regulations, edited in 1759 by the Qianlong emperor, calf-length, centre-fastening surcoats became mandatory for formal occasions. All who appeared at court were required to wear a bufu, which was made of either dark blue or purple-black satin. It was loose-fitting, opening down the centre front, and had side and back vents. The three-quarter-length sleeves and the fact that the coat reached mid-calf enabled the official to show off the sleeves extensions, the horseshoe-shaped cuffs and the lishui hem of the 'court' or 'dragon' robes underneath. In addition, the simple shape of the coat made it an ideal 'canvas' for the badges of the rank attached to the front and back; see V.Garrett, Chinese Dress From the Qing Dynasty to Present, North Clarendon VT, 2008, p.75.The wild goose, shown in a finely-delineated terrestrial diagram interspersed with the Eight Buddhist Symbols, corresponds to the fourth rank civil official. Although the Manchu, on assuming power, made a break in Chinese tradition and retained their own national costume, in 1652, they brought back the Ming custom of indicating rank by insignia squares, demarcating the nine ranks civil officials by birds embroidered on the squares and the military mandarins by animals.Compare with a related dark-blue satin surcoat, 19th century, lined with pale blue silk lining, in the collection of the Victoria and Albert Museum, London, acc.no.T.104-1958. Another midnight-blue, blue-lined surcoat, Tongzhi, circa 1870, is illustrated by L.Wrigglesworth, The Badge of Rank, London, 1996, p.9. See also a pair of related kesi 'goose' badges, 19th century, formerly with Jacqueline Simcox, which was sold at Christie's London, 15 May 2013, lot 727.For further information on this lot please visit Bonhams.com

A RARE MIDNIGHT-BLUE CUT-VELVET COURT WOMAN'S WINTER JACKET AND A 'PEONY' SKIRT19th centuryElegantly tailored with front, rear and side vents, wide sleeves and the front overflap closing to the right, the rich midnight-blue-coloured silk velvet with raised nap finely cut with a profusion of gourds, scrolling vines and bats interspersed with Shou medallions, with fuchsia lining, 152cm (59 7/8in) wide x 78cm (30 6/8in) long; together with a rare coral-ground cut-velvet pleated Han Chinese woman's skirt, qun, Daoguang, finely tailored with vibrant coral-coloured silk cut-velvet depicting designs of bats and butterflies fluttering amidst blossoming peonies and springs of large peaches, all raised in a silk nap on a paler coral ground, the ribbon and black satin borders embroidered in satin stitch with further colourful peonies, orchids, gourds and Peking knot butterflies, the edgings in blue-black satin lined in vibrant teal green satin damask patterned with floral silk, 95.3cm (37 1/2in) long. (2).Footnotes:十九世紀 藍色絲絨團壽紋大襟馬褂 及清道光 紅地織牡丹紋馬面裙 一組兩件Provenance: an Australian private collection, 1995 (the jacket)An American private collection, 1989 (the skirt)Linda Wrigglesworth, London來源：澳洲私人舊藏，1995年（馬褂）美國私人舊藏，1989年（馬面裙）倫敦Linda WrigglesworthFinely tailored from sumptuous silk, the present garments would have been worn by female members of the Qing court.The informal wear of the court members of the Qing dynasty was not regulated. However, unofficial wardrobes were almost as sumptuous as court attire. They were lavishly ornamented with auspicious imagery, most often executed with exceptional embroidery, and side borders often terminated in pointed ruyi heads. Major workshops played an important role in popularising specific designs, disseminating court taste within the aristocracy, and influencing regional fashion. According to Ming Wilson, cut-velvet silk jackets shaped as the present example were mainly worn for riding, magua. These garments were introduced into the informal wardrobe of both men and women and were worn as such by people on both horseback and foot. These jackets were used as overgarments, edged in a self-patterned border and usually had a high close-fitting collar; see M.Wilson, Imperial Chinese Robes from the Forbidden City, London, 2010, p.67.Compare with a related blue-ground velvet riding jacket, late Qing dynasty, in the Qing Court Collection, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Costumes and Accessories of the Qing Court, Shanghai, 2006, no.137. See also a cut silk velvet informal woman's robe, late 19th century, illustrated by J.Vollmer, Imperial Silks. Ch'ing Dynasty Textiles in the Minneapolis Institute of Arts, Minneapolis MA, 2000, pp.540-541, no.229. Pleated skirts such as the present rare cut-velvet deep coral silk were often worn in conjunction with mid-calf-length robes and over leggings or trousers, which made the outfit more formal. They allowed ease of movement because of the many narrow pleats widening towards the hem. These garments typically had a pair of pleated or gored aprons with front and back panels. They wrapped around the body and were attached to a wide waistband, which was secured with ties or loops and buttons. The cotton waistband prevented the skirt from slipping down. This exampel is woven with large peonies, peaches and bats, which are related to Daoguang court garments dating to circa 1840. The skirt is bordered with dark blue silk embroidered with butterflies in Peking knot and persimmons. Compare with a related deep-red cut-velvet pleated skirt, early 19th century, in the Minneapolis Institute of Art, illustrated by J.Vollmer, Imperial Silks. Ch'ing Dynasty Textiles in the Minneapolis Institute of Arts, Minneapolis MS, 2000, pp.638-639, no.282.For further information on this lot please visit Bonhams.com

A RARE EMBROIDERED BLUE-GROUND DAMASK SILK WOMAN'S INFORMAL OVERCOAT, WAITAO19th centuryFinely embroidered on the front and back in gold-wrapped thread and satin stitch with a continuous scene depicting various officials and court figures paying homage to two elderly officials in a garden scene with elegant pavilions, flowering shrubs and luxurious trees interspersed with fluttering butterflies, cranes and other mythical birds, all on a deep midnight-blue ground, the pale yellow-ground satin collar, edges and cream silk sleevebands meticulously embroidered with continuous scenes depicting 'the Hundred Boys at Play', blue lining. 142cm (55 7/8in) wide x 102cm (40in) long.Footnotes:十九世紀 藍地彩繡人物故事紋馬褂Provenance: Linda Wrigglesworth, London, 1995來源：倫敦Linda Wrigglesworth，1995年Superbly embroidered in wrapped gold and multicoloured threads with elegant designs of court figures and boys at play, the present robe would have been worn by a high-ranking Han Chinese woman. Women of the Han society often paired calf-length garments with pleated paired-apron wraparound silk skirts, a combination that had existed for centuries prior to the establishment of the Qing dynasty. As the present example illustrates, these robes were fastened down the centre front, in Ming style, or with the right-front overlap with a loop-and-toggle-button closure. They were typically worn during celebrations such as New Year, birthdays, seasonal festivals and formal family gatherings. Their colours, cut, imagery and pattern size were deemed appropriate to the age of the wearer and the nature of the occasion they were worn; see J.Vollmer, Imperial Silks. Ch'ing Dynasty Textiles in the Minneapolis Institute of Arts, Minneapolis MS, 2000, p.479.Though unregulated, the designs depicted on Chinese informal garments were often taken from woodcut illustrations of popular novels and testified to the educated tastes and literary sophistication of the wearer. These patterns included figural, floral and emblematic symbols associated with specific Chinese ideas of social and cultural importance. The scenes depicted on the present jacket, for example, underscores wishes for longevity and successful male progeny. The front and back of the garment probably depict the receptions given by General Guo Ziyi 郭子儀 (697-781), a celebrated figure who was credited with saving the Tang dynasty by putting down the An Shi rebellion. On the back of the jacket, the elderly figure wearing a yellow robe and a mandarin hat with a three-eyed peacock feather depicts how the general was later made a prince, and eventually deified in popular culture as a God of Wealth and Happiness, as represented by the standing male figure within a small pavilion on the front. The 'Hundred Boys' theme depicted on the collar, edgings and sleeve bands was a popular theme in woodblock prints, lacquer, porcelain and particularly textiles of Ming and especially Qing dynasty date. Representations of children were popular during the Song dynasty with poets also taking up that theme. The urgent need to secure the patrilinear line within the family made it imperative that wives should bear sons. The 'Hundred Boys' theme refers to a legend about King Zhou Wen Wang, who adopted an abandoned baby and thus increased his already large family of ninety-nine sons to one hundred; see V.Wilson, Chinese Textiles, London, 2005, pp.63-64.Compare with a similarly-shaped, although less ornate, silk informal robe, late 19th century, illustrated by J.Vollmer, Imperial Silks. Ch'ing Dynasty Textiles in the Minneapolis Institute of Arts, vol.1, Minneapolis MA, 2000, p.524-525, no.221. See also an informal midnight-blue coat, 19th century, illustrated in Sous La Griffe Du Dragon. Costumes de Cour de la dynastie de Qing (1644-1911), 2004, Milan, no.35.A related embroidered midnight-blue satin Han Chinese woman's informal overcoat, waitao, third quarter 19th century, was sold at Christie's New York, 19 March 2008, lot 82.For further information on this lot please visit Bonhams.com