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A RARE CLOISONNÉ ENAMEL AND GILT-BRONZE 'BUDDHIST LIONS' EWER16th centuryOf ovoid form with a high arched loop handle and serpentine spout, enamelled around the body with six Buddhist lions encircling two brocade balls tied with ribbons, amidst ruyi-head clouds interrupted by a small vase holding precious objects, all between a band of ruyi-head petals around the shoulder and lotus petals around the base, the neck, spout and base similarly enamelled with scrolling foliage. 22.2cm (8 3/4in) wide.Footnotes:十六世紀 銅胎掐絲琺瑯獅子繡球穿花執壺Although the lion is not native to China, its image has long been important to the repertoire of Chinese iconography. Lions were first presented to the Han court by emissaries from Central Asia and Persia, and the Chinese for lion (shi 獅) is thought to be derived from the Persian word šer. Lions were often depicted in stone statuary, symbolising protection and law, and from the Tang dynasty, appeared on decorative arts. The Buddha's teachings are often referred to as the 'lion's roar' in the sutras, indicating their power and nobility. Buddhist lions playing with a brocade ball became the most popular form of imagery for the lion during the Ming dynasty. For a very similar decoration of Buddhist lions, see a cloisonné enamel dish, 16th century, illustrated by C.Brown, Chinese Cloisonné: The Clague Collection, Phoenix Art Museum, 1980, pp.22-23, pl.3.Compare with a very similar cloisonné enamel ewer and cover, 16th century, also decorated with lions, illustrated by H.Brinker and A.Lutz, Chinesisches Cloisonné: Die Sammlung Pierre Uldry, Zurich, 1984, no.98. The author notes that 'no prototype in porcelain [of this shape] exists, but other examples are known in cloisonné enamel. These ewers, sometimes decorated with lions, sometimes with scrolling lotus, possibly served as ritual vessels in Buddhist or Lamaist ritual ceremonies.' Compare with a very similar cloisonné enamel ewer and cover, 16th century, which was sold at Christie's Paris, 7 December 2007, lot 6; and another very similar cloisonné enamel ewer and cover, 17th century, which was sold at Christie's London, 12 November 2010, lot 1146.For further information on this lot please visit Bonhams.com

A RARE CARVED CINNABAR LACQUER CABINETQianlong/JiaqingThe rectangular cabinet with canted shoulders containing two drawers, with two doors opening to reveal a shelf above a wide drawer, rising from a waisted base and tapering foot with shaped edges, all surmounted by a smaller rectangular cabinet with two doors, the doors carved in low relief with a landscape scene with ladies and children within a garden terrace, the drawers each carved with sages and attendants in a mountainous landscape, the top section carved with flowers, the sides with diaper-pattern ground. 50cm (19 3/4in) high.Footnotes:清乾隆/嘉慶 剔紅亭台人物圖小櫃Provenance: an English private collection來源：英國私人收藏The present lot is remarkable not only for its unusual shape, but also for the superb quality of carving, rendering a complex design of various motifs with meticulous attention to detail. The contrasting high and low relief through layers of rich cinnabar lacquer accentuate the three-dimensionality of the decoration, revealing the opulent taste of the Qianlong emperor whose influence was still felt into the Jiaqing reign.The shape is rare, however, another cabinet with one horizontal top compartment, mid Qing dynasty, in the Qing Court Collection is illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, Hong Kong, 2006, p.68, no.45.For further information on this lot please visit Bonhams.com

A RARE SILVER-GILT AND BLUE ENAMEL 'EIGHT IMMORTALS' BOX AND COVERLate 19th century, stamped marks of Hui Yuan, Jiujiang, circa 1875-1895Of circular form, the top of the flat cover decorated in relief with the 'Eight Immortals', each holding their various attributes set in a garden scene, encircled by a band of leafy grapevines to the border and the straight sides, the straight sides of the box further decorated in relief with a continuous scene of the immortals gathering in a garden landscape, the base stamped with three seal marks reading Wenyin, Huiyuan, and Jiujiang. 16.4cm (6 3/8in) diam. (2).Footnotes:十九世紀晚期，約1875-1895年 銀鎏金鏨胎填藍琺瑯八仙祝壽圖蓋盒 「紋銀」、「匯源」、「九江」款The semi-translucent blue enamel on the present box is referred to as basse-taille, or guangfalang, a technique that was introduced to Guangdong enamel workshops in the 18th century, and used primarily during the Qianlong period. One of a pair of basins decorated in this technique, with gold and silver foil and transparent blue enamel on a copper body, which was sent as tribute from Guangzhou to Beijing, is illustrated by Chuimei Ho and Bennet Bronson in Splendors of China's Forbidden City: The Glorious Reign of Emperor Qianlong, London and New York, 2004, p.263, fig.341. Another example of a silver-gilt and blue enamel tripod incense burner, Qianlong mark and period, is in the Tai'an Museum, Shangdong, illustrated in Zhongguo jinyin boli falangqi quanji: 5: falangqi vol.1, Heibei, 2001, no.239.According to the research by Adrien von Ferscht, Hui Yuan is identified as one of the four silversmiths in Jiujing, who created quality silver for the export market in the West as well as to affluent Chinese and foreign residents during the late 19th to the early 20th century, see Adrien von Ferscht, Chinese Export Silver 1785-1940, Catalogue of Makers' Marks, Glasgow, 2013, pp.8, 12 and 21.For further information on this lot please visit Bonhams.com

A RARE THREE-COLOUR CINNABAR LACQUER CARVED BOX AND COVERQianlongCrisply carved in varying depths through cinnabar, green-black and ochre layers with a central cartouche of a bearded sage and boy-attendant carrying a qin, all within a mountainous landscape with wutong trees issuing from craggy rocks, beside a greenish-black lacquer lake carved with diamond-pattern, the sky of yellow-ochre and cinnabar clouds, all surrounded by lappet band and dense clusters of peonies, the box carved ensuite. 21.5cm (8 1/2in) diam (2).Footnotes:清乾隆 剔彩山水人物圖圓蓋盒See a related three colour cinnabar lacquer carved box and cover, Qianlong six character mark and of the period, at the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, Shenzhen, 2006, pp.42-43, no.26.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 REVERSE GLASS PAINTINGLate 18th century Gouache on glass, depicting various fish on a table, glazed and framed. The frame, 49cm (19 1/4in) wide x 43cm (17in) high.Footnotes:十八世紀晚期 外銷玻璃畫The present lot evokes the influence of 18th century French painter of still-life Jean Simeon Chardin (1699-1779), who is perhaps most well known for his painting 'The Ray', with various fish on a table. The present lot however, includes unusually a classical Chinese-style table, encapsulating the meeting between East and West. Compare with a related reverse glass painting of pheasants on a table, circa 1790, illustrated by T.Audric, Chinese Reverse Glass Painting 1720-1820: An Artistic Meeting Between China and the West, Bern, 2020, p.225, no.424.For further information on this lot please visit Bonhams.com

A RARE AND FINE SPINACH-GREEN JADE CARVED 'EIGHT LUOHANS' TABLE SCREENQianlong/JiaqingOf rectangular form, crisply carved to one side with eight Luohans at leisure in a rocky grotto, each with their respective attribute, the reverse with gilt inscriptions identifying the name of each Luohan and a description, the stone of dark green tone suffused with faint cloudy inclusions, all within a border decorated with striding dragons and wispy clouds, two seal marks reading bide ('compare yourself to jade') and langrun ('bright and lustrous'), with a later lacquered wood stand. 28cm (11in) high (2).Footnotes:清乾隆/嘉慶 碧玉雕羅漢圖硯屏「比德」、「朗潤」印Provenance: William Clayton Ltd., London, 1 November 1977James Basil Wilson and Julia Wilson, and thence by descentIn 1945, James Basil Wilson returned from The Second World War having served with the Gurkhas. He married Julia Burke in 1949 and they moved to London. James started working for Iron and Steel Exporters and later that year, he was offered the chance to set up an office Hong Kong, so they moved there and set up home. The business was successful, they loved Hong Kong and they lived the life of ex-patriates to the full. They swam, played golf, made friends and indulged their passion for fast cars, competing in amateur road races. Julia claimed to have won at the first Macau Grand Prix. As well as enjoying the pastimes of the culture they brought with them, they developed an enduring love for China, Chinese people, Chinese food and Chinese art. With a growing family, they returned to England in 1957. They brought with them the pieces they had bought in Hong Kong and James made many trips to Hong Kong and continued to build their collection throughout the following decades mainly from dealers in London.來源：倫敦古董商William Clayton Ltd.，1977年11月1日James Basil Wilson與Julia Wilson伉儷舊藏，並由後人保存迄今James Basil Wilson二戰期間曾於廓爾喀軍團服役，1945年返回英國。 1949年與Julia Burke結婚，婚後搬至倫敦，並開始為Iron and Steel Exporters效力，同年被委任籌備香港辦事處，遂移居香港。事業發展蒸蒸日上的同時，Wilson伉儷也充分享受著外派人士的理想生活；游泳、打高爾夫、結交朋友，沉迷賽車運動甚至參加業餘車手街道賽，Julia聲稱曾完賽首屆澳門格蘭披治大賽車。在保留西方生活方式的同時，Wilson伉儷也對中國及其民眾、美食和藝術產生了長久的熱情。 1957年，隨著家庭的不斷壯大，Wilson一家回到英國，並帶回了其在香港購置的藝術品。此後，James多次前往香港，並在接下來的幾十年中持續造訪倫敦的古董商，擴充藏品。The present screen is superbly carved with eight Luohans, including Bakula, Rāhula, Cūdapanthaka, Pinola Bhāradvāja, Panthaka, Nāgasena, Gopaka, and Abheda. The screen would have been part of a pair of screens making a total of sixteen luohans. Luohans, known as 'Guardians of the Buddhist law', became popular in China in the 7th century, and their numbers varied, from sixteen to eighteen. They are extremely rare, and few published examples have been found. See one very similar example of a jade screen with luohans, 18th century, illustrated by G.Wills, Jade of the East, New York, Tokyo, Hong Kong, 1972, p.105.In 1757 the Qianlong emperor visited the Shengyin temple in present-day Hangzhou, to personally inspect the Luohan paintings by Guanxiu made in 891 AD. The emperor was deeply moved by the paintings and wrote a poem for each of the Luohans depicted in the paintings. He then instructed the Court artist Ding Guanpeng to create copies of Guanxiu's Luohans, which the emperor inscribed. In the following decades the Qianlong emperor had artisans reproduce the images in a variety of materials including jade, and the present screen is one such testament to the emperor's personal devotion. Luohan images appeared repeatedly through the emperor's garden in the Ningshougong in the Forbidden City and particularly in Yanghe, Jingshe and Yunguanlou, depicted in paintings, kesi screens and jade; see for example a zitan, lacquer jade and gilt-decorated sixteen-leaf screen, Qianlong, in the Yunguanglou, illustrated by N.Berliner, The emperor's Private Paradise: Treasures from the Forbidden City, New Haven, 2010, pp.164-171; see also a green jade set of the Eighteen Luohans, Qing dynasty, in the Qing Court Collection, illustrated in Compendium of Collections in the Palace Museum: Jade 8 Qing Dynasty, Beijing, 2011, no.266.The gilt inscriptions incised on the reverse of the screen are the poems written by the Qianlong emperor, which make it likely that this screen was specially commissioned by the emperor or presented to him as tribute. They have been translated as follows:The Ninth Reverend One, Vajraputra,I am supplied with everything; Which is dear to me and which is not?I pat the flying squirrel with my hands, Being pleased with its tame nature.Tameness gives no trouble; To be pleased implies having no worry.All living creatures and I live at leisure in the kingdom of Buddha The Tenth Reverend One, Rahula, The Buddha can transform matter; All living creatures are transformed by matter.He who knows this truth has a large eye in his forehead. The Reverend One holds the seven jewelled hat And will offer it to the Buddha What is he capable of doing? It is understood that he has done many thingsThe Eleventh Reverend One, CudapanthakaHe sits upright with the hands joining.What supernatural power does he possess?One school refers to objective existences the other to non-objective; Which of the two is the true sect?The round nimbus behind his headIs like the moon after passing through his bosom.When his peregrinations are ended,A few pairs of straw sandals will have been used.The Twelfth Reverend One, PindolabharadvajaHis left hand holds a Sanskrit book;His right one an alms bowl.Whether he journeys, stays, sits or sleeps, He never does so in excess.When the Buddha was in the world,He saved this old man.As a lion roars,So preached he sermons with vigour.The Thirteenth Reverend one, PanthakaThe books of BuddhaAre held in his hands.His face is flushed like the red clouds of sunset or sunrise, Or as if he were drunk with wine.Of the 'Four truths'He has not any dou... For further information on this lot please visit Bonhams.com

A RARE LARGE PALE GREEN JADE 'LANDSCAPE' MOUNTAINQianlongThe boulder of irregular mountain form, deftly carved in various levels of relief depicting a bearded sage, standing on a rocky ledge looking towards a young attendant reaching carrying a tray with offerings, before a further attendant preparing the Elixir of Longevity on a cauldron, all set amidst a mountainous landscape dotted with pine trees, overhanging wutong, leafy shrubs and a distant pavilion, the stone of even pale green tone with faint russet veining. 18.1cm (7 1/8in) high.Footnotes:清乾隆 玉雕松蔭高士圖山子Provenance: Christie's London, 4 April 1979, lot 76James Basil Wilson and Julia Wilson, and thence by descentIn 1945, James Basil Wilson returned from The Second World War having served with the Gurkhas. He married Julia Burke in 1949 and they moved to London. James started working for Iron and Steel Exporters and later that year, he was offered the chance to set up an office Hong Kong, so they moved there and set up home. The business was successful, they loved Hong Kong and they lived the life of ex-patriates to the full. They swam, played golf, made friends and indulged their passion for fast cars, competing in amateur road races. Julia claimed to have won at the first Macau Grand Prix. As well as enjoying the pastimes of the culture they brought with them, they developed an enduring love for China, Chinese people, Chinese food and Chinese art. With a growing family, they returned to England in 1957. They brought with them the pieces they had bought in Hong Kong and James made many trips to Hong Kong and continued to build their collection throughout the following decades mainly from dealers in London.來源：倫敦佳士得，1979年4月4日，拍品編號76James Basil Wilson與Julia Wilson伉儷舊藏，並由後人保存迄今James Basil Wilson二戰期間曾於廓爾喀軍團服役，1945年返回英國。 1949年與Julia Burke結婚，婚後搬至倫敦，並開始為Iron and Steel Exporters效力，同年被委任籌備香港辦事處，遂移居香港。事業發展蒸蒸日上的同時，Wilson伉儷也充分享受著外派人士的理想生活；游泳、打高爾夫、結交朋友，沉迷賽車運動甚至參加業餘車手街道賽，Julia聲稱曾完賽首屆澳門格蘭披治大賽車。在保留西方生活方式的同時，Wilson伉儷也對中國及其民眾、美食和藝術產生了長久的熱情。 1957年，隨著家庭的不斷壯大，Wilson一家回到英國，並帶回了其在香港購置的藝術品。此後，James多次前往香港，並在接下來的幾十年中持續造訪倫敦的古董商，擴充藏品。Deftly carved, this boulder is notable for its fine carving, including even the smoke-clouds arising from the stove used to prepare tea or perhaps an elixir. The large jade stone was sourced from the areas of Khotan and Yarkand, which became an available source of jade after the Qing conquest of the north-western territories in the mid-18th century, allowing superior quality and larger jade stones to be sent to the jade workshops. The Qianlong emperor instructed that jade boulders and carved panels should carry the spirit of paintings by famous past masters. It is recorded that a number of classical paintings from the emperor's own collection were ordered to be reproduced in jade, such as the well-known painting entitled 'Travellers in the Mountain' by Guan Tong of the Five Dynasties (907-960 AD). The popularity of such jade boulders carved with mountainous scenes is attested by a number of related examples illustrated in Jasper Wares of Qing Dynasty Collected by the Palace Museum and Mansi, Beijing, 2014, nos.107-112. See also another example of a green jade boulder with a design of a sage enjoying the sight of a waterfall, Qing dynasty, in the Qing Court Collection, with a poem by the Qianlong emperor, illustrated in Compendium of Collections in the Palace Museum: Jade, 8, Beijing, 2011, pp.128-129, no.96. The precision of the carver's workmanship, creating particularly crisp high-relief carving in some areas, and the imaginative interpretation from the outset of an asymmetric shape, is such that one can easy imagine this boulder adorning a desk in one of the Imperial palaces. It would foster contemplative introspection, with the beholder happily losing himself in the twists and turns of the rustic rocky pathway and the groves of old gnarled pine.The present lot is replete with auspicious meanings; not only the sage with two attendants preparing possibly an elixir of longevity, typical of Daoist hermits, but also the pine trees and cranes on the reverse. Cranes symbolise longevity and peace, and pine trees also symbolise longevity as well as endurance and steadfastness.See a related pale green and russet jade boulder with sages among a mountain path, Qing dynasty, illustrated in The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.156-157, no.47. Compare also the present carving to a group of jade mountains carved with landscape motifs from the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Jade 8, Beijing, 2011, nos.95-98.See also a related pale green jade 'Immortals' boulder, Qianlong, which was sold at Bonhams London, 5 November 2020, lot 158.For further information on this lot please visit Bonhams.com

A SPINACH-GREEN JADE 'DRAGON' MOONFLASK, BIANHU19th centuryThe broad, flattened body rising from a short stepped foot to a waisted neck and lipped rim, the neck flanked by a pair of scrolling handles, each side decorated with a central medallion enclosing a full-faced five-clawed dragon, limbs outstretched and soaring sinuously around a flaming pearl amidst wispy clouds, surrounded by five clusters of clouds each interspersed with a bat, the stone of even dark green tone with some cloudy inclusions, zitan stand. 21cm (8 1/4in) high (2).Footnotes:十九世紀 碧玉浮雕龍紋抱月瓶Provenance: James Basil Wilson and Julia Wilson, acquired prior to 1979, according to insurance valuation by William Clayton Ltd. and thence by descentIn 1945, James Basil Wilson returned from The Second World War having served with the Gurkhas. He married Julia Burke in 1949 and they moved to London. James started working for Iron and Steel Exporters and later that year, he was offered the chance to set up an office Hong Kong, so they moved there and set up home. The business was successful, they loved Hong Kong and they lived the life of ex-patriates to the full. They swam, played golf, made friends and indulged their passion for fast cars, competing in amateur road races. Julia claimed to have won at the first Macau Grand Prix. As well as enjoying the pastimes of the culture they brought with them, they developed an enduring love for China, Chinese people, Chinese food and Chinese art. With a growing family, they returned to England in 1957. They brought with them the pieces they had bought in Hong Kong and James made many trips to Hong Kong and continued to build their collection throughout the following decades mainly from dealers in London.來源：James Basil Wilson與Julia Wilson伉儷舊藏。據倫敦古董商William Clayton Ltd.開具的保險估值報告，於1979年以前入藏，並由後人保存迄今James Basil Wilson二戰期間曾於廓爾喀軍團服役，1945年返回英國。 1949年與Julia Burke結婚，婚後搬至倫敦，並開始為Iron and Steel Exporters效力，同年被委任籌備香港辦事處，遂移居香港。事業發展蒸蒸日上的同時，Wilson伉儷也充分享受著外派人士的理想生活；游泳、打高爾夫、結交朋友，沉迷賽車運動甚至參加業餘車手街道賽，Julia聲稱曾完賽首屆澳門格蘭披治大賽車。在保留西方生活方式的同時，Wilson伉儷也對中國及其民眾、美食和藝術產生了長久的熱情。 1957年，隨著家庭的不斷壯大，Wilson一家回到英國，並帶回了其在香港購置的藝術品。此後，James多次前往香港，並在接下來的幾十年中持續造訪倫敦的古董商，擴充藏品。While Imperial 'dragon' moonflasks were popular in porcelain during the Qianlong period, they are relatively rare in jade. See a related spinach-green jade vase and cover, with frontal facing dragon surrounded by the bajixiang and clouds, illustrated in The Baur Collection: Chinese Jades and Other Hardstones, Geneva, 1976, B.91.Compare with a related white jade 'dragon' moonflask, Qianlong, which was sold at Sotheby's Hong Kong, 13 October 2021, lot 3610. See also a large carved spinach- green jade moonflask and cover, Qianlong/Jiaqing, which was sold at Christie's Hong Kong, 29 May 2013, lot 2337.For further information on this lot please visit Bonhams.com

A RARE ARCHAISTIC WHITE JADE TRIPOD INCENSE BURNER AND COVER, DINGQianlongFinely carved around the compressed globular body with archaistic taotie motifs beneath a galleried rim and supported on three cabriole legs issuing from mythical beast-heads, the sides flanked by a pair of S-shaped handles, the domed cover carved with further taotie motifs and surmounted by a rope-twist finial, zitan wood stand. 14.3cm (5 5/8in) wide (3).Footnotes:清乾隆 白玉雕仿古饕餮紋三足蓋爐Provenance: Christie's London, 8 April 1981, lot 228James Basil Wilson and Julia Wilson, and thence by descentIn 1945, James Basil Wilson returned from The Second World War having served with the Gurkhas. He married Julia Burke in 1949 and they moved to London. James started working for Iron and Steel Exporters and later that year, he was offered the chance to set up an office Hong Kong, so they moved there and set up home. The business was successful, they loved Hong Kong and they lived the life of ex-patriates to the full. They swam, played golf, made friends and indulged their passion for fast cars, competing in amateur road races. Julia claimed to have won at the first Macau Grand Prix. As well as enjoying the pastimes of the culture they brought with them, they developed an enduring love for China, Chinese people, Chinese food and Chinese art. With a growing family, they returned to England in 1957. They brought with them the pieces they had bought in Hong Kong and James made many trips to Hong Kong and continued to build their collection throughout the following decades mainly from dealers in London.來源：倫敦佳士得，1981年4月8日，拍品編號228James Basil Wilson與Julia Wilson伉儷舊藏，並由後人保存迄今James Basil Wilson二戰期間曾於廓爾喀軍團服役，1945年返回英國。 1949年與Julia Burke結婚，婚後搬至倫敦，並開始為Iron and Steel Exporters效力，同年被委任籌備香港辦事處，遂移居香港。事業發展蒸蒸日上的同時，Wilson伉儷也充分享受著外派人士的理想生活；游泳、打高爾夫、結交朋友，沉迷賽車運動甚至參加業餘車手街道賽，Julia聲稱曾完賽首屆澳門格蘭披治大賽車。在保留西方生活方式的同時，Wilson伉儷也對中國及其民眾、美食和藝術產生了長久的熱情。 1957年，隨著家庭的不斷壯大，Wilson一家回到英國，並帶回了其在香港購置的藝術品。此後，James多次前往香港，並在接下來的幾十年中持續造訪倫敦的古董商，擴充藏品。The present lot embodies the brilliant creativity of Qing craftsmen in its combination of contemporary and archaic motifs. Continuing the Song tradition of reinterpreting large archaic ritual bronzes into relatively small jade vessels, this incense burner is carved with the archaic taotie motif. In response to jade carving in the 18th century, characterised by decorative objects with ornate high-relief designs, the Qianlong emperor commissioned a large number of jades which were inspired by the forms and designs of antiquity. Jade carvers were encouraged to move away from the 'new style' by studying archaic bronze vessels in the Palace collection or in illustrated woodblock prints, and adapting them to the medium of jade. Inspired in both form and decoration by archaic bronze ding, this incense burner epitomises this trend.Compare with a related white jade incense burner and cover with archaistic taotie design, Qing dynasty, illustrated in the Compendium of Collections in the Palace Museum: Jade, 10, Beijing, 2011, p.135, no.98. See also another related white jade tripod incense burner and cover but with bow-string design, Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2006, p.72, no.60.See also a related pale green jade tripod incense burner and cover, Qianlong, which was sold at Bonhams London, 5 November 2020, lot 164.For further information on this lot please visit Bonhams.com

A VERY RARE LARGE JADE CARVING OF A WATER BUFFALOQianlongThe imposing yet peaceful recumbent beast naturalistically modelled with its forelegs and hind legs tucked under the powerful body accentuated by a pronounced spine, the tail flicked to the right side and head turned to gaze amenably at the viewer, the gracefully-curved ridged horns flanking the flat forehead, the stone of pale-green tone with brown patches, huanghuali stand. 22cm (8 1/2in) long (2).Footnotes:清乾隆 青玉臥牛Provenance: William Clayton Ltd., London, 31 July 1978James Basil Wilson and Julia Wilson, and thence by descentIn 1945, James Basil Wilson returned from The Second World War having served with the Gurkhas. He married Julia Burke in 1949 and they moved to London. James started working for Iron and Steel Exporters and later that year, he was offered the chance to set up an office Hong Kong, so they moved there and set up home. The business was successful, they loved Hong Kong and they lived the life of ex-patriates to the full. They swam, played golf, made friends and indulged their passion for fast cars, competing in amateur road races. Julia claimed to have won at the first Macau Grand Prix. As well as enjoying the pastimes of the culture they brought with them, they developed an enduring love for China, Chinese people, Chinese food and Chinese art. With a growing family, they returned to England in 1957. They brought with them the pieces they had bought in Hong Kong and James made many trips to Hong Kong and continued to build their collection throughout the following decades mainly from dealers in London.來源：倫敦古董商William Clayton Ltd.，1978年7月31日James Basil Wilson與Julia Wilson伉儷舊藏，並由後人保存迄今James Basil Wilson二戰期間曾於廓爾喀軍團服役，1945年返回英國。 1949年與Julia Burke結婚，婚後搬至倫敦，並開始為Iron and Steel Exporters效力，同年被委任籌備香港辦事處，遂移居香港。事業發展蒸蒸日上的同時，Wilson伉儷也充分享受著外派人士的理想生活；游泳、打高爾夫、結交朋友，沉迷賽車運動甚至參加業餘車手街道賽，Julia聲稱曾完賽首屆澳門格蘭披治大賽車。在保留西方生活方式的同時，Wilson伉儷也對中國及其民眾、美食和藝術產生了長久的熱情。 1957年，隨著家庭的不斷壯大，Wilson一家回到英國，並帶回了其在香港購置的藝術品。此後，James多次前往香港，並在接下來的幾十年中持續造訪倫敦的古董商，擴充藏品。The imposing recumbent beast conveys at once both strength and peacefulness. The sheer size and weight of the jade stone, the muscular haunch, full rounded body and the striking ribbed horns exude power; the recumbent pose and countenance convey tranquillity.Buffalos were emblematic of agriculture. As such, in Imperial China, where agriculture was considered by Confucian governments to be the main source of tax revenue, the buffalo - used for ploughing - underpinned rice production and the rural economy, and represented prosperity and dedication to hard work. Emperors frequently likened themselves to farmers ploughing the fields with an ox or buffalo under their reins. See for example, the Yongzheng emperor depicted as a famer in Pictures of Tilling and Weaving Portraying Yinzhen, Kangxi period, in the Palace Museum, Beijing (acc.no. Gu00006634-8). See also Le Premier Sillon ouvert par l'Empereur, Qingeng tu, Yongzheng period, in Musée national des arts asiatiques Guimet, illustrated in Les très riches heures de la cour de Chine, Paris, 2006, no.24, depicting the Yongzheng emperor ploughing the first furrow when offering sacrifice at the Altar to the God of Agriculture, Xiannong tan.Buffalos were also employed in literati paintings, to evoke a bucolic, idealised existence in the countryside. This fitted in with the Confucian ideal of a world in peace and harmony with peasants - the second highest in the Confucian social hierarchy after scholars - contributing to the wealth of the empire. The buffalo in turn, fed into a more mythical or spiritual side, recalling both Buddhist and Daoist preoccupation with simplicity, retreat, and the subjugation of the ego. The philosopher Laozi, is frequently represented in paintings and sculpture riding a buffalo.Another aspect of the buffalo is its guardian function, stemming from the legend of the emperor Yu of the Xia dynasty casting an iron ox to subdue floods. This interpretation was most notably represented in the huge bronze ox commissioned by the Qianlong emperor in 1755 and placed gazing out over the Kunming Lake at the Summer Palace. Depicted in jade rather than bronze, with an eternally placid yet watchful expression, the present jade water-buffalo was also meant to observe and protect its owner.See a related jade buffalo, Qianlong mark and period, illustrated in Jade: Ch'ing Dynasty Treasures, Taipei, 1997, no.151. A large green jade buffalo, Qianlong, is also illustrated in The Woolf Collection of Chinese Jade, London, 2003, no.99. A further related green jade buffalo, 17th/18th century, is illustrated by Gowills, Jade of the East, New York, 1972, p.112, p.177, and was later sold at Tajan, Paris, 22 October 2011, lot 16.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A RARE PALE GREEN JADE 'TWIN-FISH' WASHERQianlongExquisitely carved around the exterior with archaistic motifs, with tall flaring sides rising to a lipped rim incised with a geometric-pattern band, after Western Zhou dynasty bronze prototypes, supported on four ruyi feet, the interior carved in high relief with a pair of fish in mirror image, the stone of pale green tone with dark-brown patches. 17cm (6 3/4in) diam.Footnotes:清乾隆 玉雕雙魚洗Provenance: Christie's London, 8 April 1981, lot 237James Basil Wilson and Julia Wilson, and thence by descentIn 1945, James Basil Wilson returned from The Second World War having served with the Gurkhas. He married Julia Burke in 1949 and they moved to London. James started working for Iron and Steel Exporters and later that year, he was offered the chance to set up an office Hong Kong, so they moved there and set up home. The business was successful, they loved Hong Kong and they lived the life of ex-patriates to the full. They swam, played golf, made friends and indulged their passion for fast cars, competing in amateur road races. Julia claimed to have won at the first Macau Grand Prix. As well as enjoying the pastimes of the culture they brought with them, they developed an enduring love for China, Chinese people, Chinese food and Chinese art. With a growing family, they returned to England in 1957. They brought with them the pieces they had bought in Hong Kong and James made many trips to Hong Kong and continued to build their collection throughout the following decades mainly from dealers in London.來源：倫敦佳士得，1981年4月8日，拍品編號237James Basil Wilson與Julia Wilson伉儷舊藏，並由後人保存迄今James Basil Wilson二戰期間曾於廓爾喀軍團服役，1945年返回英國。 1949年與Julia Burke結婚，婚後搬至倫敦，並開始為Iron and Steel Exporters效力，同年被委任籌備香港辦事處，遂移居香港。事業發展蒸蒸日上的同時，Wilson伉儷也充分享受著外派人士的理想生活；游泳、打高爾夫、結交朋友，沉迷賽車運動甚至參加業餘車手街道賽，Julia聲稱曾完賽首屆澳門格蘭披治大賽車。在保留西方生活方式的同時，Wilson伉儷也對中國及其民眾、美食和藝術產生了長久的熱情。 1957年，隨著家庭的不斷壯大，Wilson一家回到英國，並帶回了其在香港購置的藝術品。此後，James多次前往香港，並在接下來的幾十年中持續造訪倫敦的古董商，擴充藏品。The twin-fish symbol is considered as one of the most auspicious motifs of the Eight Buddhist Emblems, bajixiang, representing freedom from restraint as well as the wish for marital bliss, prosperity and an abundance of good luck. As fish are reputed to swim in pairs and are known for their reproductive powers, the double-fish also signifies the joys of union and numerous offspring.The Qianlong emperor favoured forms and designs inspired by antiquity. The archaistic designs on the present bowl were inspired by archaic Zhou dynasty bronze ritual food vessels, and the design of fish can be seen on Eastern Zhou dynasty bronze pan vessels, with twin-fish appearing more frequently from the Song dynasty onwards. Compare with a larger pale green jade twin-fish basin, dated 1786, with similar fish design, illustrated by M.Knight, He Li, and T.Tse Bartholomew, Later Chinese Jades: Ming Dynasty to Early Twentieth Century from the Asian Art Museum of San Francisco, San Francisco, 2007, p.180, pl.181; see also two larger jade twin-fish basins carved with double fish in mirror image, Qianlong, in the National Palace Museum, Taipei, illustrated by Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pls.7 and 9.See an Imperially-inscribled pale green jade 'twin-fish' washer, Qianlong mark and period, which was sold at Christie's New York, 20 March 2019, lot 806.For further information on this lot please visit Bonhams.com

A RARE ARCHAISTIC SPINACH-GREEN JADE TRIPOD INCENSE BURNER AND COVER, DINGQianlongExpertly carved supported on three short cabriole feet issuing from mythical beast-heads, carved around the exterior with archaistic taotie motifs rising to an elegantly waisted rim flanked by a paid of S-shaped handles, the domed cover similarly carved with dense floral scroll and surmounted by a coiling dragon finial, the stone of dark green tone with striations, hongmu stand. 18cm (7in) wide (3).Footnotes:清乾隆 碧玉雕仿古紋龍鈕三足蓋爐Provenance: William Clayton Ltd., London, 24 October 1977James Basil Wilson and Julia Wilson, and thence by descentIn 1945, James Basil Wilson returned from The Second World War having served with the Gurkhas. He married Julia Burke in 1949 and they moved to London. James started working for Iron and Steel Exporters and later that year, he was offered the chance to set up an office Hong Kong, so they moved there and set up home. The business was successful, they loved Hong Kong and they lived the life of ex-patriates to the full. They swam, played golf, made friends and indulged their passion for fast cars, competing in amateur road races. Julia claimed to have won at the first Macau Grand Prix. As well as enjoying the pastimes of the culture they brought with them, they developed an enduring love for China, Chinese people, Chinese food and Chinese art. With a growing family, they returned to England in 1957. They brought with them the pieces they had bought in Hong Kong and James made many trips to Hong Kong and continued to build their collection throughout the following decades mainly from dealers in London.來源：倫敦古董商William Clayton Ltd.，1977年10月24日James Basil Wilson與Julia Wilson伉儷舊藏，並由後人保存迄今James Basil Wilson二戰期間曾於廓爾喀軍團服役，1945年返回英國。 1949年與Julia Burke結婚，婚後搬至倫敦，並開始為Iron and Steel Exporters效力，同年被委任籌備香港辦事處，遂移居香港。事業發展蒸蒸日上的同時，Wilson伉儷也充分享受著外派人士的理想生活；游泳、打高爾夫、結交朋友，沉迷賽車運動甚至參加業餘車手街道賽，Julia聲稱曾完賽首屆澳門格蘭披治大賽車。在保留西方生活方式的同時，Wilson伉儷也對中國及其民眾、美食和藝術產生了長久的熱情。 1957年，隨著家庭的不斷壯大，Wilson一家回到英國，並帶回了其在香港購置的藝術品。此後，James多次前往香港，並在接下來的幾十年中持續造訪倫敦的古董商，擴充藏品。Inspired by the shape and decoration of archaic bronze food vessels of the Zhou dynasty, the present vessel is a fine example of the stylistic developments during the 18th century inspired by the wishes of the Qianlong emperor. Aiming to 'restore the ancient ways', the emperor wished to reinstate the intrinsic qualities of simplicity, sincerity and happy exuberance of ancient culture. For this purpose, the emperor instructed the Court to collect drawings of antiquities, such as the 'Catalogue of Xiqing Antiquities' (Xiqing gujian 西清古鑑), which served as sources of designs for the production of contemporary vessels. See Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.49-50.See a similar spinach-green jade tripod incense burner and cover, Qing dynasty, illustrated in Jasper Wares of Qing Dynasty Collected by the Palace Museum and Manasi, Beijing, 2014, p.140, no.49. Compare with a related spinach-green jade tripod incense burner and cover, Qianlong, illustrated by S.C.Nott, Chinese Jade throughout the Ages, Rutland, 1971, pl.CXVIII; see also a related spinach-green jade incense burner and cover, Qianlong, illustrated by R.Keverne, ed., Jade, London, 1992, p.163, fig.89.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A RARE EMBROIDERED SILK 'SILVER PHEASANT' BADGE, BUZIQianlongMade for the Fifth Civil Rank, finely worked in subtle-shaded satin stitch vividly depicting the elegant bird gazing at the sun, perched upon a rock amongst rolling waves interspersed with ruyi, flanked by blossoming floral shrubs, colourful lingzhi fungi and a bat, all beneath branches of large peaches and vaporous trailing clouds, all on a midnight-blue ground within a gold narrow thread border. 25.5cm (10in) wide x 25cm (9 1/8in) high.Footnotes:清乾隆 刺繡白鷳紋五品文官補子Provenance: Linda Wrigglesworth, London, acquired in the 1980's來源：倫敦Linda Wrigglesworth收藏，於二十世紀八十年代入藏Badges buzi 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 surcout, 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.Compare with a related embroidered 'silver pheasant' badge, 18th/19th century, in the Metropolitan Art Museum, New York, acc.no.30.75.986.For further information on this lot please visit Bonhams.com

A RARE IMPERIAL GUARD'S BLUE FEATHER COURT PLUME19th century The plume comprising a thick bundle of dark feathers, 40.5cm (16in) long; together with the original fitted silk-lined box and white jade plum holder, cylindrical in shape with russet inclusions on one side.7cm (2 6/8in) long (3).Footnotes:十九世紀 單眼花翎Provenance: Linda Wrigglesworth, London, acquired during the 1990's.來源：倫敦Linda Wrigglesworth收藏，於二十世紀九十年代入藏The present plume, also referred to as 'lan ling', would have been given as a distinction award by the emperor to selected Court officials. Compare with a similar plume also with a silk-lined box, illustrated by L.Wrigglesworth, Imperial Wardrobe, Berkeley, 2000, p.113, pl.95.For further information on this lot please visit Bonhams.com

A RARE BLUE-GROUND EMBROIDERED SILK 'DRAGON' ROBE, JIFUCirca 1850-1860The robe finely worked in couched gold thread and counted stitch with the prescribed nine five-clawed dragons pursuing flaming pearls amidst a dense blue ground interspersed with cranes, bats and the Attributes of the Eight Immortals, all above a terrestrial diagram and lishui stripe separated by further clouds and rolling waves outlined in gold thread, with a similar decoration repeated on the border, collar and cuff. 200cm (68 6/8in) wide x 137cm (54in) long.Footnotes:約1850-1860年 藍地刺繡金龍團鶴紋吉服袍Provenance: Linda Wrigglesworth, London, acquired in the 1980's來源：倫敦Linda Wrigglesworth收藏，於二十世紀八十年代入藏Notable for the refinement of its design and the lavish use of gold to highlight the vigorous bodies of the dragons and the tumultuous waves, the robe is a fine and rare example of its kind. The fact that only natural dyes were used in the making of the present robe indicates that the garment was made prior to the introduction of aniline dyes from Europe during the second half of the 19th century. A related blue-ground embroidered silk 'dragon' robe, circa 1870, is illustrated by P.Haig, Threads of Gold: Chinese Textiles. Ming to Ching, , Atglen PA, 2006, p.31. Compare with a related blue-ground embroidered silk 'dragon robe', jifu, 19th century, which was sold at Christie's London, 5 November 2019, lot 226.For further information on this lot please visit Bonhams.com

A VERY RARE AND IMPORTANT CIVIL OFFICIAL'S RANK BADGE OF A CIRCULAR CRANE, BUZIKangxiMade for a First Rank civil official, the crane finely worked in white satin stitch alighting on a rock emerging from rolling waves interspersed with jewels, surrounded by ruyi clouds and the sun finely worked in satin stitch in shades of blue, green and coral raised silk threads, geometric patterns of couched gold thread, including the pitted rock and the border, all reserved on a dense ground of couched gold threads within a scroll border, mounted. 36cm (14 1/8in) high x 35cm (13 3/8in) wide.Footnotes:清康熙 金地彩繡一品文官仙鶴紋補子Provenance: Konantz-Benton-Minnich Collection, Minneapolis, MNMinnesota Museum of Art, Minneapolis, MNLinda Wrigglesworth, London, acquired in 1995Published and Illustrated: L.Wrigglwsworth, Making the Grade, London, 1946, p.42.來源：美國明尼蘇達州，Konantz-Benton-Minnich舊藏美國明尼蘇達州明尼阿波利斯，明尼蘇達藝術博物館舊藏倫敦Linda Wrigglesworth收藏，於1995年入藏出版著錄：L.Wrigglwsworth，《Making the Grade》，倫敦，1946年，頁42Boldly designed in brilliant colourful silk, making lavish use of couched-gold thread worked in a geometric pattern, the present badge is a rare example probably dating to the early to middle phase of the Kangxi reign and would have been made for a civil official of the first rank. The tendency of using circles for bird designs, as well as the lavish use of the gold with the gold outline around the major elements and the symmetrical positioning of the precious objects amidst the rolling waves appear to be features more typical of the early Kangxi period; see B.Jackson and D.Hugus, Ladder to the Clouds: Intrigue and Tradition in Chinese Rank, Berkeley CA, 1999, pp.224-226.The Manchurian crane was thought to live for over 200 years and stored its accumulated wisdom in its red 'cap'. This is probably why the emblem of this bird was used for the emperor's closest advisors. 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. These creatures 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 similar embroidered silk badge of a circular crane, early Qing dynasty, illustrated by L.Wrigglesworth, The Imperial Wardrobe, Berkeley, 200, p.121, pl.101. A nearly identical silk badge of a circular crane, Kangxi, illustrated by B.Jackson and D.Hugus, Ladder to the Clouds. Intrigue and Tradition in Chinese Rank, Berkeley, 1999, pp.224, was sold at Christie's New York, 25 March 2022, lot 1156.For further information on this lot please visit Bonhams.com

A RARE IMPERIAL APRICOT-GROUND EMBROIDERED SILK WOMAN'S COURT ROBE, CHAOPAOYongzheng/QianlongThe remarkable robe exquisitely embroidered in vibrant couched gold and multi-coloured threads with eight five-clawed dragons pursuing flaming pearls amidst wispy ruyi-form clouds, all on a vibrant apricot-ground and above the lishui stripe interspersed with the terrestrial diagram, the sleeve bands finely decorated with further writhing dragons chasing flaming pearls on a black ground, lined in original pale blue silk damask decorated with a profusion of blossoming lotus issuing from leafy tendrils, with later European re-tailoring.133cm (52 3/8in) long x 115cm (45 2/8in) wide.Footnotes:清雍正/乾隆 金黃緞地繡彩雲金龍紋朝袍Provenance: a British private collection, acquired by a member of the UK Civil Service delegation in Beijing at the turn of the 20th century, and thence by descent, by reputePublished and Illustrated: L.Wrigglesworth, The Imperial Wardrobe, Berkeley, 2000, p.177, pl.157.來源：英國私人收藏，傳為英國公務代表團成員於二十世紀之交得自北京，並由後人保存出版著錄：L.Wrigglesworth著，《The Imperial Wardrobe》，伯克利，2000年，頁177，圖版157Superbly embroidered with lively five-clawed dragons riding the heavens, finely worked in metallic gold threads amidst a profusion of five-coloured trailing clouds, the present robe is a rare example of ceremonial garments worn by one of the highest-ranking female members of the Qing society.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, referred to as xinghuang, was one of the 'Five Imperial Yellows' that could only be worn by 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.Chaopao garments tailored for women are extremely rare if compared with ceremonial outfits made for the the male members of the Court. This is probably due to the fact that, at the time, women had fewer ceremonial duties than men and were often excluded from important Court ceremonies. Chaopao garments included a winter version, normally lined with fur, and a summer version lined with thinner materials with all exposed edges finished with brocade borders. These formal garments were worn in conjunction with a full-length sleeveless 'dragon' vest, a wide piling collar, elaborate earrings and necklaces and a long silk kerchief fastened to the top robe; see J.Vollmer, Ruling from the Dragon Throne, Berkeley, 2002, pp.69-77.Compare with two related later apricot-ground embroidered silk lined Court robes, respectively early Qing dynasty and Xiangfeng period (1850-1861), from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum. Costumes and Accessories of the Qing Court, Shanghai, 2005, nos.60 and 64.For further information on this lot please visit Bonhams.com

A RARE DEEP-PURPLE-GROUND EMBROIDERED SILK WOMAN'S JACKETLate Qing DynastyThe elegant jacket with a centre-front opening fastened with three gilt-metal ball and loop toggle buttons, delicately embroidered in delicate satin stitch with multi-coloured satin floss with large shrubs of multi-coloured blossoming peonies issuing from multi-shaded green foliage interspersed with aster and fluttering butterflies, a similar design repeated on the collar with the addition of flowering wisteria and grapes, the black silk border and sleeve bands with further peonies and butterflies amidst lingzhi, chrysanthemums, bamboo, narcissus and long tailed birds, crimson lining. 150.5cm (59 2/8in) wide x 67cm (26 3/8in) long.Footnotes:清晚期 紫色綢繡花蝶紋馬褂This elegant jacket, finely embroidered with large and multi-coloured blossoming flowers was most probably made for an Imperial consort or concubine. The bold designs of large blooms are often associated with the informal Court Wear of empress Cixi and her Court ladied, and the extensive use of aniline dyes was popular during the later phases of the Qing dynasty.Compare with two related silk embroidered robe empress Dowager's spring jackets, late 19th/early 20th century, embroidered with large blossoming flowers and narcissi, decorated with large blossoming flowers, illustrated by H.E.Fernals, Chinese Court Costumes, Toronto, 1946, pl.XXI no.69 and pl.XXXII no.64.For further information on this lot please visit Bonhams.com

A RARE MIDNIGHT-BLUE-GROUND EMBROIDERED DAMASK SILK WOMAN'S OVERCOAT, WAITAOEarly 19th century Finely tailored in rich aubergine damask silk decorated with multiple roundels enclosing writhing five-clawed dragons amidst vaporous clouds and endless knots, with cream satin ruyi collar, the edges meticulously embroidered with continuous garden scenes depicting Court figures engaged in leisurely pursuits in garden settings amidst flowering shrubs, elegant pavilions and luxurious trees, the double-sided sleeve bands with the Eight Immortals depicted with highly-detailed facial features and robes, edged with silk ribbons and detailed corners of finely entwined ribbons, lined in blue silk and fastened with large gilt buttons. 142cm wide (55 7/8in) x 102.5cm (40 1/8in) long.Footnotes:十九世紀早期 藍地彩繡人物故事紋馬褂Provenance: Linda Wrigglesworth, London, acquired in 2000來源：倫敦Linda Wrigglesworth收藏，於2000年入藏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.The gentle curve of the sleeves on the underarms suggests that the overcoat would have been made before 1880, as later coats featured straight lines for the sleeves.A related midnight-blue embroidered satin Han Chinese woman's informal overcoat, waitao, 19th century, was sold at Bonhams London, 13 May 2021, lot 93.For further information on this lot please visit Bonhams.com

A RARE PAIR OF IMPERIAL MIDNIGHT-BLUE-GROUND EMBROIDERED SILK PURSES19th century Each shell-shaped ceremonial purse elegantly embroidered on each side with multiple branches issuing lingzhi fungi in vibrant blue thread, each pouch lined in Imperial yellow silk sealed at the neck and tied with a pair of silk deep blue cords and tapes with moonstone-coloured glass beads. 10.5cm (4 1/8in) wide (2).Footnotes:十九世紀 御製石青地繡靈芝紋荷包一對Silk pouches, such as the present pair, formed an essential part of the formal ceremonial costumes worn by the Qing emperors and the highest-ranking members of society. The present pair may have been paired to the blue ceremonial silk robe, chaofu, worn by the emperor for the performance of rites aimed at invoking rain and good harvest at the Altar of Heaven. See a similar pair of dark purses depicted in the Huangchao Liqi Tushi 皇朝禮器圖式 ('Illustrated Precedents for the Ritual Paraphernalia of the Imperial Court'), edited in 1759, illustrated in The Complete Collection of Treasures of the Palace Museum. Costumes and Accessories of the Qing Court, Shanghai, 2005, no.2.The Huangchao Liqi Tushi 皇朝禮器圖式 ('Illustrated Precedents for the Ritual Paraphernalia of the Imperial Court'), edited in 1759, prescribed this type of purses to wear over formal court robes by suspending them from ceremonial belts, chaodai and Qing emperors frequently appeared in formal portraits wearing dark-blue purses, similarly shaped as the present pair; see the formal portrait of the Qianlong emperor by Giuseppe Castiglione, clad in a yellow-ground silk ceremonial outfit including a chaodai suspending a pair of dark-blue silk purses similarly shaped as the present examples; L.Wrigglesworth, Imperial Wardrobe, Berkeley, 2000, p.47, pl.36. Drawstring purses affirm the nomadic origin of the Manchu, as they probably developed from carrying purses made of leather which often contained pieces of flint needed to strike a flame, fundamental to the Manchu way of life. As the Manchu settled in China, cases made for knife and compass were gradually replaced by cases made for fans, kerchief holders and other items suggesting the more leisurely and scholarly existence of the Chinese literati. Once established in China, the Manchu emperors often kept areca nuts in the purses, but also scented cotton and aromatic herbs.For further information on this lot please visit Bonhams.com

A RARE MIDNIGHT-BLUE-GROUND EMBROIDERED SILK WOMAN'S INFORMAL JACKET, WAITAO19th century Finely embroidered with the front overflap closing to the right in gold-wrapped thread and satin stitch with numerous scenes from the 'Romance of the Western Chamber', depicting court figures engaging in various leisurely pursuits in garden settings dotted with colourful shrubs of blossoming flowers, all on a deep-midnight-blue ground, the pale blue satin collar and edges embroidered in gold thread with the Eight Buddhist Emblems, the sleeve-bands meticulously embroidered with the Hundred Boys. 126cm (49 1/2in) wide.Footnotes:十九世紀 石青地繡西廂故事圖馬褂Provenance: Linda Wrigglesworth Ltd., London, 17 March 2003A European private collection來源：倫敦古董商Linda Wrigglesworth Ltd.，2003年3月17日歐洲私人收藏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.The present lot depicts specific scenes from the popular 13th century drama Xixiang Ji 西廂記, or 'The Romance of the Western Chamber'. The play narrates a secret love affair between the young scholar Zhang Sheng, and Cui Yingying, daughter of a chief minister. One scene, for example, depicts Zhang Sheng playing the guqin, attracting the attention of the admiring Cui Yingying: this scene is regarded as the highlight of the entire story; see Hsu wen-Chin, 'Illustrations of Romance of the Western Chamber on Chinese Porcelains. Iconography, Style and Development, in Ars Orientalis, vol.40, 2011, pp.39-107.Although scholar Zhang and Cui Yingying fell in love with each other at a Buddhist monastery, Cui Yingying's mother disapproved of the match because of Zhang's low status. Yingying's maid Hongniang, however, took pity on them and arranged to bring them together in a secret union. When Yingying's mother discovered what had happened, she reluctantly agreed to a formal marriage on the condition that Zhang must pass the Civil Service examination. To the joy of the young lovers, Zhang Sheng passes, is appointed to high office, and the two are finally married.Compare with a related embroidered midnight-ground silk woman's informal jacket, waitao, 19th century, which was sold at Bonhams London, 13 May 2021, lot 93.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 BURGUNDY-GROUND EMBROIDERED SILK CHILD'S 'DRAGON' ROBE, MANGPAO19th centuryThe elegant robe finely embroidered on front, back and under flap with nine gold couched dragons chasing flaming pearls, surrounded by vaporous ruyi clouds, floral sprays and the Eight Buddhist Emblems, all set above the lishui stripe beneath crashing waves interspersed with fish and blossoming peonies. 159cm (62 5/8in) wide x 93cm (36 5/8in) long.Footnotes:十九世紀 紅地緞繡金龍紋小男蟒袍Provenance: Linda Wrigglesworth, London, acquired in 1977The present robe was the first Imperial garment acquired by Linda Wrigglesworth in 1977.來源：倫敦Linda Wrigglesworth收藏，於1977年入藏。本拍品為Linda Wrigglesworth購藏的第一件御製織繡品Compare with a similar child's burgundy satin 'dragon' robe decorated with dragons and lishui stripe interspersed with peonies, mid-19th century, illustrated by V.Garret, Chinese Dress: From Chinese Dynasty to Present, Claremont VM, 2007, p.57, fig.96.For further information on this lot please visit Bonhams.com

A RARE CHILD'S COTTON OUTFITLate Qing Dynasty Consisting of a white undershirt worn beneath pale blue robe fastened at the necks and right sides, with tiny gilded buttons, worn underneath a midnight-blue jacket opening in the middle. The jacket 84.5cm (33 2/8in) wide (3).Footnotes:清晚期 男童長衫、馬褂 一套三件Provenance: Linda Wrigglesworth, London, acquired in the 1990's來源：倫敦Linda Wrigglesworth收藏，於二十世紀九十年代入藏Sets such as the present example were worn by the young sons of courtiers for informal occasions; they were often worn with a black silk caps and a pair of boots. A popular photograph dated 1912 features China's last emperor Puyi (r.1980-1912) as a two year-old child wearing a similar outfit to the present example.For further information on this lot please visit Bonhams.com

A VERY RARE AND LARGE PALE WHITE GREEN AND BROWN-STREAKED JADE VASE, HUMing DynastyThe vase of flattened pear shape rising from a spreading stepped foot to an everted rim, the body intricately carved on each side with a forward-facing chilong with long mane, surrounded by archaistic motifs and taotie masks, flanked by a pair of mythical-beast loop handles, the stone of pale green tone with russet and milky-white veins. 18.5cm (7 1/4in) high.Footnotes:明 青白玉浮雕仿古紋鋪首耳尊Provenance: Dunt King, Hong Kong, November 1956Bluett & Sons Ltd., London, 13 November 1956R.H.R Palmer, MC DL (1898-1970), collection no. 187, label 'R.H.R.P 187', and thence by descentBonhams London, 11 June 2003, lot 17來源：香港古董商仁德行，1956年11月倫敦古董商Bluett & Sons Ltd.，1956年11月13日R.H.R. Palmer（1898-1970）舊藏，藏品編號187，收藏標籤「R.H.R.P 187」，並由後人保存倫敦邦瀚斯，2003年6月11日，拍品編號17Reginald Howard Reed Palmer (1898-1970), Chairman of Huntley and Palmer 1948-1963, was educated at Eton. He was Sheriff of Berkshire in 1935 when his address was Hurst Grove, near Reading. He started collecting Chinese works of art when he married in 1924, much helped by his wife, who had an equally good eye, especially for jades, and they went on to build a collection consisting of Ming and Qing porcelains, jade, ivory and lacquer. He was also an active member of the Oriental Ceramic Society and regularly lent his pieces for exhibition. Skilfully carved in low relief with the surface finished to a fine and even sheen, this vase represents the archaistic style that grew in popularity in jade carving during the Ming dynasty. The academic trend known as the 'search for evidence' (kaozheng 考證) movement began in the early 17th century. Although this movement originated in a renewed scholarly interest in ancient texts and inscriptions on archaic bronzes, as literati sought a more empirical approach to understanding their ancient heritage, it led to a greater fascination for decorative designs adopted from ancient bronzes too. The shape of the present lot derives from archaic bronze hu vessels, while the combination of decorative elements, including the taotie masks and animal-head handles, are also taken from archaic bronze motifs. For example, the intertwined dragons are reminiscent of designs found on archaic bronze wares from the Eastern Zhou dynasty, such as a facetted hu and cover, illustrated by J.So, Eastern Zhou Ritual Bronze from the Arthur M.Sackler Collections, New York, 1995, pl.37. These archaic motifs are juxtaposed with new designs, such as the stylised rendering of the creature with neatly combed and parted hair, to result in a highly original piece that suited the aesthetic and taste for things qi (奇, variably translated as 'original', 'unusual', 'marvellous' or even 'strange' and 'eccentric'). See K.P.Burnett, Dimensions of Originality: Essays on Seventeenth Century Chinese Art Criticism, Hong Kong, 2013. Vases decorated with this design are unusual and no other closely-related example appears to have been published. Compare with a slightly smaller vase of similar hu shape, decorated on the body with a taotie mask, in the Palace Museum, Beijing, illustrated in The Compendium of Collections in the Palace Museum: Jade, vol.7, Ming Dynasty, Beijing, 2011, pl.19. A creature with similarly rendered hair is found on early Ming lacquerware, as seen on a box attributed to the Yongle reign, in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Yuan and Ming Dynasties, Shanghai, 2006, pl.25.For further information on this lot please visit Bonhams.com

A BLANC-DE-CHINE FIGURE OF GUANYINImpressed Huijiang Shanren seal mark, 17th centuryThe deity finely modelled standing, draped in long flowing robes open at the chest to reveal beaded jewellery and cascading to the rockwork plinth, her feet exposed, her delicate hands held in front of her belly, the face with contemplative expression beneath finely moulded tiara and hood, covered in a yellowish-white glaze,, the back impressed with a four-character sealmark.44.2cm (17 1/2in) high.Footnotes:十七世紀 德化白釉觀音立像模印「茴江山人」篆書款Blanc-de-Chine pieces by Huijiang Shanren are extremely rare. Robert Blumenfield notes that the Huijiang Shanren ('Mountain Hermit of the Hui River') excelled at sculpting Buddhist figures, in Blanc de Chine: The Great Porcelain of Dehua, Berkeley, 2002, p.139. A seated figure of Guanyin with a similar mark is illustrated by P.J.Donnelly, Blanc de Chine, London, 1969, pl. 82A. Donnelly places the potter in the second half of the seventeenth century, ibid., p.283.See a related blanc-de-Chine figure of Guanyin, attributed to Huijiang Shanren, late Ming dynasty, which was sold at Sotheby's New York, 13 September 2016, lot 293.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 PALE BLUE GLAZED ARCHAISTIC VASEJingyuan tang zhi seal mark, Republic PeriodOf flattened pear-shape rising from a short tapering foot to a waisted neck with lipped rim, flanked by a pair of lug handles with taotie masks, the body with archaistic strapwork, covered overall in a pale sky-blue glaze. 31cm (12 5/8in) high.Footnotes:民國 天藍釉仿古紋雙耳尊青花「靜遠堂製」篆書款The hall mark Jingyuan tang zhi ('靜遠堂製' Hall of Tranquillity and Remoteness) was used by Xu Shichang, who served as the President of the Republic of China from 1918 to 1922.The present vase is based on ancient bronzes from the Spring and Autumn period, such as an archaic vase with strapwork, illustrated in Bronzes in the Palace Museum, Beijing, 1999, p.246.See a claire-de-lune pear-shaped vase, also with Jingyuan tang seal mark, which was sold at Bonhams Hong Kong, 26 May 2013, lot 263.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE YELLOW-GROUND GREEN-ENAMELLED 'DRAGON AND PHOENIX' BOWLKangxi six-character mark and of the periodWith deep rounded sides rising from a tapered foot to a gently flaring rim, the exterior delicately incised and enamelled in green on a bright egg-yolk yellow ground with a band of two five-clawed dragons striding amongst flames in pursuit of flaming pearls, above five phoenix roundels divided by stylised cloud scrolls, the interior painted in underglaze blue with a central medallion enclosing a stylised shou character within double-line borders repeated at the rim.15cm (5 7/8in) diam.Footnotes:清康熙 黃地綠彩龍鳳紋盌青花「大清康熙年製」楷書款Provenance: a European private collection來源：歐洲私人收藏The present bowl is rare and unique to the Kangxi period, depicting both phoenix roundels below dragons in a green and yellow palette. Yellow-glazed wares with green dragons are mentioned in Palace regulations as having been reserved for the Imperial consorts or the highest-ranking concubines. The present variation of 'phoenix and dragon' bowls may have been produced for a special occasion, such as a birthday, as suggested by the auspicious 'longevity' (shou 壽) character depicted on the interior.Only a small number of this type of bowl have been published. An identical bowl, Kangxi mark and period, in the National Palace Museum, Taipei, is illustrated in Good Fortune, Long Life, Health, and Peace: A Special Exhibition of Porcelains with Auspicious Designs, Taipei, 1995, pl.19; a second example, Kangxi mark and period, formerly in the Tsui Museum of Art, is illustrated in Chinese Ceramics IV. Qing Dynasty, Hong Kong, 1995, pl.111, and a third bowl is illustrated by S.Jenyns, Later Chinese Porcelain, London, 1951, pl.LXIX, no.2.Compare with a very similar bowl, Kangxi six-character mark and of the period, which was sold at Christie's Hong Kong, 1 June 2011, lot 2863.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 AUBERGINE-GLAZED GREEN-GROUND 'DRAGON' BOWLKangxi six-character mark and of the periodThe bowl with rounded sides rising from a short straight foot to an everted rim, decorated to the exterior with incised aubergine designs depicting a pair of striding five-clawed dragons amidst clouds in pursuit of 'flaming pearls', above waves breaking against stylised rocks, reserved in aubergine enamel on a rich emerald-green enamel ground, the interior and base with a transparent glaze, the six-character mark within a double circle. 13.3cm (5 1/8in) diam.Footnotes:清康熙 綠地紫龍紋盌青花「大清康熙年製」楷書款Provenance: S. Marchant & Son, LondonA British private collection, and thence by descent來源：倫敦古董商S. Marchant & Son英國私人收藏，並由後人保存迄今Two-coloured 'dragon' bowls and dishes displaying the same colour scheme as the present example were made throughout the Qing dynasty, however, Kangxi examples are extremely rare. The present colour combination is also known in Yongzheng, Qianlong, Jiaqing, Daoguang and Guangxu examples, and perhaps others; the largest number date from the Daoguang period.A similar green-ground aubergine-glazed 'dragon' bowl, Kangxi mark and period, is illustrated by Geng Baochang, ed., Gugong Bowuyuan cang gu taoci ciliao xuancui, vol.2, Beijing, 2005, pl.88; another in the Shanghai Museum is published by Wang Qingzheng, Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, pl.196. Compare also with two other similar green and aubergine-glazed 'dragon' bowls, Kangxi marks and period, in the Helen and Peter Lin Collection, illustrated in Joined Colors, Decoration and Meaning in Chinese Porcelain, Washington, 1993, p.90, no.19 and p.91, no.20. See also another green-ground aubergine-glazed 'dragons' bowl, Kangxi six-character mark and of the period, illustrated by A.du Boulay, Christie's Pictorial History of Chinese Ceramics, Oxford, 1984, p.211, no.3.Compare with a similar aubergine-glazed green-ground 'dragon' bowl, Kangxi mark and of the period, which was sold at Sotheby's Hong Kong, 7 April 2010, lot 1958.For further information on this lot please visit Bonhams.com

A RARE IMPERIAL YELLOW-GROUND GREEN-ENAMELLED 'DRAGON' BOWLYongzheng six-character mark and of the periodThe bowl with deep rounded sides rising from a tapered foot to a gently flared rim, finely decorated on the exterior with two dragons striding in mutual pursuit amidst flames whilst each reaching for a 'flaming pearl', one creature with its head turned back, the other looking forward, each finely incised in the biscuit and enamelled in vibrant green against a brilliant opaque lemon-yellow ground, all further below a zigzag border of ruyi clouds divided by a green fillet and a single incised line at the rim, the interior and the base reserved in white, the base inscribed in underglaze blue with the six-character reign mark within a double circle. 14cm (5 1/2in) diam. Footnotes:清雍正 黃地綠彩龍紋盌青花「大清雍正年製」楷書款Provenance: S. Marchant & Son, LondonA British private collection, and thence by descent來源：倫敦古董商S. Marchant & Son英國私人收藏，並由後人保存迄今The present bowl is remarkable for its intricately-incised dragon design and strikingly contrasting colour scheme, but also for its historical context at the Qing Court. This bowl would have displayed the very high status of its female owner.Strict regulations determined the variety and quantity of tableware to be used by the different Imperial members during the Qing dynasty. According to 'The History of the Imperial House and Court' Guochao gongshi, first compiled in the seventh year of the Qianlong reign (1742), and 'The Illustrated Regulations for Ceremonial Paraphernalia of the Qing Dynasty' Huangchao Liqi Tushi, edited in 1759, vessels decorated with designs of green dragons on a yellow ground, could only be used by the emperor's concubines of the second rank at the Court. The prototype to the colour palette and decoration of these bowls appears to be inspired by the 'green dragon' designs of the early 16th century; see, for example, a yellow and green 'dragon' vase, Zhengde mark and period, in the Sir Percival David Collection, London, illustrated by S.Jenyns, Ming Pottery and Porcelain, London, 1953, pl.84b, where it is noted that reproductions of Zhengde wares incised in green on a yellow ground were among the items included in the Yongzheng list of porcelains supplied to the Court compiled by Tang Ying in 1729.A similar bowl decorated with green writhing dragons striding on a yellow ground in the Palace Museum, Yongzheng six-character mark and of the period, in the Qing Court Collection, is illustrated in The Complete Collection of Treasures of the Palace Museum: Miscellaneous Enamelled Porcelains Plain Tricoloured Porcelains, Shenzhen, 2009, p.119, no.98.Two nearly identical green and yellow-enamelled 'dragon' bowls, Yongzheng marks and period, were sold respectively at Sotheby's Paris, 7 October 2015, lot 3717 and Christie's Hong Kong, 1 December 2011, lot 3733.For further information on this lot please visit Bonhams.com

A VERY RARE PAIR OF IMPERIAL DOUCAI 'DRAGON' DISHESYongzheng six-character marks and of the periodThe delicately potted dishes brilliantly decorated in a characteristic wucai palette of darker and lighter green, iron-red, aubergine and yellow enamels, each with a ferocious front-facing five-clawed dragon soaring amidst flames and colourful clouds in pursuit of a flaming pearl, encircled by five striding dragons chasing flaming pearls painted in underglaze blue beneath a gilt rim, the exterior vividly decorated with four phoenix in flight divided by stylised cloud wisps, fitted box. 19.7cm (7 7/8in) diam. (3).Footnotes:清雍正 鬥彩龍鳳紋盤一對青花「大清雍正年製」楷書款Provenance: an English private collection, and thence by descent來源：英國私人收藏，並由後人保存迄今Visually commanding for the powerful design of a dragon writhing amidst flames, balanced by the elegance of the four phoenixes, depicted flying on the underside amidst ruyi clouds, the current dishes are magnificent examples of the technical proficiency of craftsmen employed at the Imperial kilns in Jingdezhen. The creative ingenuity of the Yongzheng potter is evident in the perfectly positioned and spaced elements of the design so that attention is cleverly drawn to the central dragon.The dragon decoration on the present dish appears to be a direct continuation of the Kangxi period, as demonstrated in the design of the dragon on a polychrome dish, Kangxi, illustrated in The Complete Collection of the Treasures of the Palace Museum: Porcelains in Polychrome and Contrasting Colours, Shanghai, 2007, p.117, pl.107. The similarity of the central design to the Kangxi period example suggests an early Yongzheng date for the present lot, as it is of more refined quality in its potting and enamelling characteristic of the Yongzheng period.Dishes decorated with similar 'dragon and phoenix' designs, such as the present examples, appear to be extremely rare. A few similar examples can be found in important museum collections, such as the doucai dragon dish, Yongzheng mark and period, in the Victoria and Albert Museum, London, museum no.C.45-1928; another example, formerly in the Tsui Museum of Art, is illustrated in The Tsui Museum of Art, Chinese Ceramics IV, Qing Dynasty, Hong Kong, 1995, pl.126.Compare with a similar imperial doucai 'dragon' dish, Yongzheng six-character mark and of the period, which was sold in Bonhams Hong Kong, 28 November, 2017.For further information on this lot please visit Bonhams.com

A RARE PAIR OF FAMILLE ROSE PLAQUESQianlong One delicately painted in bright enamels with the Three Star Gods, Fu Lu Shou, engaged in various pursuits within a fenced garden with pine trees, rockworks and rivers, the other with the Five Gods of the Wufang, Wu Lao, admiring a scroll painting of a Taiji diagram held by two attendants, all in front of a small waterfall set within a rocky landscape, all finely detailed in pink enamel with gilt details, the faces of each Immortal realistically rendered in fine detail with subtle shading, the central panel within a gilt border on a finely-engraved green sgraffiato ground. Each, 53cm (20 7/8in) high x 38cm (15in) wide. (2).Footnotes:清乾隆 粉彩仙人獻壽圖瓷板掛屏一對The 'Five Gods of Wufang' (Wulaojun ) are the five-fold manifestation of the Supreme God of Heaven in Chinese mythology. They are considered to be the physical manifestation of the Daoist creator and theological concept, Tian, 'heaven'. Each of the Five Gods is represented by a particular colour: Huangdi as the Yellow Deity, Cangdi as the Blue-green Deity, Heidi as the Black Deity, Chidi as the Red Deity, and Baidi as the White Deity. The concept of the Five Gods was important in early Chinese culture and philosophy, concerning ideas about the night sky and beliefs about the afterlife. They represented the five sacred Chinese mountains, the five most important planets in the solar system, the five directions of space, and the five major constellations that rotate around the North Star. The description of the 'Five Gods of Wufang' admiring a scroll with a Taiji diagram (symbolising the centre of the universe) became a popular theme in Song dynasty literature and later in decorative arts.The Three Star Gods, Fu, Lu and Shou are the gods of the three constellations and the embodiment of Wealth (Fu), Prosperity (Lu), and Longevity (Shou). As exemplified by the present lot, the God of Wealth is shown in the red robe of a state official with a ruyi sceptre in his hands; the God of Prosperity is shown in the robe of a ministerial vice director holding a boy in his arms; and the God of Longevity as an old man standing next to a deer, holding a peach branch.See a closely-related famille rose 'Eight Immortals' plaque, Qianlong, with similar meticulous execution of the details, which was sold at Sotheby's Hong Kong, 29 November 2018, lot 424.For further information on this lot please visit Bonhams.com

A PAIR OF FAMILLE ROSE PLAQUESJiaqing/DaoguangThe tall rectangular plaques each finely enamelled, one with the Hehe erxian holding a string of coins between them, and two sages sitting beneath a gnarled tree, the other plaque with another bearded sage riding a mule with two attendants, all beside a large, gnarled pine tree, wood frames. Without frame, 76.8cm (30 1/4in) long; with frame, 88.1cm (34 3/4in) long. (2).Footnotes:清嘉慶/道光 粉彩道教人物圖瓷板掛屏一對Delicately enamelled with mythical Daoist imagery and a variety of auspicious flowers and birds, the present pair of plaques is imbued with symbolic significance and would have probably been intended as part of a large screen gracing the interior of an Imperial hall. The brilliant enamels and highly naturalistic facial expressions noted on the present lot are features characterising porcelain dating to the Jiaqing and Daoguang emperors.See a related large famille rose plaque, similarly decorated with Immortals, Qianlong, which was sold at Christie's New York, 24 March 2011, lot 1810. See also a related rare and large famille rose plaque, Daoguang, which was sold at Bonhams London, 11 May 2017, lot 216.The present plaques may have been formerly part of a multiple-leaf screen depicting a continuous garden setting scene featuring gathering of immortals or important birthday celebrations. These screens often adorned the various halls of Imperial residencies and would have been made both in the Palace ateliers as well as in Guangdong, either commissioned by the Court of presented as tribute to the Imperial Court. See, for example, a zitan screen inset with famille rose plaques, 19th century, illustrated in Tributes from Guangdong to the Qing Court, Hong Kong, 1987, pl.90. See also the 64 porcelain plaques depicting various Immortal deities, making up the Imperial famille rose twelve-leaf screen, Jiaqing, which was sold at Bonhams London, 11 May 2017, lot 214.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 IMPERIAL FAMILLE ROSE 'BOYS' JARDaoguang seal mark and of the periodThe ovoid body finely enamelled with an older boy clothed in a pink-enamelled robe and wearing a gold official's cap, holding aloft a large golden helmet above his head as four younger boys leap excitedly to reach for it, all set within a scene of rockwork and pines continuing onto the reverse decorated with a flowering pomegranate branch laden with two heavy fruit bursting open and one unripe fruit, all beneath turquoise-ground ruyi-head borders containing double-seeded lotus scrolls enclosing four bats at the neck and simple lotus scrolls at the foot, the interior and underside glazed in turquoise. 19.1cm (7 1/2in) high.Footnotes:清道光 松石綠地粉彩「五子奪魁」圖罐 礬紅「大清道光年製」篆書款Provenance: an English private collection 來源：英國私人收藏The charming scene on the present vase depicting five boys fighting for a helmet is a very popular motif in China, meaning 'five boys competing for distinction', which symbolises the blessing for one's son to achieve outstanding results in the Civil Service Examinations. Helmet (kui 魁) is a pun for 'leader', which also indicates first place in the Palace examination. The 'five boys' refer to the children of Dou Yujun (竇禹鈞), the scholar, educator and official during the Five Dynasties period (907-960 AD), whose eminent sons achieved remarkable success in the Civil Service Examinations, earning him reverence as the ideal parent.Compare with related Daoguang vases, but decorated with a ruby ground around the elongated neck and foot, such as one depicting children in a Dragon Boat Race, and another decorated with fruiting pomegranate trees, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains with Cloisonné Enamel Decoration and Famille-Rose Decoration, Hong Kong, 1999, pls.189 and 194.A famille rose bottle vase, Daoguang mark and period, similarly enamelled with four boys in a garden around an older boy wearing a gold official's cap and holding a golden helmet over his head, was sold at Sotheby's Hong Kong on 7 October 2010, lot 2162.For further information on this lot please visit Bonhams.com

A RARE IMPERIAL NOBLEWOMAN'S TURQUOISE-GROUND GAUZE SILK 'DRAGON' ROBE, JIFUDaoguangMeticulously 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 and the Eight Auspicious Emblems, all above the terrestrial diagram and lishui stripe at the hem, picked out in vibrant shades of blue, yellow, red and coral, reserved on a sea-green ground, the matching dark-blue-ground collar and cuffs worked with further dragons amidst further bats, clouds and waves. 132cm (52in) long.Footnotes:清道光 綠地納紗繡金龍紋吉服袍Delicately embroidered with nine five-clawed dragons pursuing the flaming pearls of wisdom, the present robe is a rare example of festive garments worn by the highest-ranking female members of the Qing society. Robes tailored in turquoise silk are extremely rare and appear to have been reserved for the use of Imperial consorts during the Qing dynasty. See L.Wrigglesworth, The Imperial Robe, Berkeley, 1990, p.95.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. Compare with a related turquoise ground robe for an Imperial consort, 19th century, illustrated by L.Wrigglesworth, Imperial Wardrobe, Berkeley, 1990, p.96, pl.76. See also a related turquoise-ground 'dragon' robe, 19th century, in the Metropolitan Museum of Art, New York, acc.no.30.75.99.For further information on this lot please visit Bonhams.com

A RARE LARGE SILK 'BUDDHIST LIONS' KESI PANEL18th century Of rectangular shape, finely woven with a rectangular panel depicting eighteen joyful lions divided into two main groups each featuring a female lion playing a brocade ball with eight cubs, all set in a luxuriant garden dotted with shrubs of flowering peonies issuing from pitted rocks, prunus and pine trees beneath wispy clouds, within a blue ground brocade, framed and glazed. The kesi 157.5cm (62in) wide x 60cm (23 5/8in) high.Footnotes:十八世紀 緙絲瑞獅掛屏Notable for its meticulously woven naturalistic designs of playful lions set in a rocky garden setting, the present panel is a remarkable example of the highest standards achieved in weaving techniques during the 18th century. The allusion to Immortality, conveyed by the subjects depicted on the present screen panel, indicates that this textile may have been created to celebrate a birthday. Buddhist lions were in fact 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.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

AN EXCEPTIONALLY RARE LARGE MOTTLED GREY AND BROWN JADE 'ARROW' VASE, TOUHUYuan Dynasty Smoothly and simplistically carved as a vessel of flattened pear shape supported on a spreading foot with the neck flanked by a pair of tubular handles, the stone of mottled grey, black and pale green tone, wood box. 28.5cm (11 1/4in) high (2).Footnotes:元 青玉貫耳壺Provenance: Lord Cunliffe (1899-1963), Honorary Keeper of the Far Eastern Collections at the Fitzwilliam Museum, Cambridge (collection no.JS3)Bluett & Sons Ltd., LondonProfessor Peter H. Plesch (1918-2013) and Mrs Traudi Plesch OBE (1921-2013), acquired from the above in June 1978 for £15,000 Bluett & Sons Ltd., LondonA distinguished English private collectionPublished and Illustrated: 'Chinese Works of Art in English Collections: 1 - Early Jades and Metal-work in the Collection of the Rt. Hon. Lord Cunliffe', Apollo, London, March 1957, fig.IIIBluett & Sons Ltd., Oriental Art, II, London, 1991, no.18 來源：劍橋大學菲茨威廉博物館東方藝術部名譽主任，Cunliffe勛爵（1899-1963）舊藏（藏品編號JS3）倫敦古董商Bluett & Sons Ltd.英國Peter Plesch教授（1918-2013）與大英帝國官佐勳章獲勳人Traudi Plesch伉儷舊藏，於1978年6月3以15,000英鎊購自Bluett & Sons倫敦古董商Bluett & Sons Ltd.英國顯赫私人收藏出版著錄：〈Chinese Works of Art in English Collections: 1 - Early Jades and Metal-work in the Collection of the Rt. Hon. Lord Cunliffe〉，《Apollo》，倫敦，1957年3月，圖版編號III倫敦古董商Bluett & Sons，《Oriental Art》，II，倫敦，1991年，編號18The present lot has several distinguishing features that make it remarkable and attest to the skill and taste of both jade carvers and patrons in the Yuan dynasty. Firstly, it is carved from a particularly large piece of jade. Secondly, its monumental scale is further enhanced by the simplicity and complete absence of any decoration, which leaves the surface of the stone to speak for itself. Thirdly, despite the simplicity of form, the greatest care has been taken to carve internally the tubular handles and to finish the accurately shaped interior of the vessel and the area within the foot ring. The natural markings are such as to have appealed especially to scholarly taste. Indeed, such jades spoke eloquently of the subtle taste to let nature speak for itself, and that it was merely the job of the craftsmen to enhance nature's work. Scholarly taste is further encapsulated by the shape of the vase, which is modelled after archaic bronzes. Admiration for antiques and archaic bronzes was especially strong during the Southern Song period, and bronze vessels were produced as early as the 12th/13th century and into the Yuan period. See for example two archaistic bronzes, Yuan dynasty, illustrated in The World of Khubilai Khan: Chinese Art in the Yuan Dynasty, New York, 2010, pp.18-19. See also an archaistic bronze vase with tubular handles, Yuan dynasty, of similar form to the present lot, illustrated in ibid., p.290, where it is noted that vessels with tubular 'ears' on the sides are a reference to the ancient game of touhu, a darts-like game but played by throwing arrows into the vase or ears. Compare a related jade vessel of this form, one with similar tubular handles, Yuan dynasty, illustrated in Zhongguo meishu quanji, vol.9, Beijing, 1986, nos.270. See also a jade vase of similar form but with ring handles, Song/Yuan dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (II), Hong Kong, 1995, pp.140-141, no.114.For further information on this lot please visit Bonhams.com

A RARE MIDNIGHT-BLUE-GROUND GAUZE SILK 'LANTERNS' MANCHU WOMAN'S INFORMAL SURCOAT, CHANGPAOMid-19th centuryThe front-opening garment finely embroidered on the front and back in counted-stitch technique with flittering butterflies amidst blossoming lotus, chrysanthemums, prunus and peonies and symmetrically-placed roundels each enclosing a lantern surrounded by bunches of blossoming flowers alternating with flittering butterflies, all above the intricate finely-drawn turbulent wave border incorporating lingzhi-form vapor and the Buddhist Emblems in the wind-tossed waves rising from a deep lishui stripe, the details embroidered in bright, shaded tones of red, green, purple, yellow, blue and white, the lanterns, butterflies and floral designs repeated at the cuffs, all reserved on a midnight-blue ground, the entire garment in lined blue. 173cm (68 1/8in) wide x 134cm (52 6/8in) long.Footnotes:十九世紀中期 石青地納紗八團燈籠紋袍Provenance: an English private collection 來源：英國私人收藏Elegantly woven with roundels enclosing multi-coloured lanterns and floral designs, the present lot is a rare example of formal surcoats worn by the highest-ranking women of the Qing Court.The rich symbolic content of the decoration embroidered on textiles is deeply rooted in Chinese culture. The colourful lanterns may indicate that the present surcoat was worn on the occasion of the Lantern Festival, falling on the fifteenth day of the first lunar month, which marked the end of the New Year celebrations and the coming of spring. For the occasion, grand ceremonies were set up by the Emperor to invoke Heaven for blessing and wealth and several lanterns decorated with auspicious designs underscoring felicitous wishes were hung from coloured curtains; see J.Stuart, 'Timely Images: Chinese Art and Festival Display', in Proceedings of the British Academy, vol.167, 2009, pp.295–348.Compare with a related blue-round silk kesi informal surcoat, mid-19th century, illustrated by J.Vollmer, Imperial Silks.Ch'ing Textiles from the Minneapolis Institute of Arts, Minneapolis, MA, 2000, p.273, n.106.For further information on this lot please visit Bonhams.com

A RARE HORIZONTAL THANGKA OF AVALOKITESHVARATibet, 19th centuryDistemper on cloth, depicting the Bodhisattva standing with peaceful expression, with eleven heads and eight arms, surrounded by various lamas and deities, in a bright green mountainous landscape, with silk mounts. 107cm (42in) wide x 81cm (32in) high.Footnotes:十九世紀 十一面觀音菩薩唐卡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 GILT-BRONZE FIGURE OF SHADBHUJA MAHAKALATibet, 18th centuryThe wrathful deity expertly cast wearing a garland of heads beneath his bulging belly, his six arms each holding an attribute, with wild hair behind a tiara of skulls, his back with an elephant skin, striding in alidhasana on a prostrate elephant-headed Vignataka, all raised on a lotus-petal plinth, wood stand. 19cm (7 1/2in) high. (3).Footnotes:十八世紀 銅鎏金六臂大黑天像Provenance: a French private collection, formerly owned by the Head of Customs in Vietnam circa 1940's-1950's, by repute 來源：據傳二十世紀四、五十年代，前越南海關負責人舊藏法國私人收藏Shadbhuja, a form of Mahakala, belongs to a category of male Tantric Buddhist deities. The common function of Mahakala is as a protector (Dharmapala) deity and is specifically the primary Wisdom Protector of Himalayan and Tibetan Buddhism. In some cases, Mahakala can also be a meditational deity (ishtadevata) in the highest Anuttarayoga Tantras. However, he is typically of wrathful appearance following the Indian model of a Raksha demon. Compare with a larger closely-related bronze of the same subject in the Royal Ontario Museum, Toronto, illustrated by M.Rhie and R.Thurman, Wisdom and Compassion, New York, 1991, p.295, no.111. Compare also with a gilt-bronze figure of Mahakala in the Prague National Gallery, which displays nearly identical modelling of the hair, face, jewellery and accoutrements (Himalayan Art Resources, no.57657).See a similar gilt-bronze figure of Mahakala, 18th century, which was sold at Christie's New York, 15 March 2017, lot 203.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 WHITE JADE CARVING OF A PHOENIX18th centuryThe mythical bird finely carved recumbent with its talons neatly tucked underneath the body, the plumage and wings finely incised and long curling tail feathers expertly pierced, clasping a long leafy spray of auspicious lingzhi fungus in its short beak, the head raised, the stone of pale-white tone with some milk-white inclusions, wood stand. 6.5cm (2 1/2in) long. (2).Footnotes:十八世紀 白玉雕鳳凰銜芝Provenance: Roger Keverne Ltd, London, 10 May 2002A distinguished English private collection來源：倫敦古董商Roger Keverne Ltd，2002年5月10日英國顯赫私人收藏This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A RARE STUCCO HEAD OF BUDDHAGandhara, 3rd/4th centuryExquisitely cast with serene face, the almond-shaped eyes downcast beneath elegantly arched brows, the long aquiline nose above bud-lips in a slight smile, all between long pendulous earlobes, the wavy hair arranged into a bun, stand. 31cm (12 5/8in) high. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價犍陀羅，三/四世紀 石雕佛首像Provenance: Oriental Art Gallery Ltd., London, circa 1994來源：倫敦古董商Oriental Art Gallery Ltd.，約1994年Compare with a related stucco head of Buddha, 4th century, Gandhara, in the Metropolitan Museum of Art, New York, illustrated by K.Behrendt, The Art of Gandhara in The Metropolitan Museum of Art, New York, 2007, p.66, no.48, where it is noted that it shows close stylistic affinities with Gandharan sites at Taxila.For further information on this lot please visit Bonhams.com

A RARE SET OF FOUR PAINTED POTTERY FIGURES OF GAMBLERSHan DynastyEach well modelled playing with dice in animated poses, kneeling and gesticulating with their hands, playing with dice, painted in mauve, red, and white pigments. The tallest, 20cm (7 7/8in) high. (4).Footnotes:漢 彩繪灰陶博戲俑 一組四件Provenance: T.T.Tsui Collection, Hong KongSpink & Son Ltd., London, 1999Jonathan Tucker Antonia Tozer, Asian Art, London, 2001An English private collectionPublished and Illustrated: Splendour of Ancient Chinese Art: Selections from the Collection of T.T.Tsui Galleries of Chinese Art Worldwide, Hong Kong, 1996, no.6. The Tsui Museum of Art: Chinese Ceramics I, Neolithic to Liao, Hong Kong, 1993, no.25來源：香港徐展堂舊藏倫敦古董商Spink & Son Ltd.，1999年倫敦古董商Jonathan Tucker Antonia Tozer，2001年英國私人收藏出版著錄：《海內外徐展堂中國藝術館藏品選粹》，香港，1996年，編號6《徐氏藝術館：陶瓷I·新石器時代至遼代》，香港，1993年，編號25Gambling has a long history in China and even Confucius purportedly said that 'people who gamble are better than those who have nothing to do' (Book XVII, 22). Since then, Confucianism was seen as having a relatively lax attitude towards the playing of games. Liubo (六博), involving two players, was particular popular during the Han dynasty. See for example, a pair of seated earthenware figures playing on a liubo board game, Eastern Han dynasty, in the Metropolitan Museum of Art, New York (acc.no.1992.165.23a, b). By the end of the Eastern Han period, the skill-dependent Liubo faded out and was replaced in popularity by a new, chance-dependent game called 'chupu' (樗蒲). The origin of chupu is unknown but may have begun as early as the Spring and Autumn period. The game did not require much cognitive skill and relied more on chance factors with dice tossing. It attracted lots of spectators who yelled and cheered during the game, with bets being put on the dice. Although we cannot say for certain what game the gamblers in this present lot are playing, their animated gesticulations imply that it is exciting and quick with much chance involved. Compare with four bronze weights in the form of game players, Han dynasty, in the Metropolitan Museum of Art, New York (acc.no.2003.522.4). See also a related group of four painted pottery Liubo games figures, Han dynasty, in the Virginia Museum of Fine Arts, Richmond.For further information on this lot please visit Bonhams.com

A RARE HUANGHUALI TWO-TIERED STAND, XIANGJI17th centuryThe elegant stand of 'four-corners flush', consisting of a single rectangular panelled top set within a thick rectangular frame, above plain aprons supported on thick legs of square section joined by a shelf above curving hoof feet. 80.5cm (31 1/2in) high x 41cm (16 1/8in) wide x 31.5cm (12 3/8in) deep.Footnotes:十七世紀 黃花梨四面平式雙層香幾Provenance: a British private collection來源：英國私人收藏Notable for its restrained design and underlying sense of linear elegance, the present stand is an unusual and remarkable example of the 'four-corners flush' design, simianping. This form, likely derived from the box-style construction of earlier periods, relied on the simplicity of its lines and figure of the wood for its beauty and was highly regarded during the Ming dynasty.The configuration of simianping corner joints greatly differs from those of waisted construction in the greater thickness of the apron. In this variation, long tenons are shaped onto the leg members penetrating through the aprons and into the stand or table top.Here the legs are set flush against the top of the stand and the austerity of the sinmianping design is subtly softened by the gently inward-curving feet and the addition of a lower shelf. Compare with a huanghuali flush-sided stool, 17th century, of similar construction to the present example, illustrated by M.Flacks, Classical Chinese Furniture, New York, 1997, pp.114-115.See also a small huanghuali waistless side table with corner legs, 17th century, which was sold at Christie's New York, 21 September 2000, lot 35.This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A RARE LARGE PAIR OF LACQUERED WOOD FIGURES OF DIGNITARIESSoutheast Asia, probably 17th centuryBoth seated, one figure dressed in loose monk's robes falling just before the feet, decorated at the hem with raised floral borders, his face with a meditative expression defined by downcast eyes flanked by pendulous ears, the right hand in abhaya mudra, the left brought to the chest as if holding an implement; the other figure wearing an official's hat decorated with interlocking clouds, full robes and two belts framing his rounded belly revealing his undergarment decorated with a mythical beast, his realistic and serene expression defined by almond eyes beneath arched eyebrows and long moustaches and beard, stands. Each figure 107cm (42 1/8in) high. (4).Footnotes:東南亞，約十七世紀 木雕彩漆人像一對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 AND MASSIVE STUCCO HEAD OF GUANYINMing DynastyThe full fleshy face with downcast eyes accentuated by wide arched eyebrows, straight nose, plump pouty lips and subtle double-chin, the forehead with a large circular urna, all between long pendulous ears, beneath neatly-dressed hair drawn up in a high chignon secured by a high foliate crown with a central Buddha Amitabha amidst interlacing floral scrolls, metal stand. 95cm (37 1/2in) high. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價明 彩塑觀音頭像See a related polychrome clay head of Buddha with a crown, 15th century, in the Tsz Shan Monastery Buddhist Art Museum, Hong Kong, acc.no.2017.29.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A PAIR OF HUALI HORSESHOE-BACK ARMCHAIRS, QUANYI18th century and laterThe elegantly curving crestrails each set on two straight back posts and S-shaped front and side posts, a shaped spandrel beneath each out-scrolled and rounded terminal, with a curved rectangular back splat, the posts of circular section continuing through the mat seat frame forming the legs of square section secured by hump-back aprons and four stretchers, the wood of warm honey-brown tone.96cm (37 3/4in) high x 67cm (26 1/3in) wide x 60cm (23 1/2in) deep (2).Footnotes:十八世紀或更晚 黃花梨素圈椅一對Unusually, this pair of plain horseshoe-back armchair with fluid curves and simple lines has humpback-shaped stretchers, as well as supports which change from round to square section as they continue through the seat frame to become the back legs. These rare features distinguish them from other types of horseshoe-back armchairs, such as the one in the Victoria and Albert Museum, London, illustrated by C.Clunas, Chinese Furniture, London, 1988, p.25.Compare a related pair of huanghuali chairs, late 16th/early 17th century, with humpback-shaped stretchers and stiles that change from circular to square section, illustrated by Grace Wu Bruce, Dreams of Chu Tan Chamber and Romance with Huanghuali Wood: The Dr S.Y. Yip Collection of Classical Chinese Furniture, Hong Kong, 1991, p.28, no.4. The subtle form using round members on the top section transforming to square members on the lower section though rare is sometimes found on chairs, symbolising the cosmology of the round heavenly realm and the square earthly domain (tianyuan difang); see this feature on a pair of huanghuali low-back 'Southern Official's' armchairs, 17th century, illustrated in Splendor of Style: Classical Furniture from the Ming and Qing Dynasties, National Museum of History, Taipei, 1999, p.85.This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A RARE LARGE GILT-LACQUERED WOOD FIGURE OF SUDHANAMing DynastyThe boy dancing with the left leg raised and bent at the knee, the right hand raised to shoulder level and the left hand swept across the body, the head shaven, the lips parted in a smile, clad in loose flowing robes and trailing shawl, later circular stand.48cm (19in) high. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價明 木漆金善財童子像Provenance: an English private collectionSotheby's London, 11 November 2004, lot 811Gerard Hawthorn Ltd. Oriental Art, LondonPublished, Illustrated and Exhibited: Gerard Hawthorn Ltd. Oriental Art, Chinese and Japanese Sculpture, London, 2005, no.8 (illustrated on the front cover)來源：英國私人收藏倫敦蘇富比，2004年11月11日，拍品編號811倫敦古董商Gerard Hawthorn Ltd. Oriental Art展覽著錄：Gerard Hawthorn Ltd. Oriental Art，《Chinese and Japanese Sculpture》，倫敦，2005年，編號8（圖錄封面）The present lot could be a depiction of Sudhana, or Shancai Tongzi 善財童子 (literally meaning 'Child of Wealth'), a young pilgrim who travelled throughout South and Southeast Asia to study with learned masters and celestial bodhisattvas in his quest for enlightenment. In China, he is often shown venerating the bodhisattva Guanyin, whom he visited during his journeys. Compare with a related lacquered wood figure of Sudhana, 15th-17th century, at the Metropolitan Museum of Art, New York, ac.no.42.25.6, illustrated by A.Priest, Chinese Sculpture in The Metropolitan Museum of Art, New York, 1944, p.47, no.65, pl.CXII.See also a related gilt-lacquered wood figure of Sudhana, 17th century, which was sold at Bonhams London, 7 June 2021, lot 543.For further information on this lot please visit Bonhams.com

A RARE 'COROMANDEL' LACQUER 'BIRTHDAY BANQUET' TWELVE-LEAF SCREENKangxi, cyclically dated to Guiyou Year, corresponding to 1693 and of the periodExquisitely decorated on the front with a detailed scene of ladies, children and courtiers engaged in various elegant pursuits within a palatial complex, in the central hall sage proffers a large peach to a high official, all enclosed within a border carved with the 'Hundred Antiques', the reverse with calligraphic birthday inscription and the names of donors. Each panel 292cm (115in) high x 47cm (18 1/2in) wide. (12).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清康熙，一六九三年 款彩慶壽圖十二開圍屏Provenance: Ariane Dandois, ParisGeorge McFadden and McFadden Brothers Partnership, acquired from the above in 1991Christie's New York, 20 October 2011, lot 564來源：巴黎古董商Ariane DandoisGeorge McFadden and McFadden Brothers Partnership，於1991年購自上者紐約佳士得，2011年10月20日，拍品編號564The present lot was commissioned for the Chinese domestic market and not for export (as the term 'Coromandel' implies) as is clearly demonstrated by the lengthy inscription. Such screens were highly expensive and laborious to produce, and were intended for use by high-ranking officials, scholars and gentry who commissioned them to commemorate important events. The present lot appears to have been commissioned by a group of officials who are named on the far left-hand side, for a birthday.The palatial scene on the screen depicts a reception or banquet 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. He was later made a prince and eventually deified in popular culture as a God of Wealth and Happiness. He is being presented with a large peach, also symbolic of longevity. The subject would have made this screen a highly appropriate birthday gift.Several 'coromandel' lacquer screens with similar scenes of palaces and processions, Kangxi, are illustrated by W.De Kesel and G.Dhont in Coromandel: Lacquer Screens, Gent, 2002, pp.40-44. See also further examples illustrated by M.Beurdeley, Le Mobilier Chinois: Le Guide du Connaiseur, Fribourg, pp.135-142.See a related twelve-leaf 'Coromandel' lacquer screen with palace scenes, Kangxi, which was sold at Bonhams London, 11 May 2021, lot 250.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A RARE CARVED BOXWOOD 'ELEPHANT' GROUPLate Qing DynastyThe large beast expertly carved with naturalistic wrinkles standing foursquare with its head lumbering slightly to the right, the long trunk curled up to its right side feeling for a vase of ruyi held by a foreigner with long flowing robes and a conical hat, above the rounded caparisoned back incised with lotus are a further two figures crouching, holding between them a basket of lingzhi fungus, box. 10.7cm (4 1/8in) high. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清晚期 黃楊木雕太平有象Provenance: The Peony collectionSotheby's Hong Kong, 31 May 2018, lot 338Exhibited, Published and Illustrated: The Oriental Ceramic Society of Hong Kong, Art and Imitation in China, Hong Kong, 2006, no.50.來源：牡丹堂舊藏香港蘇富比，2018年5月31日，拍品編號338展覽著錄：《馳騁古今：中國藝術的摹仿與創新》，香港東方陶瓷學會，香港，2006年，編號50The present lot is replete with auspicious meaning. The 'vase' (ping 瓶) carried by the foreigner which puns with 'peace' (ping 平), and elephant (xiang 象) which also means 'sign' or 'portent', forms a rebus for the phrase taiping youxiang (太平有象), meaning 'Where there is peace, there is an omen (or elephant!)'. Furthermore, the figures on top, being elephant-riders (qixiang, 騎象) form a rebus for jixiang, 吉祥, 'blessings'. The boys interpreted here as the Twin Immortals, the Hehe Erxian, symbolic of harmony and union, lend good wishes for a happy marriage, suggesting that perhaps the group was intended as a wedding gift. See a related boxwood carving of an ox and qilin, early Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Hong Kong, 2002, p.57.For further information on this lot please visit Bonhams.com

AN EXCEPTIONALLY RARE YELLOW-GROUND SILK 'DRAGON' NOBLEWOMAN'S COURT ROBE, CHAOPAOQianlongThe remarkable robe made of fine brocade exquisitely worked in vibrant couched gold and multi-coloured threads with nine five-clawed dragons pursuing flaming pearls amidst wispy ruyi-form clouds, all on a yellow xiangse ground and above the lishui stripe interspersed with the terrestrial diagram, the collar flanked by raised shoulder seams similarly decorated with writhing dragons and ruyi clouds, lined in a rich coral-red silk brocade decorated with gold thread Shou medallions. 129.5cm (51in) long x 178cm (70in) wide.Footnotes:清乾隆 香色緞織彩雲金龍紋女朝袍Provenance: Sir William Edward Preston (1887-1932), and thence by descentFeatured on the BBC's 'Antiques Roadshow', 12 September 2021來源：William Edward Preston爵士（1887-1932）舊藏，並由後人保存迄今曾收錄於2021年9月12日，英國BBC《鑑寶路秀》節目Superbly woven with nine resplendent five-clawed dragons riding the heavens, finely worked in metallic gold thread amidst a profusion of five-coloured trailing clouds, the present robe is tailored from rare yellow-ground Imperial silk reserved for making chaopao, the most formal amongst all ceremonial Court robes worn by Imperial consorts.No other chaopao garments appears to be known outside public collections. Compare with a similar yellow-ground chaopao, mid-Qing dynasty, from the Qing Court Collection, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Costumes and Accessories of the Qing Court, Shanghai, 2005, no.63. The fact that chaopao robes for women appear to have survived in a small number compared to men's robes may be attributed to the fact that historically, women had fewer ceremonial duties than men and they were often excluded from important Court ceremonies. Yellow Court robes were typically worn during the performance of the most important state rituals, such as those performed at the Altar of Earth, and were also worn on the occasion of other ceremonies, such as the appointment of a new empress, the accession to the throne and the celebration of an Imperial birthday. A Court painting by Zhou Ben (active 1760s-1770s) depicts the eightieth birthday celebrations for the empress Dowager Chongqing, seated behind an altar table at the centre, wearing a yellow-ground chaopao, surrounded by other Imperial consorts and high-ranking officials in the Palace of Longevity and Health, which her son, the Qianlong emperor, had erected in her honour; see D.Yiyou and J.Stuart, Empresses of China's Forbidden City 1644-1912, Salem, MS, 2018, p.85, fig.7. For an extensive discussion about Qing state rituals, see J.Ryan, Dragon Emperor. Treasures from the Forbidden City, Beijing, 1988, pp.67-91. Chinese Court dress had long been regulated by sumptuary laws since the Zhou dynasty (1050-221 BC). Each succeeding Imperial dynasty issued its own set of regulations and rules regarding colours and designs of official costume. The Court attire employed by the Qing dynasty was highly complex and detailed. The right to wear a 'dragon' robe and its accessories was conferred by rank and entitlement. In 1748, the Qianlong emperor ordered a review of Court dress regulations to examine all previous Qing dress codes and developed a comprehensive strategy for the garments and ceremonial trappings of the Court. The 'Illustrated Regulations for the Ritual Paraphernalia of the Imperial Court', Huangchao liqi tushi 皇朝禮器圖式 completed in 1759, illustrated the strict codes of official dress which were categorised according to colour, symbolism and social status.The 'Regulations' 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. 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 well-being of his subjects. Wearing robes decorated with dragons, therefore, facilitated the Qing foreign rulers' transformation of image in the eyes of the Han population from provincial tribal leaders to legitimate rulers of China.By the Qing dynasty, the use of yellow, traditionally associated with the Imperial family, became stricter than ever and a hierarchy of four different shades of yellow was instituted to differentiate rank within the various family members. Yellow silk, characterised by a slightly greenish tone, for example, was referred to in the 'Regulations' as 'incense colour' xiangse. This shade, displayed on the present robe, was reserved for use by the daughters of the emperor and other Imperial consorts ranking below the empress, the empress Dowager and Second and Third Degree Princesses; 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. See also the colour illustration of a yellow-ground chaopao, in the 'Imperial Regulations', illustrated by J.Vollmer and J.Simcox, Emblems of Empire: Selections from the Mactaggart Art Collection, Winnipeg Canada, 2009, p.12.Many commemorative portraits of empresses and Imperial Consorts, executed by Court painters during the early Qing period, depict Imperial consorts in a formal pose, seated on a throne and clad in a similar ceremonial garment as the present robe. Imbued with realism and ritual reverence, these paintings are precious testaments for studying complete ceremonial outfits worn at the time. See for example, the portrait of empress Xiaoxian (1712-1748), in the Palace Museum, Beijing, illustrated by L.Wrigglesworth, Imperial Wardrobe, Berkeley, 2002, p.171. Chaopao garments included winter and summer versions, and whilst the former types were normally lined with fur, the latter were lined with thinner materials and had all the exposed edges finished with brocade borders, just like the present robe. No ceremonial outfit was complete unless the chaopao was worn in conjunction with a full-length sleeveless 'dragon' vest, a wide pointed collar, a heavily-jewelled headdress, pearl earrings, at least three ceremonial necklaces and a long silk kerchief suspended from the chest; see J.Vollmer, Ruling from the Dragon Throne, Berkeley, 2002, pp.69-77.Compare with a related yellow-ground chaopao, mid-18th century, from Museum of Asian Art, Cologne, illustrated by J.Vollmer, Ruling from the Dragon Throne, Berkeley, 2002, p.73, fig.3.13.For further information on this lot please visit Bonhams.com

A PALE GREEN AND RUSSET JADE 'PHOENIX' FINIAL; AN AGATE BAMBOO-SECTIONED TUBULAR BEAD; AND A PALE GREEN AND RUSSET JADE SWORD POMMELWarring States PeriodComprising a cylindrical finial with scrolling motifs, attached to a jade phoenix, its upswept wings atop square-sectioned socket finial, the stone of pale green tone; an agate tubular bead with three raised bands, the highly-polished stone with attractive milky inclusions; and a jade sword pommel, the raised centre medallion carved with a whorl motif and surrounded by an outer field of scrolling patterns, the stone of pale green tone with extensive inclusions. The finial, 9cm (3 9/16in) high. (3).Footnotes:戰國 玉飾兩件 及瑪瑙管形飾 一組三件Provenance: Sotheby's London, 18 July 1994, lot 11 (the agate tubular bead)Roger Keverne Ltd., London, 20 December 2006 (the jade sword pommel)A distinguished English private collection來源：倫敦蘇富比，1994年7月18日，拍品編號11（瑪瑙管形飾）倫敦古董商Roger Keverne Ltd.，2006年12月20日（玉劍首）英國顯赫私人收藏The decoration of a border of raised 'grain' pattern surrounding a medallion of whorl motif became part of a standardised repertoire for jade sword pommels during the Warring States period. Compare three examples of such design, Warring States period, illustrated in Compendium of Collections in the Palace Museum: Jade 3 Spring and Autumn period and Warring States period, Beijing, 2011, pp.238-239, pls.258-260. See also a related example of a greyish-white jade sword pommel, Warring States period, illustrated by R.Keverne, ed., Jade, London, 1991, p.103, fig.22.See also a similar rare jade tube-shaped pendant, Late Warring States Period, which was sold at Christie's Hong Kong, 3 December 2021, lot 2751.For further information on this lot please visit Bonhams.com

A RARE LARGE BRONZE 'LION AND GRAPEVINE' MIRRORTang DynastyCast with a central knop, encircled by a band of six recumbent lions amongst fruiting grape vines, surrounded by a band with further lions and grape vine, the reverse plain and polished to a high sheen. 17.8cm (7in) diam.Footnotes:唐 海獸葡萄紋鏡Provenance: Dr Walter Rieder (1890-1986)Dr Walter Rieder (1890-1986) served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialised in educational, literary and philanthropic work and Dr Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr Rieder forged with local artists, some of whom he knew from his teaching activities. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.來源：Walter Rieder博士（1890-1986）舊藏1930年10月至1951年12月間，Walter Rieder博士（1890-1986）於山東青島的瑞士東亞使團 (SOAM) 任職。該組織專注於教育、文學和慈善工作，但Rieder博士並非作為傳教士，而是作為一名教師，教授高中數學、物理及科學科目，並以促進'文化間交流理解'和'搭建東西方文化的橋樑'為己任。在其旅居青島期間，Rieder博士大量收藏了各類中國藝術品。通過本次拍賣所呈現的拍品，我們得以一窺二十世紀後半葉的青島古董市場。Rieder博士的藏品不僅展示了他對中國藝術的熱情，還反應了其任教期間與當地的文人逸士建立的個人友誼。 Rieder博士還對其藏品進行了學術研究，並對很多物品留下了詳細筆記。也因為此，這些藏品也成為了Rieder博士了解中國歷史和文化的門戶。本次上拍的拍品曾於2006年與2018年於瑞士因特拉肯的美術館展出。For a similar example, see J.Chou, Circles of Reflection: The Carter Collection of Chinese Bronze Mirrors, Cleveland, 2000, no.55, where the author suggests dating the mirror to the late 7th Century, based upon a similar example found in the tomb of Dugu Shizhen, at Xian and dated to 698; and for another 'lion and grapevine' bronze mirror, Tang dynasty, see the Royal Academy of Arts International Exhibition of Chinese Art, London, 1935, no.669.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 LARGE GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNIMing DynastySeated with crossed legs in vajraparyankasana, the right hand held in bhumisparshamudra, the left in dhyanamudra, wearing a pleated robe and sash draped over his shoulders and falling in loose folds over his crossed legs, the gentle face with sensuous lips and finely drawn eyebrows, the eyes downcast in a meditative expression, the long pendulous ears beneath the hair arranged in rows of tight curls covering the domed ushnisha, the interior with yellow textile covered consecration. 38.3cm (15 1/8in) high.Footnotes:明 銅鎏金釋迦牟尼像Provenance: Dr Walter Rieder (1890-1986)Dr Walter Rieder (1890-1986) served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialised in educational, literary and philanthropic work and Dr Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr Rieder forged with local artists, some of whom he knew from his teaching activities. Dr Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.來源：Walter Rieder博士（1890-1986）舊藏1930年10月至1951年12月間，Walter Rieder博士（1890-1986）於山東青島的瑞士東亞使團 (SOAM) 任職。該組織專注於教育、文學和慈善工作，但Rieder博士並非作為傳教士，而是作為一名教師，教授高中數學、物理及科學科目，並以促進'文化間交流理解'和'搭建東西方文化的橋樑'為己任。在其旅居青島期間，Rieder博士大量收藏了各類中國藝術品。通過本次拍賣所呈現的拍品，我們得以一窺二十世紀後半葉的青島古董市場。Rieder博士的藏品不僅展示了他對中國藝術的熱情，還反應了其任教期間與當地的文人逸士建立的個人友誼。 Rieder博士還對其藏品進行了學術研究，並對很多物品留下了詳細筆記。也因為此，這些藏品也成為了Rieder博士了解中國歷史和文化的門戶。本次上拍的拍品曾於2006年與2018年於瑞士因特拉肯的美術館展出。Conveying a high degree of power and presence, this powerful and large-scale figure of Buddha Shakyamuni is notable for the crisp casting and the meticulous attention to detail which is echoed in the gentle folds of the elegant monastic robes, finely embellished with foliate scrolls and diaper patterns.The iconographic pose in which the Buddha is seated with his right hand in the earth-touching position, recalls a momentous episode from his spiritual journey where he triumphed over Mara, a demon associated with the veils and distractions of mundane existence, just prior to his Enlightenment. Having vowed to remain in meditation until he penetrated the mystery of existence, Shakyamuni was visited by Mara who sought to deflect him from his goal. Aided by spirits who reminded him of the countless compassionate efforts he had made for all sentient beings throughout his numerous animal and human incarnations, Shakyamuni recognised that it was his destiny to be poised on the threshold of Enlightenment. In response to Mara's query therefore, Shakyamuni moved his right hand from the meditation position and touched the ground, stating, 'I call for the Earth to be my witness'. This act of unwavering resolve caused Mara and his army of demons to disperse, leaving Shakyamuni to experience his Great Enlightenment.Compare with a related gilt-bronze figure of Buddha in the Munsterberg collection, Ming dynasty, illustrated by H.Munsterberg, Chinese Buddhist Bronzes, New York, 1988, pls.18a and 18b.See also a related but larger gilt-lacquered bronze figure of Buddha, mid-Ming dynasty, which was sold at Bonhams London, 5 November 2020, lot 198.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 PAIR OF LARGE GILT-LACQUERED WOOD FIGURES OF BODDHISATTVAS17th/18th centuryEach figure carved seated in dyhanasana, the hand in auspicious mudras, clad in long flowing robes worn over rounded shoulders and falling in gentle folds around around the legs, and tied on neat bows at mid-bellies framing exposed chests, both with serene expression framed by wide-lobed pendant ears, one with an elaborate tiara around high chignon, covered overall with gilt lacquer. Each 61cm (24in) high. (2).Footnotes:十七/十八世紀 木漆金菩薩像一對Provenance: Dr Walter Rieder (1890-1986)Dr Walter Rieder (1890-1986) served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialised in educational, literary and philanthropic work and Dr Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr Rieder forged with local artists, some of whom he knew from his teaching activities. Dr Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.來源：Walter Rieder博士（1890-1986）舊藏1930年10月至1951年12月間，Walter Rieder博士（1890-1986）於山東青島的瑞士東亞使團 (SOAM) 任職。該組織專注於教育、文學和慈善工作，但Rieder博士並非作為傳教士，而是作為一名教師，教授高中數學、物理及科學科目，並以促進'文化間交流理解'和'搭建東西方文化的橋樑'為己任。在其旅居青島期間，Rieder博士大量收藏了各類中國藝術品。通過本次拍賣所呈現的拍品，我們得以一窺二十世紀後半葉的青島古董市場。Rieder博士的藏品不僅展示了他對中國藝術的熱情，還反應了其任教期間與當地的文人逸士建立的個人友誼。 Rieder博士還對其藏品進行了學術研究，並對很多物品留下了詳細筆記。也因為此，這些藏品也成為了Rieder博士了解中國歷史和文化的門戶。本次上拍的拍品曾於2006年與2018年於瑞士因特拉肯的美術館展出。The striking pair of gilt-lacquered wood figures of Bodhisattvas are expertly carved demonstrating superb craftsmanship, naturalistically rendering the soft folds of the robe cascading over the shoulders, the contemplative faces gracefully conveying their benevolence. The benevolent facial expressions, shown in the plump cheeks, downcast eyes and gentle smiles, together with free flowing draperies intricately sculpted by fine folds and contours, suggest that the present pair of figures depict Avalokiteshvara, also known as Guanyin, the benevolent Goddess of Mercy. Venerated in Indian Buddhism as the embodiment of the Compassion of the Buddha, Avalokiteshvara (known as Guanyin in China) is described in the 'Lotus Sutra', as capable of hearing all mankind, striving endlessly to help those offering prayers, transforming at will and appearing in more than thirty human guises to expound Buddhist teaching to devotees.The present pair of figures would most likely have stood on an altar, venerated in connection with religious beliefs concerning the devotee's rebirth in the blissful Pure Land presided over by Amithaba Buddha. Introduced into China from India during the 2nd century AD, 'Pure Land' Buddhism was based on the belief that Amitabha granted rebirth of the dead in his wondrous realm to whoever meditated on him through chanting and prostration. The three main scriptures forming the core of the Pure Land teachings, namely the 'Sutra of the Buddha of Immeasurable Life', the 'Sutra of Visualizing the Buddha of Immeasurable Life', and the 'Amitabha Sutra', all refer to Amitabha and Guanyin as capable of liberating the devotees from the Wheel of Samsara and allowing them entry into the Pure Land where they finally attained enlightenment.Compare with a related rare and large gilt-lacquered wood figure of Guanyin, 17th/18th century, which was sold at Bonhams London, 14 May 2015, lot 64. See also a rare set of three gilt-lacquered wood figures of the Buddha, 17th/18th century, which was sold at Bonhams London, 16 May 2019, lot 169.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 SUIT OF CEREMONIAL ARMOUR WITH HELMET AND QUIVERLate Qing DynastyOf woven gold and blue silk, embellished with circular brass studs throughout and detailed with embroidery, the suit comprising a number of detachable matching panels including the main front-opening long-sleeved jacket designed with a pair of confronted dragons within a medallion emblazoned on the chest; each of the detachable epaulettes on both side of the shoulder designed with further dragon designs trimmed with gilt-metal fittings in openwork; the matching apron divided into two panels opening at the centre the division covered by a loose dragon panel; the helmet of conical shape with a truncated shop, embellished with beaded jewellery chains and reticulated designs of sinuous dragons designs of writhing on rolling waves, with an unmatched wood box, with quiver and pouches. The apron 100cm (39 3/8in) long; the jacket 192cm (75 1/2in) wide (9).Footnotes:清晚期 織金錦獅身魚尾紋禮儀鎧甲及頭盔、弓箭囊一組Provenance: Dr Walter Rieder (1890-1986)Dr Walter Rieder (1890-1986) served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialised in educational, literary and philanthropic work and Dr Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr Rieder forged with local artists, some of whom he knew from his teaching activities. Dr Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.來源：Walter Rieder博士（1890-1986）舊藏1930年10月至1951年12月間，Walter Rieder博士（1890-1986）於山東青島的瑞士東亞使團 (SOAM) 任職。該組織專注於教育、文學和慈善工作，但Rieder博士並非作為傳教士，而是作為一名教師，教授高中數學、物理及科學科目，並以促進'文化間交流理解'和'搭建東西方文化的橋樑'為己任。在其旅居青島期間，Rieder博士大量收藏了各類中國藝術品。通過本次拍賣所呈現的拍品，我們得以一窺二十世紀後半葉的青島古董市場。Rieder博士的藏品不僅展示了他對中國藝術的熱情，還反應了其任教期間與當地的文人逸士建立的個人友誼。 Rieder博士還對其藏品進行了學術研究，並對很多物品留下了詳細筆記。也因為此，這些藏品也成為了Rieder博士了解中國歷史和文化的門戶。本次上拍的拍品曾於2006年與2018年於瑞士因特拉肯的美術館展出。Ceremonial suits of armour such as the present lot were an essential part of the Imperial wardrobe during the Qing dynasty. Throughout the year, a wide range of ceremonies were held in the Imperial Palace and hundreds of people were called to assemble in the great courtyards to take part in official rituals. Surviving evidence suggests that Manchu military uniforms were identical to their riding costumes with added coats of chain mail. Dress or parade armour did not appear until after the conquest. At that time, the Manchu adopted Chinese-style armour of metal plates covered with padded textiles which had been used by the Han infantry since the 3rd century BC. Overlapping metal plates afforded protection from arrows, particularly those shot from powerful crossbows. Ceremonial armour worn by guards at the Forbidden City and high-ranking members of the Qing society was derived from Ming dynasty prototypes and featured netal plates covered with luxury silks and gilt brass fittings. Participants of different ranks were distinguished by the design of their armour. The present set, made of satin padded with cotton, lined with blue silk and embroidered with four-clawed dragons in roundels, suggests that it might have been worn by a member of the Imperial nobility or a high-ranking official. A related silk armour, 19th century, similarly embroidered with dragon medallions, in the Minneapolis Institute of Art is illustrated by R.D.Jacobsen, Imperial Silks, vol.1, 2000, p.342, fig.56b.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

AN EXCEPTIONALLY RARE LARGE CINNABAR LACQUER 'PHOENIX AND PEONY' DISH14th centuryThe interior exquisitely carved through layers of red lacquer with a pair of confronted phoenix with outstretched wings and long tail plumage flying amidst peony blossoms wreathed in profuse foliage, all supported on a short tapered foot with a key-fret border, the underside carved with floral scrolls, the base lacquered black. 34.5cm (13 5/8in) diam.Footnotes:十四世紀 剔紅鳳穿牡丹紋盤Provenance: acquired in Shanghai by the father of the present owner in the 1930's, and thence by descent來源：二十世紀三十年代，由現藏家之父購自上海，並由後人保存迄今The present lot is notable for the attention to detail, observed in both the complex composition and the intricate carving of the feathers and petals of the birds and flowers. No other dish with this design appears to be recorded. However, this vibrant design of a pair of soaring birds surrounded by dense foliage has its roots in the Southern Song dynasty. See for example a Song dynasty prototype of the design, on a box preserved in the Engaku-ji, Kamakura, included in So Gen no bi: denrai no shiki o chushin ni, Tokyo, 2004, no.92.The design continued however, into the Yuan and early Ming periods. See a similar cinnabar lacquer dish with camellias and birds, Yuan dynasty, but with later Xuande six-character mark, in the Qing Court Collection, illustrated in Lacquer Wares of the Yuan and Ming Dynasties: The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2006, p.13, no.7. See also a similar treatment of the foliage on a cinnabar lacquer tray, Yuan dynasty, illustrated in So Gen no bi: denrai no shiki o chushin ni, Tokyo, 2004, no.95.See also a cinnabar lacquer carved dish with long-tailed birds and hibiscus, mid 14th century, in the Metropolitan Museum of Art New York, illustrated in The World of Khubilai Khan: Chinese Art in the Yuan Dynasty, New York, 2010, p.270, fig.291. Several features help date this dish to the 14th century including the composition of two birds circling one another; furthermore, the lush hollyhock blossoms, shown from multiple perspectives, have petals of different sizes that overlap to suggest depth. The present lot also has peony blossom petals of different sizes overlapping and a rich three-dimensionality to the surface.For further information on this lot please visit Bonhams.com

A VERY RARE CLOISONNÉ ENAMEL BEAKER VASE, GUEarly 15th century Of slender form with a compressed central section rising from a spreading foot to a flaring trumpet neck, decorated to the central section and foot with large flower-heads issuing from leafy scrolls against a dark-blue ground, separated by four flanges, the neck with tall arching lappets containing further flower-heads against a dark-blue ground, beneath the rim with grapes and tendrils on a turquoise-blue ground. 25cm (10in) high.Footnotes:十五世紀早期 銅胎掐絲琺瑯花卉紋出戟觚The present lot is extremely rare with another example in the Palace Museum in Beijing. Compare with a nearly identical cloisonné enamel beaker vase, early Ming dynasty, in the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Enamels, 1, p.86, no.20.Of archaistic form inspired by ancient bronze vessels from the Shang and Zhou dynasties, the present lot encapsulates the Imperial Court's concerns for the moral and political aspects of the antique. Gu vases were mentioned even in the Analects (Lunyu: Book 6, verse 25) purportedly the sayings of the sage Confucius written down by his disciples. We know that originally these were wine vessels to be drunk from by humans rather than spirits, specifically in religious sites. Although by the Ming dynasty rituals had changed, the gu vase still continued to hold important value, and successive reigns continued to imitate the shape in different media including jade and cloisonné enamel. By reviving the form of these archaic vessels, the Court strengthened its legitimacy as custodians of Confucian tradition and ritual, signalling their own virtue and mandate to rule.See a similar cloisonné enamel vase, gu, early Ming dynasty, illustrated in Colourful, Elegant, and Exquisite: A Special Exhibition of Imperial Enamel Ware from Mr. Robert Chang's Collection, Suzhou, 2007, no.10. Another related cloisonné enamel vase, gu, 15th century, is illustrated by G.G.Avitabile, Chinesische und Japanische Cloisonné und Champleve-Arbeiten von 1400 bis 1900, Berlin, 1981, p.45.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