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AN EXCEPTIONALLY RARE LARGE IMPERIAL RU-TYPE 'EIGHT TRIGRAMS' MOONFLASK, BIANHUQianlong seal mark and of the periodSuperbly potted with a flattened circular body rising elegantly from a short spreading foot to a cylindrical neck collared with a raised ring and a lipped rim flanked by a pair of archaistic scroll handles, moulded in high relief on each side with a central domed medallion enclosing a yinyang motif encircled by the Eight Trigrams, ba gua, the ends decorated with raised bosses, covered overall in an attractive and unctuous bluish-green glaze with a network of fine crackles. 51.5cm (20 1/4in) high.Footnotes:清乾隆 仿汝釉太極八卦紋抱月瓶 青花「大清乾隆年製」篆書款Provenance: Alfred Speelman Ltd., London An important British private collection, acquired from the above on 5 October 1970, and thence by descent來源：倫敦古董商Alfred Speelman英國重要私人收藏，於1970年10月5日購自上者，並由後人保存迄今The present vase is exceedingly rare and no other example from the Qianlong reign appears to have been published. A tour-de-force of craftsmanship, it is an exceptional example of the technical zenith achieved by potters working at the Imperial kilns in Jingdezhen during the celebrated Qianlong period. The imposing size and rare glaze would have presented multiple challenges: the first of balancing the weight of the porcelain; the second, of successfully imitating the prized Northern Song dynasty Imperial Ru glaze with its bluish tinge and fine craquelure. Both would have been affected by the kiln temperature and control of its firing conditions, requiring the most exacting standards to accomplish this ambitious feat.In form, the impressive moonflask is inspired by an early Ming dynasty design, which in turn drew on an Islamic metal prototype; see J.A.Pope, 'An Early Ming Porcelain in Muslim Style', in R.Ettinghausen, ed., Aus der Welt der Islamischen Kunst, Festschrift für Ernst Kühnel, Berlin, 1959, pp.357-375. In glaze, the flask imitates the rarest of the 'Five Great Wares' of the Song dynasty, the Ru glaze, used on wares made for the Imperial Court during the Northern Song dynasty. In design, the Eight Trigrams, bagua, introduces a religious dimension of Daoism, whereby the trigrams - Qian, Kun, Zhen, Xun, Kan, Li, Gen and Dui, which stand for heaven, earth, thunder, wind, water, fire, mountain and marsh respectively - provided the means of assessing the present state of the world and a basis for decision-making for the future; both of great bearing to the Emperor.The vase, although based on earlier prototypes in form, glaze and decoration, is a direct continuation of the previous Yongzheng reign; see a celadon glazed 'Eight Trigrams' moonflask, Yongzheng seal mark and of the period, illustrated in The Prime Cultural Relics Collected by Shenyang Imperial Palace Museum: The Chinaware Volume, vol.II, Liaoyang, 2008, p.61; and see also an 'Eight Trigrams' ge-type moonflask, Yongzheng seal mark and of the period, in the National Palace Museum, Taipei, Museum no.ZC003964N. The Daoist design of the present vase is a manifestation of the previous Yongzheng Emperor's known attraction to Daoist longevity practices, which included indulging in consumption of lead-based 'elixirs of life'. The Imperial Court provided patronage to the White Cloud Monastery in Beijing, and elaborate Daoist celebrations were also regularly staged around the Qianlong Emperor's birthdays. The grandest of Daoist rituals, the jiao rite of communal renewal, also received Imperial support. However, the Yongzheng Emperor's immersion in Daoist practices was an exception, as most of the Qing Emperors followed Buddhism alongside Confucian rituals of the state; see P.Berger, 'Religion', in E.S.Rawski and J.Rawson, eds., China: The Three Emperors 1662 - 1795, London, 2005, pp.132-133.Compare with a related Ru-type archaistic hexagonal vase, hu, Qianlong seal mark and period, which was sold at Sotheby's New York, 23 March 2011, lot 736. See also a related Ru-type glazed vase, cong, Qianlong seal mark and period, which was sold at Christie's Hong Kong, 3 June 2015, lot 3108.For further information on this lot please visit Bonhams.com

A RARE CLOISONNÉ ENAMEL GU-SHAPED WALL VASEQianlong Vibrantly enamelled in various colours on a turquoise ground with taotie masks between foliage and stiff-leaf designs, within gilt rims and wire. 24cm (9 1/2in) high.Footnotes:清乾隆 銅胎掐絲琺瑯仿古饕餮紋觚式壁瓶Compare with a related wall vase, Kangxi four-character mark and of the period, illustrated by H.Brinker and A.Lutz in Chinese Cloisonné: The Pierre Uldry Collection, New York, 1989, no.223.For further information on this lot please visit Bonhams.com

A MAGNIFICENT AND RARE CLOISONNÉ ENAMEL AND GILT-BRONZE TRIPOD 'CRANES' INCENSE BURNER AND COVERQianlongImpressively cast and supported on the shoulders of three cranes, the globular body colourfully enamelled with a continuous scene of a lotus pond, depicting swimming, flying, resting and pecking egrets amongst foliate lotus leaves and upright sprays of lotus blossoms beside craggy rocks and patchy grass, all beneath a gilt band of lotus lappets to the waisted neck, flanked by a pair of finely-cast handles in the form of a sinuous five-clawed dragon grasping an enamelled Shou-character roundel, the reticulated domed cover finely decorated with three large ruyi-shaped lappets enamelled with lotus flower heads surmounted by a gilt bronze bud-shaped finial meticulously cast with a writhing five-clawed dragon amidst scrolling clouds. 86.4cm (34in) high. (2).Footnotes:清乾隆 銅胎掐絲琺瑯鷺蓮圖鶴壽三足大熏爐Provenance: a European private collectionBonhams London, 10 November 2016, lot 96A UK private collection來源：歐洲私人收藏倫敦邦瀚斯，2016年11月10日，拍品編號96英國私人收藏The Qianlong Emperor was a keen collector of objects of the past, advocating to restore ancient ways, suggesting that craftsmen turn to antiquity for models which would enable them to imbue their designs with simplicity and honesty in order to achieve refinement and elegance.The present vessel is a magnificent example of the Qianlong period, combining the archaistic form derived from the Shang and Zhou dynasties ding ritual vessel, with the opulent taste of the Qing Court, utilising the vibrantly-colourful cloisonné enamel embellished with the gilt bronze dragon finial and handles. The master craftsman has further elevated the vessel, both in height and in extravagance by using three long-legged cranes instead of cabriole legs as supports.The magnificent vessel is imbued with auspicious associations as often seen on other Imperial works of art. The cranes symbolise Immortality and are often shown as companions to Shoulao, the God of Longevity. Paintings of cranes had been popular in the Imperial Court since the Northern Song dynasty, when the Huizong Emperor (1082-1135) himself painted an iconic handscroll, 'Auspicious Cranes', now preserved in the Liaoning Provincial Museum, Shenyang, and illustrated by J.Cahill, 3000 Years of Chinese Painting, New Haven, 1997, p.123, fig.114. Cranes were also a recurring subject in the paintings of the Jesuit Court artist Giuseppe Castiglione (1688-1766). Further symbolism is imbued in the lotus, as one of the Eight Buddhist Emblems, and bajixiang and its association with purity.Compare with a similar pair of cloisonné enamel incense burners and covers with crane supports bearing similar dragon handles, Qianlong, which were sold at Bonhams Hong Kong, 4 December 2008, lot 202. See also a similar pair of cloisonné enamel incense burners and covers with crane supports but with upright cloisonné enamel handles, Qianlong, in the British Museum, London, one of which is illustrated by E.S.Rawski and J.Rawson, eds., China: The Three Emperors 1662-1795, London, 2005, pl.304; for another similar example see H.Brinker and A.Lutz, Chinese Cloisonné: The Pierre Uldry Collection, New York, 1989, pl.323; and compare with a pair similar to the British Museum example, which was sold at Sotheby's New York, 18 March 2014, lot 359.For further information on this lot please visit Bonhams.com

A exceptionally rare Imperial revolving pale-green-glazed bowl on gilt and silver teadust-glazed standQianlong seal mark and of the period The bowl with gently curving shallow sides rising to a slightly everted rim, applied around the exterior with loop-handles, the exterior moulded with upright plantain leaves around the base and chrysanthemum florets between the handles, covered in a pale green glaze, the rim and handles gilt, the bowl supported and fitted onto a five-legged stand with shaped aprons, covered with a green teadust glaze and gilt with scrolling acanthus leaves. 17.5cm (6 7/8in) wide. Footnotes:清乾隆 青釉描金連茶葉末釉座轉足盌Provenance: a Scottish private collection來源：蘇格蘭私人收藏The present lot is extremely rare and only one other identical example, with a cover, in the Shanghai Museum and probably the pair to this lot, has been published; see Chen Xiejun, Shanghai Museum, Hong Kong, 2007, p.102, no.128. Few other related examples appear to have been published. The present lot not only displays supreme technical virtuosity, but encapsulates the Qianlong Emperor's drive for innovative and playful designs.The most unusual and rare feature of the present lot is its revolving technique. This represents the most difficult aspect to the potter, as the master potters would have had to create two interlocking pieces with different glazes that would still freely and accurately move after firing in the kiln. By the Song dynasty, if not earlier, it was customary to display some ceramic vessels on lacquer or porcelain stands to elevate them and set them above the mundane. In the twelfth and thirteenth centuries some vases were made with non-detachable ceramic stands, which provided a model for this Court porcelain. The daring combination of a pale celadon glaze for the bowl with gilt and teadust stand reflects the two sides of Qing Imperial taste: revival of Song dynasty elegance and Qianlong period flamboyance and technical perfection.Although the Qianlong Emperor commissioned and pushed for these innovative pieces, this revolving bowl represents a new and creative type of ware designed specifically by Tang Ying, Director General of the Imperial Kiln. Tang Ying served at the Imperial Kiln for over twenty-eight years under the Yongzheng and Qianlong reigns, and his tenure was noted for some of the finest porcelain produced during the Qing dynasty. According to the Qing Court archives, however, in the sixth year of the Qianlong reign (corresponding to 1741), the Qianlong Emperor criticised him and his wares in the following memorial (《遵旨敬谨办理陶务折》) :'The wares produced over the past years are far inferior to those produced during the Yongzheng period'.To please the Emperor, Tang Ying created some of the most ingenious and original designs of porcelain, including those with a revolving mechanism. In his memorial in the eighth year of the Qianlong reign (corresponding to 1743), Tang Ying proudly proclaimed 'nine new and creative types [of porcelain]': 今自三月初二日開工之後，奴才在廠儹造得奉發各色錦地四團山水膳碗、盃盤，並六方青龍花瓶等件外，奴才又新擬得夾層玲瓏交泰等瓶共九種，謹恭摺送京呈進。其新擬各種，係奴才愚昧之見，自行創造，恐未合式，且工料不無過費，故未敢多造。伏祈皇上教導改正，以便欽遵，再行成對燒造。餘外尚有新擬瓷器數種，亦係奴才自行擬造，已與催總老格詳細講究，囑其如式辦理，俟得時隨後呈進。奴才於四月十四日自廠回關，八月內當再赴窯廠，另容料理新樣呈進。which may be translated as:'Today since the start of work on the second day of the third month, your humble servant has made four landscape bowls, cups and plates, and a six-sided green dragon vase in the factory. A total of nine kinds of bottle vases are newly proposed, including the exquisite reticulated double-layer vase and other vases. I just fear that they are not suitable, and the labour and materials are not without excessive costs, so they dare not make more at the kiln. I humbly ask for your Majesty's opinions, so that they could be followed, and then fired in pairs. Moreover, there are also several new types which have been made based on my own ideas. They have been discussed in detail with the chief potter. They will be submitted later when they are available. Your humble servant returned from the factory on April 14 and went to the kiln again in August to allow new dishes to be presented.'The Workshop Archives of the Zaobanchu on the eighth year of the Qianlong reign (1743) also mention a 'revolving bowl in powder-green glaze with stand' (冬青有座轉旋靶碗一件) which was incorporated into the Imperial collection. Some scholars have argued that this refers to a revolving bowl in the National Palace Museum, Taipei, illustrated in Stunning Decorative Porcelains from the Ch'ien-lung Reign, Taipei, 2008, p.187, no.63.See a famille rose stem bowl with attached celadon-glazed stand, Qianlong seal mark and of the period, in the Smithsonian, Washington, illustrated by Yang Enlin, Chinesische Porzellanmalerei im 17 und 18 Jahrhundert, Munich, 1986, no.81. See also a celadon-glazed bowl with attached revolving famille rose stand, Qianlong seal mark and of the period, illustrated by A.Hougron, La Ceramique Chinoise Ancienn, Paris, 2015, p.260.For further information on this lot please visit Bonhams.com

A RARE CINNABAR LACQUER CARVED THREE-TIERED DOUBLE-LOZENGE-SHAPED BOX, COVER AND STANDQianlong The cover meticulously carved with two five-clawed writhing dragons in pursuit of a flaming pearl in the form of a stylised Shou character, on a ground of swirling waves, all within key-fret borders, the straight sides of the boxes and cover decorated with six cartouches enclosing various antiques and scholar's objects, divided by leafy blooming lotus, the interior and base covered with black lacquer, with a cinnabar lacquer stand supported on six ruyi-shaped feet. 31cm (12 1/8in) wide. (5).Footnotes:清乾隆 剔紅雕博古圖龍紋方勝式多層蓋盒The double-lozenge, also known as fang sheng 方勝, is one of the Eight Treasures, babao 八寶, which was a much favoured design used in decorations during the Ming and Qing dynasties. Lozenge-shaped lacquer examples first appeared in Ming dynasty; see for example a qiangjin polychrome and gilt-lacquer lozenge-shaped box and cover, Jiajing mark and period, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Lacquer Wares of the Yuan and Ming Dynasties, Shanghai, 2006, no.151. The inspiration from previous generations was in line with the Qianlong Emperor's instructions to his Court and craftsmen to look to China's past for moral guidance and artistic inspiration. A similar double-lozenge shaped cinnabar lacquer tiered box and cover, Qianlong, decorated with dragons pursuing a Shou pearl of wisdom on the cover, and 'Precious Objects' around the sides, is in the collection of the National Palace Museum, Taipei (museum no.Gu-Qi-000261N000000000). See also a related cinnabar lacquer lozenge-shaped box and cover, 18th century, in the National Palace Museum, Taipei, illustrated in Carving the Subtle Radiance of Colors-Treasured Lacquerware in the National Palace Museum, Taipei, 2008, no.152.For further information on this lot please visit Bonhams.com

A rare pair of Imperial white and spinach-green jade and cloisonné enamel 'Shou Characters' screensQianlong The jade rectangular plaques of pale white tone, each inscribed with 60 Shou characters in zhuanshu calligraphy and decorated with gilt, the reverse with pomegranates, butterflies, and narcissus, the other with lotus and a pair of Mandarin ducks, each encased in a cloisonné enamel frame with diaper pattern, supported on a zitan wood stand with spinach-green jade spandrels and shaped apron. Each 24.1cm (9 1/2in) high. (4).Footnotes:清乾隆 御製紫檀嵌碧玉座框銅胎掐絲琺瑯鑲白玉雕壽字紋硯屏一對Provenance: Sir John William Buchanan-Jardine, 3rd Baronet (1900-1969), LondonSpink & Son Ltd., LondonAn English private collection, with one of the pair of screens acquired from the above on 30 November 1954 (to join the pair to it which was previously separated), and thence by descentExhibited and Published: Royal Academy of Arts, International Exhibition of Chinese Art 1935-6, London, 1935, p.245, no.2859Captain Sir John W. Buchanan-Jardine became, like his family predecessors, the Chairman of Jardine, Matheson & Co. He was among the largest lenders to the Royal Academy of Arts International Exhibition of Chinese Art in Burlington House in 1935-36, his loan including the present pair of screens. The Exhibition remains the most important exhibition of Chinese Art ever held in Europe.來源：倫敦第三代John William Buchanan-Jardine男爵（1900-1969）舊藏倫敦古董商Spink & Son Ltd.英國私人收藏，其一於1954年11月30日購自上者（將兩屏合為一對），並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935年，頁245，編號2859John W. Buchanan-Jardine男爵，如他的家族前輩一樣，曾為怡和洋行（原名渣甸洋行）董事長。同時，他也是1935-36年於英國皇家藝術學院伯靈頓宮舉辦的「中國藝術國際展覽會」最大的借展方之一，並借展了本對硯屏。該展覽仍為歐洲迄今最為重要的中國藝術展覽。The present lot has sixty Shou (壽) characters on each screen. It is likely therefore, that it was made for the occasion of the Qianlong Emperor's 60th birthday celebration (held on the 1st month of the 35th year of his reign, approximately 1770). The motif of numerous Shou characters (meaning 'longevity') is common for birthday celebrations and appeared as early as the Kangxi reign. See a massive blue and white 'Ten thousand Shou vase, which bears 9,999 Shou characters and one wan character, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red (III), Hong Kong, 2002, pp.8-9, no.5.See a single related incised celadon jade and lacquer 'longevity' table screen, 18th century, which was sold at Sotheby's Paris, 10 June 2021, lot 101.For further information on this lot please visit Bonhams.com

A rare pair of jichimu small tapered two-door side cabinets, gui19th/early 20th centuryEach of tapering rectangular form, with two doors opening to reveal two shelves above two drawers, the legs framed at the lower section with a C-shaped apron. 60.5cm (23 3/4in) wide x 27.7cm (10 7/8in) deep x 80cm (31 1/2in) high. (2).Footnotes:十九世紀/二十世紀初 雞翅木櫃一對Provenance: Bonhams London, 17 May 2012, lot 164A distinguished London private collection來源：倫敦邦瀚斯，2012年5月17日，拍品編號164倫敦顯赫私人收藏Cabinets of this simple and elegant form were used for the storage of clothes or scholar's objects, including long scrolls, which could easily be placed on the shelves by way of the removable central stile. They were manufactured from the Ming dynasty onwards. A typical feature of cabinets of this form is to use the two doors to display the natural beauty and grain of the wood. Compare a jichimu example illustrated by Tian Jiaqing, Chinese Classical Furniture of the Qing Dynasty, Hong Kong, 1995, fig.103.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 SET OF FOUR LARGE RECTANGULAR WALLPAPER 'CANTON LANDSCAPE' PANELSEarly 18th century Each depicting a riverside scene dotted with elegant pavilions interspersed amidst pine and sage trees, and backed by mountainous range, finely detailed with various scenes featuring fishermen on sampans, official gatherings and boys engaging in leisurely pursuits, mounted and framed. The largest 240cm (94 1/2in) long x 85cm (33 1/2in) wide. (4).Footnotes:十八世紀早期 廣東風俗外銷壁紙 一組四幅Published and Illustrated: P.Conner, The Hongs of Canton: Western Merchants in South China 1700-1900 as Seen in Chinese Export Paintings, London, 2009, pp.27-29 (illustrating three of the four panels)出版著錄：P.Conner，《The Hongs of Canton: Western Merchants in South China 1700-1900 as Seen in Chinese Export Paintings》，倫敦，2009年，頁27-29（收錄本拍品其中三例）The present lot depicts Canton (Guangzhou) from the south-west. In the foreground is the large island of Honan that formed the south bank of the Pearl river. The city lies above and across the river, with the 'smooth pagoda' and 'flowery pagoda', as well as the 'Dutch folly fort' whose walls enclosed a temple. Between the fort and the city walls are the waterfront buildings supported by piles. The foreground has fascinating details of shops and people at work and leisure, offering us a rare window into the past.Such panels were originally made as wallpaper and would have been intended for the European market. Following the fashion of European 'chinoiserie', most of the great houses of Europe had at least one room decorated with a Chinese paper, either original or imitation and by the end of the 18th century they could be found in more modest houses. Although many of the earlier papers were used in state reception or bedrooms they were eventually considered equally suitable for more 'feminine' rooms such as private chambers, boudoirs and bedrooms; see E.de Bruijn, A.Bush and H.Clifford, Chinese Wallpaper in National Trust Houses, Swindon, 2014, pp.1-48.See a set of fifteen Chinese wallpaper panels, 18th century, depicting similar scenes of daily life, which were sold at Bonhams London, 27 November 2019, lot 30.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 copper-red-glazed bowlXianfeng six-character mark and of the periodElegantly potted with deep curving sides and raised on a narrow inward-tapering foot, covered to the exterior in a liver-red glaze thinning to a mushroom tone on the mouth and foot rims, the interior glazed white, cloth stand, box and cover with inscription. 15cm (5 7/8in) diam. (3).Footnotes:清咸豐 霽紅釉盌青花「大清咸丰年製」楷書款The inscription notes that the present lot was gifted by Yu Jinhe (1887- after 1945). Yu Jinhe (余晋龢) was a politician during the Republic of China. He was born in Shaoxing, Zhejiang. Like many of his generation, he went to study in Japan and graduated from the Imperial Japanese Army Academy. He was the 2nd collaborationist mayor of Beijing and served on the North China Political Council from February-November 1943. After the downfall of Wang Jingwei's puppet government in August 1945, Yu was arrested and later died in prison at an unknown date.Compare with a similar example, Xianfeng six-character mark and of the period, illustrated in Imperial Porcelains of Late Qing, Hong Kong, 1983, p.99, no.89.See also a pair of copper-red-glazed bowls, Xianfeng six-character marks and of the period, which was sold at Bonhams San Francisco, 26 June 2018, lot 226.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 HONGMU TWO-PART 'ARMORIAL CRESTED' DISPLAY CABINETLate Qing DynastyResting on four claw feet, the lower section fitted with a cupboard, the doors finely carved in low relief with flowering peonies issuing from curling and leafy stems, revealing a shelf and two drawers to the interior, the upper part with a geometric arrangement of superimposed open shelves, the cornices carved with openwork scrolling flowers and foliage designs, the pierced cresting carved with scrolling acanthus leaves enclosing a family crest featuring a lion sejant rampant holding a cross crosslet in its paws and a cross in its mouth.217cm (85 3/8in) high x 126cm (49 1/2in) wide x 42cm (16 1/2in) deep. (2).Footnotes:清晚期 紅木雕紋章卷草花卉紋博古櫃The present lot adroitly combines Chinese decorative elements such as the lotus and floral scrolls with a European coat-of-arms.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 small enamelled bottle vase, TIANQIUPINGHongxian four-character mark, Republic PeriodThe vessel finely potted with a globular body rising to a tall cylindrical neck flaring slightly at the rim, decorated with a continuous scene depicting five boys engaging in various leisurely pursuits including flying bat kites, picking peaches and pomegranates and handling swords, all within a bamboo grove, the base with a four-character mark in iron-red within a square. 12.5cm (4 7/8in) high.Footnotes:民國 琺瑯釉嬰戲圖小天球瓶礬紅「洪憲年製」楷書款Provenance: an English private collection來源：英國私人收藏For further information on this lot please visit Bonhams.com

AMI ORIGINAL WALL JUKEBOX - 1957 ORIGINAL WALLBOX  - Including rare table backplate. In very good condition 

PINK FLOYD - KING MOJO - ALL DAY LOVE-IN  SUN. 7 TH MAY PINK FLOYD ADM 5  COLIN DUFFIELD RARE ORIGINAL POSTER   WITH STAMP ON THE  BOTTOM OF THE POSTER THAT READS `Colin Duffield 147a  the moor Sheffield tel 23909 '  It measures approx 20 x 30 inchesShow's Signs Of Having Being Folded , Has Signs Of Creasing

George Harrison original Business cheques x 2 august and July 1988 signed by the secretary Lucy. With stubb book. Rare item

A Patrick James Eggle Parlour Acoustic Guitar. With Hardbody Carry Case A Rare Guitar And Fine Body Of Craftsmanship This All Solid Body Acoustic Is A Fine Example Of Patrick James Eggle Guitars. Serial Number  18492Handcrafted In Oswestry England

A Collection Of Comedy Records Including Some Very Rare And Hard To Find, To Include Monty Python, The Goons,  Benny Hill, Spike Milligan , Mike Reid, Peter Sellers, Morecambe & Wise, Stan Freberg, Jasper Carrot, Tony Hancock,  Not The Nine O Clock News, Monty Python, Cheech & Chong, Billy Connolly , Till Death Do Us Part, Mike Harding,  Stanley Holloway,  It Aint Half Hot Mum, Blaster Bates, Just For Laughs, Fawlty Towers, I'll Read That Again,  The Secret Policeman's Ball, Ben Elton, Les Dawson, Two Ronnies.... Etc All Records In Fair To Good Overall Condition Approximately 200 Records In Two Boxes.This Is The Perfect Collection For The Avid Comedy Fan 

The Monkees - Corgi Toys Monkeemobile - with Box Number 277 with rare Header Card

A VERY RARE CARVED AMBER MELON-SHAPED 'DRAGON' BOX AND COVER18th centuryThe lobed vessel of warm honey tone, crisply carved to the cover with a front-facing writhing dragon grasping a flaming pearl amongst billowing cloud scrolls, all within a shaped cartouche, the curving sides with panels of formal lotus flowerheads, the gently curving box similarly carved with lotus, wood stand. 5.6cm (2 1/4in) wide. (3).Footnotes:十八世紀 琥珀雕龍紋海棠形蓋盒Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Notable for its refined carving and the attractive translucent golden-honey tone of the amber, which has been sensitively carved in the shape of a segmented melon, the present box is a rare example dating to the 18th century.The auspicious designs depicted on the present box would have made it a suitable objects used by the Imperial family or high-ranking members of the Court. Dragons embodied royalty and dominion in China, and when clutching the flaming pearl, expressed the visual metaphor of the good ruler who behaved wisely for the well-being of his subjects.Amber was a highly revered material and would have required great skill and precision to successfully render the shape of the melon as well as the finely-detailed decorations of the dragon and lotus. Amber is also known as hu po, which can be translated as 'the tiger's soul'. As the tiger is considered to be the king of beasts in China, amber is therefore associated with the strong qualities of the tiger including the ability to capture and chase away evil spirits. It also symbolises longevity. The art of amber carving reached its zenith during the 18th century, when a vast range of objects was produced at both the Imperial Workshops located in the Forbidden City and at select ateliers in Suzhou. Although amber boxes dating to the 17th and 18th century are rare, the shape of the present box and the arrangement of decorative designs on its cover and body closely compare with a lacquer lobed box decorated with dragons, mid Qing dynasty, illustrated in The Complete Collection of Lacquer, vol.6, Fuzhou, 1993, pl.138.Compare with a related amber 'dragon' washer, Qing dynasty, which was sold at Sotheby's New York, 17 March 2015, lot 308.上佳褐紅蜜色透明琥珀琢制，質地通透，流光溢彩。淺浮雕開光雲龍紋，龍目圓睜，揚須擺尾，矯健威猛，雕工一絲不苟。琥珀者，古代松柏等樹脂的化石。中國古代有許多關於琥珀的神奇傳說，如稱琥珀為「虎魄」，認為琥珀是老虎的魂魄；中醫認為其有通淋化瘀、寧心安神之功效；佛經中亦曾多次提及琥珀為「異類珍財」、「上妙供具」。十八世紀，琥珀工藝臻善，清宮造辦處與蘇州作坊皆出產各式琥珀製品。現存十七至十八世紀的琥珀蓋盒存世極少，但本例造型紋飾在漆器製品上偶有可見，如一例清中期戧金彩漆雲龍菊瓣式盒，見《中國漆器全集》，卷六，福州，1993年，圖版138。紐約蘇富比曾售一例清琥珀雕雙龍戲珠紋花瓣洗，2015年3月17日，拍品編號308，可資比對。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 VERY RARE LARGE GOLD-SPLASHED BRONZE INCENSE BURNER FOR THE ISLAMIC MARKET, GUIXuande mark, 17th/18th centuryThe deep vessel with rounded sided gently curving inwards and rising to the flaring rim, the upper body crisply cast around the exterior with a broad band of taotie masks flanked by stylised dragons and birds reserved on diaper grounds, above a raised inscription in Arabic to each side, reading: lā ʾilāha ʾillā -llāh, muḥammadun rasūlu llāh ('There is no God but God, and Muhammad is the Prophet of God'), flanked by a pair of C-form handles issuing from dragon heads, raised on a stepped spreading foot with raised bow-strings, the recessed base cast with an apocryphal Xuande twelve-character seal mark reading: Xuande ernian Zhou Yi wei Xiuhuang Zhuren Zhi, 'Made by Zhou Yi for the master of Xiuhuang in the second year of the Xuande reign', all decorated with irregular gold splashes continuing onto the interior rim and over the underside. 30cm (11 3/4in) wide across the handles.Footnotes:十七/十八世紀 灑金仿古夔龍紋阿拉伯文簋 「宣德二年周義為修篁主人製」篆書款Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The present lot is remarkable for its combination of cultural inspirations, although both for religious purposes. The gui form and the archaistic design around the upper section and handles, were inspired by archaic bronze ritual vessels, which were made during the Shang and Zhou dynasties for sacrificial purposes to the ancestors. The prayer inscription on the lower register of the vessel is the Shahadah, one of the most important Muslim oaths or prayers. It is interesting to note, however, that the word rasul (Prophet) has been misspelled on each side of the vessel, most likely as a misinterpretation of the Arabic by the craftsmen in China. Bronze vessels with Arabic inscriptions were produced for the Chinese domestic market, for use both by foreign Muslims living in China and by the large population of Chinese Muslims. Chinese decorative arts with Arabic inscriptions range in date from the sixteenth century, with the majority made from the seventeenth to the nineteenth centuries. A number of Arabic-inscribed gold-splashed bronze wares collected by Randolph Berens, alongside other gold-splashed bronze wares of various forms as well as figures, were exhibited in the Victoria and Albert Museum, London in 1915, and published by E.Mew, 'Gold-splash Bronzes in the Collection of Mr. Randolph Berens', The Connoisseur, November 1915, pp.131-144, pls.10,11, 13, and 19.The 'gold-splashed' decoration was achieved by 'fire-gilding', a technique involving the application of gold in the form of a mercury/gold amalgam. Subsequently the vessel was heated to drive off the mercury, so that the small amount of gold was left adhering to the base metal. The process could then be repeated several times to build up thicker layers of gold. For an identical form incense burner but without the Arabic inscription, see Christie's Hong Kong, 4 October 2016, lot 50. For a large gold splashed bronze incense burner, 18th century, but with a different Arabic prayer, see Sotheby's Hong Kong, 30 October 2002, lot 350. Compare also a gold-splashed archaistic bronze censer, 17th/18th century, with the same Xuande mark as the present lot, which was sold at Sotheby's New York, 13 September 2017, lot 142.圓身深腹，近口沿處微斂，口沿微侈，龍首形環耳，附珥，下承弦紋圈足。器壁上部以精鑄錦地饕餮紋為飾，饕餮兩側為風格化之龍紋及鳳鳥紋，線條優雅俐落。本例造型以及器身上部復古紋樣均源自商周二代用於祭祀之青銅重器，而器壁下部所鑄阿拉伯銘文，意為「萬物非主，唯有真主，穆罕默德是真主的使者」，是穆斯林最為重要的禱詞之一。值得注意的是，器身兩側「先知」一詞均有誤，應為不熟悉阿拉伯文的中國工匠的所作。如此結合古代禮器與伊斯蘭宗教用器，文化意藴十分令人矚目。十七、十八世紀的中國內陸有大量來自海外或本地的穆斯林族群，這些帶有阿拉伯文銘文的銅器即為滿足其需要而生產。從十六世紀起，帶有阿拉伯文銘文的中國裝飾藝術品逐漸出現，但傳世物中多見十七至十九世紀的作品。 1915年，倫敦維多利亞和阿爾伯特博物館曾展出一批帶阿拉伯文銘文灑金銅器以及其他造型的灑金銅器，皆出自Randolph Berens私人收藏，見E.Mew著，〈Gold-splash Bronzes in the Collection of Mr. Randolph Berens〉，收錄於《The Connoisseur》，1915年11月，頁131-144，圖版10、11、13與19。 灑金是以所謂「火鍍金」工藝形成，即以金溶於水銀之中，形成金泥，塗於銅或銀表面加溫，使水銀蒸發令金飾附於器表，再重複該過程形成更厚的金飾層。與本拍品造型相似者，可參考香港佳士得於2016年10月4日售出一件清初灑金銅龍紋簋ঁ... For further information on this lot please visit Bonhams.com

A MAGNIFICENT AND VERY RARE PAIR OF ZITAN-FRAMED KINGFISHER FEATHER-INLAID 'LANDSCAPE' SCREENSQianlongEach exquisitely decorated with lavish use of turquoise-blue kingfisher feathers and other materials reserved against a luxurious velvet ground, depicting rugged mountain and lake landscapes dotted with pavilions and pagodas, the leaves, tree trunks and rocks all made from kingfisher feathers, one screen depicting a boy-attendant carrying a guqin to a seated sage below pine trees, with swirling clouds amidst the tall craggy peaks, the other screen with figures in a house gazing out to the lake with a sampan, all set in a shaped skillfully carved zitan frame carved with archaistic scrolls in low relief and stand pierced with floral sprays. 111.2cm (43 3/4in) high x 56.7cm (22 1/4in) wide x 31.2cm (12 1/4in) deep (2).Footnotes:清乾隆 紫檀邊座點翠山水人物圖插屏一對Provenance:H.E. Monsieur Aleksander Vlangali (1823-1908), Russian Ambassador Extraordinary and Minister Plenipotentiary in China (1863-1873)Spink & Son Ltd., LondonMrs E. A. Parry (1879-1977), London, acquired from the above on 31 July 1926, and thence by descentPublished, Illustrated and Exhibited: Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-1936, pp.215-216, nos.2500 and 2511.來源：俄駐華公使亞歷山大·弗蘭加利（1823-1908）旧藏倫敦古董商Spink & Son Ltd.倫敦E. A. Parry夫人（1879-1977）舊藏，於1926年7月31日購自上者，並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935-1936年，頁215-216，編號2500与2511Aleksander Vlangali descended from nobility of St. Petersburg. He participated as an officer in the Crimean War of 1853-1856. In the late 1850s he entered the Imperial Russian diplomatic service and was promoted in July 1863 to the position of the Russian Ambassador Extraordinary and Minister Plenipotentiary in China, a position which he held until November 1873. In 1865 he was made Major General. 亞歷山大·弗蘭加利（Aleksander Vlangali）為出身於聖彼得堡的俄國貴族。曾作為軍官參加了 1853-1856年的克里米亞戰爭。十九世紀五十年代後期，任職俄羅斯帝國外交部門，並於1863年7月任命為俄駐華公使，直至1873年11月。1865年，亞歷山大被擢升為少將。This important pair of screens was included in the International Exhibition of Chinese Art held at the Royal Academy of Arts, Burlington House, London, in 1935-1936. This seminal exhibition had the patronage of their Majesties King George V and Queen Mary, and the President of the Chinese Republic. It included over 3,000 objects. These were loaned by the Chinese Government, including pieces shown for the first time outside China, objects from the collection of Sir Percival David, which were exhibited for the first time in public, pieces from the British Royal Collection, and from many important museums including the British Museum, V&A, the Louvre, Guimet, Cernuschi, Topkapi Saray, the Metropolitan Museum of Art, Cleveland, Kansas City, Cologne, Dresden, and from notable private collectors including HRH Crown Prince of Sweden, Alan Barlow, R.C. Bruce, Buchanan-Jardine, Mr & Mrs Alfred Clark, Dr Leonard Gow, C.T. Loo, Carl Kempe, H.J. Oppenheim, Oscar Raphael, F. Schiller, Mr & Mrs Walter Sedgwick, A. Stoclet, S.D. Winkworth and Prof. W. Perceval Yetts - the roll call of the greatest collectors of Chinese art in the west in the 20th century. E.A. Parry loaned 6 pieces to the Exhibition, demonstrating the superb quality of the Collection and the high esteem in which it was held by the Exhibition Committee, which was directed by Sir Percival David. These pieces were admired to this date in the Parry family homes and this is the first time since the 1935-1936 Exhibition that they are seen in public once again. The remarkable screens demonstrate the exceptional artistry of the 18th century craftsmen reproducing idyllic landscapes in variety of materials and in the case of the present pair, utilising the brilliant enduring colours of kingfisher feathers meticulously inlaid within the design. Kingfisher feathers were admired and prized in ancient China, and as early as the Spring and Autumn period (770-475 BC) they adorned clothes and accessories. A Tang dynasty poem by Chen Zi'ang, 661-702 AD) reads: The halcyon kingfisher nests in the South Sea realm;Cock and hen in groves of jewelled trees; How could they know that the thoughts of lovely women; Covet them as highly as yellow gold?' The popularity of the use of the prized feathers in appliqué technique continued into the 18th century, with the majority of workshops specialising in utilising the feathers for decoration and in carving the precious zitan wood, located in Guangzhou. Such works were commissioned by the Qing Court and made as Imperial-tribute. Compare with a pair of related screens with kingfisher feather decoration, Qianlong, in the Shengyang Palace Museum, and a further panel in the Forbidden City, illustrated by B.Jackson, Kingfisher Blue: Treasures of an Ancient Chinese Art, Berkeley, Toronto, 2001, pp.30-31 and 186. See also three other screens decorated with kingfisher feathers, mid Qing dynasty, made in Guangzhou as Imperial-tribute, illustrated by Hu Desheng, Ming Qing Gu Gongting Jia Zhu Da Guan, vol.1, Beijing, 2006, nos.388, 394 and 396.The remarkable screens showing idyllic mountain landscapes and an attendant carrying a wrapped guqin to a scholar, were inspired by literati paintings and ideals. Images of the private retreat proliferated among the scholar-officials from the early Song dynasty, when visions of the natural hierarchy became metaphors for the well-regulated state. The scholars extolled the virtues of self-cultivation and asserted their identity as literati through poetry, calligraphy, and painting. The images of old trees, bamboo, rocks, and retirement retreats created by these scholar-artists became emblems of their character and spirit. Pine trees, for example, remaining green even during the winter, came to represent the sturdy and morally upright scholar. The conquering Manchu Emperors desired very much to show themselves as the custodians of Han Chinese culture and adopted it fully, including the ideals of literati from the Yangzi delta region. In addition to literati landscape paintings, the Qianlong Emperor also showed himself as a custodian and connoisseur of China's ancient heritage by championing archaism as both an aesthetic and intellectual movement. The superbly carved and prized zitan frames and stands follow the Qianlong Emperor's taste for archaism, utilising motifs seen on early ritual bronze vessels, such as taotie masks and S-shaped scrolls.With its smooth and silk-like texture, fine and dense grain and ... For further information on this lot please visit Bonhams.com

A VERY RARE IMPERIAL-TRIBUTE PAINTED ENAMEL YELLOW-GROUND SNUFF BOTTLEYongzheng four-character mark and of the periodExquisitely painted to one side with the female Immortal Magu with hemp skirt, carrying a basket of medicinal herbs and auspicious lingzhi hung from a gnarled staff over her shoulder, her left hand carrying a peach, all amidst wispy ruyi-clouds, the reverse enamelled with Xiwangmu holding a ruyi sceptre and standing beside a phoenix, all on an egg-yolk-yellow ground, the four-character mark in brown-black on the base, coral and malachite stopper. 7cm (2 3/4in) high. (2).Footnotes:清雍正 銅胎畫琺瑯黃地人物紋鼻煙壺「雍正年製」楷書款Provenance:Spink & Son Ltd., London,E. A. Parry (1879-1946), London, acquired from the above on 30 September 1923, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1923年9月30日購自上者，並由後人保存迄今The present yellow-ground enamel snuff bottle is a very rare example made as Imperial-tribute to the Court of the Yongzheng Emperor. As noted by Hugh Moss, 'extant examples of Yongzheng painted enamels on metal are almost as rare as those surviving from the Kangxi reign. [...] Of all surviving marked enamels from the Yongzheng era (there are not many), more than half are southern.' Yellow-ground enamel on copper examples of this form are rare and vary in decoration including designs of 'dragons', 'deer in landscape', 'bats, lotus and Shou', and particularly rarely, as seen on the present snuff bottle, with Daoist female Immortals. The Imperial Enamel Workshop which was first established in Beijing by the Kangxi Emperor utilising the knowledge of Jesuit priests and enamellers from Guangzhou, was producing enamel works since circa 1715 as attested to by a Jesuit priest, Father de Maille; see H.Garner, 'The Origins of Famille Rose', TOCS, vol.37, 1967-1969, London, 1970, p.4. However, the most important Chinese craftsmen came from Guangzhou as shown in a Court memorial dated to 1716 noting the Viceroy of Guangdong and Guangxi sent two artisans to Beijing to serve in the Enamel Workshop; see Yang Boda, Tributes from Guangdong to the Ch'ing Court, Hong Kong, 1987, p.63. By the Yongzheng period technical challenges were gradually overcome and the painting became more refined and controlled. See a related Imperial-tribute painted enamel yellow-ground 'deer in landscape' snuff bottle, Yongzheng four-character mark and of the period, illustrated by H.Moss, V.Graham, and K.B.Tsang, A Treasury of Chinese Snuff Bottles, Hong Kong, 2008, vol.6, part 1, pp.288-289, no.1129, which was later sold at Sotheby's Hong Kong, 24 November 2014, lot 188. Compare also a Guangzhou painted enamel yellow-ground 'dragons' snuff bottle, Yongzheng mark and period, in the British Museum, London, acc.no.1936,0413.64.See also a Guangzhou painted enamel yellow-ground 'bats, shou and lotus' snuff bottle, Yongzheng brown-enamel four-character mark and of the period, which was sold at Christie's New York, 19 March 2008, lot 261.壺銅胎，小口直頸，折肩微溜，直壁扁腹，整器修長挺拔，纖巧俏麗。明黃作地，一側繪麻姑肩挑花籃，手執仙桃，端立雲端；一側繪西王母身著袍服，手持如意，瑞鳳伴於身側。器底黃地書褐彩「雍正年製」楷書款。本例為雍正年間貢品中極為珍罕的畫琺瑯製品。如Hugh Moss所述，現存的雍正時期金屬胎畫琺瑯製品，幾乎與康熙年間的畫琺瑯製品一樣少有；...而現存少數署有雍正年款的畫琺瑯製品中，多於半數為南作。形如此例且以明黃為地的銅胎畫琺瑯鼻煙壺頗為少見，曾見以祥龍、瑞鹿、福壽等作主題者，而如本例以道教女性仙人為飾者殊為稀有。十五世紀中葉，歐洲發明了畫琺瑯的製作技法，後隨海運貿易往來以及西方傳教士呈進傳入中國，身處通商口岸的廣州工匠得以比清宮造辦處更快接觸歐洲進口畫琺瑯器。康熙年間始設內務府造辦處琺瑯作，據傳教士Maille神父稱，自約1715年起，西方傳教士和琺瑯匠師已赴京傳授燒琺瑯工藝；見H.Garner著，〈The Origins of Famille Rose〉，收錄於《TOCS》，卷37，1967-1969年，倫敦，1970年，頁4。然而，從康熙硃批奏摺中可知康熙五十五年（1716年）兩廣總督楊琳派潘淳、楊士章等四人進入內廷琺瑯廠效力。雍正和乾隆時期，廣東督撫繼續向養心殿造辦處保送畫琺瑯匠師，並同時向內廷提供進口的或廣東製造的琺瑯彩料。詳見楊伯達著，《清代廣東貢品》，香港，1987年，頁63。至雍正年間，畫琺瑯工藝和製作技法已日臻成熟。... 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 FINE GOLD-SPLASHED BRONZE INCENSE BURNER, GUIXuande six-character mark, 17th centuryFinely cast on a short foot, with a raised band of crisp overlapping lotus petals to the rounded lower body, rising to the straight sides set with a pair of mythical-beast head handles, below a key-fret border around the rim, decorated around the exterior and base with thick irregular gold splashes against the chocolate-bronze tone of the vessel. 13.2cm (5 1/4in) wide across the handles.Footnotes:十七世紀 灑金銅簋式爐「大明宣德年製」楷書款 Provenance:Spink & Son Ltd., LondonMrs G. N. Parry (1923-2013), London, acquired from the above on 14 December 1960, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦G. N. Parry夫人（1923-2013）舊藏，於1960年12月14日購自上者，並由後人保存迄今The form of the present lot is very rare amongst gold-splashed bronze wares. However, see a near identical form of a silver-inlaid bronze incense burner, 17th/18th century, which was sold at Sotheby's Hong Kong, 2 December 2015, lot 67. Compare also with a related gold-splashed bronze censer, 17th/18th century, Xuande mark, which was sold at Sotheby's London, 6 November 2013, lot 214. See also a related gold-splashed bronze incense burner, gui, Xuande mark, Qing dynasty, which was sold at Bonhams London, 13 May 2021, lot 74.The 'gold-splash' decoration was achieved by 'fire-gilding', a technique involving the application of gold in the form of a mercury/gold amalgam. Subsequently the vessel was heated to drive off the mercury, so that the small amount of gold was left adhering to the base metal. The process could then be repeated several times to build up thicker layers of gold.直壁，獸耳，矮圈足。器腹下沿環以蓮瓣紋，口沿飾一週回紋，通體灑金。本例器型於灑金銅器中頗為少見，香港蘇富比曾於2015年12月2日售出一例十七/十八世紀銅錯銀蝙蝠祥雲紋瑞獅耳爐，同署「大明宣德年製」仿款，拍品編號67，是為數不多的可比對者。亦有倫敦蘇富比於2013年11月6日售出一例十七/十八世紀宣德款灑金銅銜環舖首耳簋式爐，拍品編號214；以及倫敦邦瀚斯與2021年5月13日售出一件清銅灑金簋式爐，拍品編號74，可資比對。灑金飾以所謂「火鍍金」工藝形成，即以金溶於水銀之中，形成金泥，塗於銅或銀表面加溫，使水銀蒸發令金飾附於器表，再重複該過程形成更厚的金飾層。For further information on this lot please visit Bonhams.com

A RARE AVENTURINE GLASS 'LEAF AND GRAPEVINE' INK PALETTEQianlongNaturalistically carved as a vine leaf with furled edges, with finely-incised veins and ripe grapes, the reverse carved in relief with gnarled leafy branches extending across the base and forming the handle, the dish of lustrous caramel-brown tone with gold speckles. 8.5cm (3 3/8in) long.Footnotes:清乾隆 金星玻璃葡萄葉式筆掭Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Aventurine glass was mainly used for scholarly objects in the Qing Court during the Qianlong reign; see from the Qing Court Collection an aventurine glass lotus-leaf shaped ink palette, inkstick stand, wristrest and waterpot and vase, illustrated in The Complete Collection of Treasures of the Palace Museum: Small Refined Articles of the Study, Shanghai, 2009, nos.119, 128, 169 and 202.The naturalistic leaf form with its curling edges and veins lent itself perfectly to be adapted by the Qianlong reign craftsmen for use as ink palettes or washers. The popularity of the form is demonstrated in its use in different materials including aventurine glass, variously decorated porcelain and jade; see ibid., nos.114 and 117-122.Compare with a small aventurine glass waterpot, Qianlong, which was sold at Christie's New York, 18 September 2015, lot 2405. See also an aventurine glass 'phoenix and peach' vase, Qing dynasty, which was sold at Bonhams London, 16 May 2013, lot 236.金星玻璃，在清內務府養心殿造辦處檔案中，又稱「溫都裡那石」，是清代玻璃中較為珍貴的品種。根據造辦處檔案，清代御製金星玻璃僅見於乾隆一朝，且多用作文房用器，如筆洗、筆筒、墨床、臂擱、水丞等，詳見《故宮博物院藏文物珍品大系：文玩》，上海，2009年，編號119、128、169、202等例。本例作葡萄葉式，一側飾葡萄一株。葉片曲折捲起形成的弧度，十分適合用作筆掭或水丞。同款題材亦可見於瓷器、玉器等材質，如《故宮博物院藏文物珍品大系：文玩》一書中編號114及117-122等例。參考一例清乾隆金星玻璃海棠式水丞，售於紐約佳士得，2015年9月18日，編號2405。另見一例清金星玻璃鳳紋瓶，售於倫敦邦瀚斯，2013年5月16日，拍品編號236。For further information on this lot please visit Bonhams.com

AN INSIDE-PAINTED GLASS 'WANG ZHAOJUN' SNUFF BOTTLESigned Meng Zishou, dated to the Summer of the Jiyou year corresponding to 1909 and of the periodPainted with two warriors on horseback jousting with each other in a mountainous landscape, with inscription and signature of the artist, the reverse with Wang Zhaojun on horseback led by a groom and with a banner lady in attendance, stopper. 6.8cm (2 5/8in) high. (2).Footnotes:1909年 孟子受作玻璃內畫人物圖鼻煙壺Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The present lot depicts Wang Zhaojun, one of the 'four beauties of ancient China', being escorted to the frontier to marry Chanyu Huhanye of the Xiongnu empire in order to establish friendly relations with the Han dynasty. According to legend, along the way, the horse neighed, making Zhaojun extremely sad and unable to control her emotions at being sent to marry a barbarian. See a related Meng Zishou bottle illustrating a scene from 'The Romance of the Three Kingdoms', illustrated by H.Moss, V.Graham and K.B.Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, Inside Painted vol.4, part II, Hong Kong, 2000, pp.512-513, no.636, which was later sold at Sotheby's Hong Kong, 26 May 2014, lot 1142. According to the authors 'from 1910 onwards Meng painted a series of figural subjects illustrating scenes from popular books', which therefore makes the present bottle a rare early example of Meng's work; see ibid., p.512.Meng Zishou, who also went by the name Meng Zhaoxun, is another of the artists of the Beijing School of Zhou Leyuan. As a rule, Beijing school artists were influenced by Zhou Leyuan in their early years and then, later, might borrow from any of the other popular artists who were painting. Meng is no exception and he soon settled down to the influences of the Zhou Leyuan School. During his career, the influence of Ma Shaoxuan and Ye Zhongsan become obvious from 1905 onwards, but in his first year he seems to have been the only artist to hark back to the literati beginnings of the art for his inspiration.壺呈扁瓶形，直口，溜肩斂腹。一面內畫昭君出塞，另一面內畫李陵大戰番將，並署「己酉夏日寫於京師習古山房孟子受作」款。參考一例孟子受作內畫三國人物圖鼻煙壺，見於H.Moss、V.Graham、與K.B.Tsang著，《A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, Inside Painted》，卷四，香港，2000年，頁512-513，編號636，後於2014年5月26日售於香港蘇富比，拍品編號1142。依據上書第512頁，1910年起，孟子受創作了一系列以通俗故事人物為題材的內畫鼻煙壺，而本例無疑是孟氏存世較少的早期精品之一。孟子受，又名孟昭勳，京派鼻煙壺內畫大師。京派畫師早期往往受週樂元繪畫風格影響，後逐漸博取眾家之長，孟氏亦不例外；其1905年後的作品逐漸體現出馬少宣、葉仲三等藝術風格，也是為數不多的回溯到文人藝術中尋求靈感的藝術家。For further information on this lot please visit Bonhams.com

A RARE MUGHAL GREEN JADE LEAF-SHAPED SEGMENTED BOX AND COVERIndia, 18th centuryThe semi-translucent dark-green stone exquisitely carved as a six-lobed flower with one side issuing a pointed leaf, the cover carved with interlocking flowering stems encircling a central flowerhead, the interior of the box divided and hollowed into seven sections. 13.5cm (5 3/8in) long. (2).Footnotes:十八世紀 痕都斯坦式碧玉葉形盒Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今This expertly-carved box and cover in the form of a Bodhi leaf demonstrates the skill of the craftsmen who were producing fine objects within the Mughal Empire from the beginning of the 17th century and throughout the 19th century. Mughal jades were greatly praised by the Chinese Court during the eighteenth century and the Qianlong Emperor especially admired them. The first carved Mughal jade bowl sent from Central Asia as tribute to the Imperial Court is recorded for AD 1756, and thereafter tribute gifts of this type continued throughout the Emperor's reign and beyond. The Emperor was fascinated by these beautiful objects and wrote more than seventy poems eulogising the many Mughal-style jade carvings in his collection. In these poems he praised the exceptional skills of the carvers together with the purity of the material; see the Catalogue of a Special Exhibition of Hindustan Jade in the National Palace Museum, Taipei, 1983, pp.83-93.For a further example of a Mughal jade multi-compartmentalised flower-form box and cover, see Treasures from Across the Kunlun Mountains: Islamic Jades in the National Palace Museum Collection, Taipei, 2015, p.186, no.187; another related white jade leaf-shaped lobed box and cover, featuring a similar arrangement of compartments, is illustrated in Exquisite Beauty. Islamic Jades, Taipei, 2007, p.159, no.200.A related white jade Mughal lobed leaf-shaped box and cover, 18th/19th century, was sold at Christie's New York, 14 September 2012, lot 1028.碧玉琢作菩提葉形，器壁雕琢圖案化的花葉紋，內分七淺格。此痕都斯坦式玉盒細緻流麗，因循古印度蒙兀兒皇朝傳統。在蒙兀兒帝國治下，伊斯蘭玉器逐漸形成獨特的裝飾風格，乾隆中期二十一年（1756）記載痕都斯坦玉器自中亞傳入進貢帝王，令乾隆皇帝大為激賞，自此以降，同類貢品時可見之。造辦處亦招募回族玉匠琢作此類玉器。不出數載至乾隆二十九年（1764）造辦處之中國匠人已能十足摹作。乾隆帝傾愛痕都斯坦式玉器，曾作超過七十首御製詩讚譽匠人臻化巧工，玉質純潔淨美。參鄧淑蘋著《故宮所藏痕都斯坦玉器特展》，國立故宮博物院，台北，1983年。參考台北國立故宮博物院藏一件花形分隔盒，收錄於《越過崑崙山的珍寶——院藏伊斯蘭玉器特展》，台北，2016年，頁186；及一例葉形盒，收錄於鄧淑蘋主編《國色天香——伊斯蘭玉器》，台北，2007年，頁159，編號200。紐約佳士得曾售一件十八/十九世紀白玉葉形盒，2012年9月14日，拍品編號1028，可為比對。For further information on this lot please visit Bonhams.com

A RARE FAMILLE VERTE 'PEONY BLOSSOM' MONTH CUPKangxi six-character mark and of the periodThe delicately-potted vessel rising to a gently flaring rim, painted to represent the fourth month with variously coloured flowering tree peony amongst blue pierced rockwork, the reverse with a poetic inscription: Xiao yan yuan fen jin zhang lu. Mu xiang shen re yu tang feng, 'At dawn its beauty receives dew from a golden palm. In the evening the fragrance penetrates deep into the Jade Hall'. 4.9cm (1 7/8in) high.Footnotes:清康熙 五彩「牡丹」花神盃青花「大清康熙年製」楷書款Provenance:Captain Charles Oswald Liddell (1854-1941)Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 12 June 1929, and thence by descentPublished and Exhibited: Bluett & Sons Ltd., The Liddell Collection of Old Chinese Porcelain, London, June 1929, p.11, no.100 or 101.Captain Charles Oswald Liddell was born in 1851 in Edinburgh. Having moved to China for family business, he worked there from 1877-1913. He married Elizabeth Birt in 1880 in the Anglican Cathedral in Shanghai, and thereby inherited Birt's Wharf there, expanding the business to Hangzhou, Tianjin and Harbin. He was joined by his brother John when the firm became known as Liddell Bros. In 1915 Liddell was Quartermaster and Hon. Captain in the 1st Battalion, The Monmouthshire Regiment, having served previously (and more adventurously) in the 'Shanghai Light Horse'. Liddell collaborated with A.W.Bahr in an exhibition in Shanghai in 1908 (he was Chairman of the North China branch of the Royal Asiatic Society, and in writing descriptions for it which were printed by A.W.Bahr, Old Chinese Porcelain and Works of Art in China, 1911. Charles Liddell had formed his collection, except for three pieces, while trading in China for nearly forty years. He purchased a number of them from two significant sources: the collection of Prince Chun, the last Regent of the Qing dynasty; and from the collection of the private secretary and adviser to Li Hongzhang. In May-June 1929 Bluett's offered part of the collection for sale, publishing a catalogue of The Liddell Collection of Old Chinese Porcelain with 229 entries and eight illustrative plates, one of them unusually in colour.來源：Charles Oswald Liddell上尉（1854-1941）舊藏倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1929年6月12日購自上者，並由後人保存迄今展覽著錄：Bluett & Sons Ltd.，《Liddell收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》，倫敦，1929年6月，頁11，編號100或101利德爾上尉（Captain Charles Oswald Liddell），1854年生於愛丁堡。1877年移居中國，並為其家族企業一直在華工作至1913年。1880年，他與Elizabeth Birt在上海聖公會大教堂舉行婚禮，隨後接手了Birt家族在上海的平和碼頭，並將業務擴展到杭州、天津和哈爾濱等地。平和洋行的英文商號在其弟John加入後改為Liddell Bros。利德爾曾服役於上海英租界輕騎隊，並於1915年任蒙默思郡團一營軍需長官和榮譽上尉。1908年，利德爾與巴爾（A.W.Bahr，時任皇家亞洲學會華北分會秘書）合作於上海舉辦展覽，巴爾將展覽描述集結成《中國古瓷美術譜（Old Chinese Porcelain and Works of Art in China）》並於1911年出版。利德爾的藏品，除其中三件以外，全數在其在華經商的近四十年間入藏；其中一大部分來自兩個重要渠道：清朝末代攝政王醇親王載灃的藏品，以及李鴻章的私人秘書兼顧問的收藏。1929年5月至6月期間，倫敦古董商Bluett's出售了利德爾的部分藏品，並出版了《利德爾收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》圖錄，收錄了共計229件藏品並附8張插圖，其中甚至包含一幅頗不尋常的彩色插圖。Very delicately potted, 'Month cups' were painted in the fine wucai palette of underglaze blue and overglaze enamels, which was devised during the Ming dynasty, but rarely used during the Qing dynasty, when the underglaze colour was generally omitted. 'Month cups' were made at the Imperial kilns during the Kangxi reign. A different cup was made for each month of the lunar calendar. Underglaze-blue designs were usually painted on the unglazed body. These cups were so thinly potted that the cobalt blue decoration on their exterior can be seen through the eggshell porcelain from the interior of the vessel. Slight differences in size, colours, calligraphic styles and even marks between the individual cups suggest that they may not even have originally been conceived as sets of twelve, rather, they could have been issued consecutively, as the year evolved, to be finally assembled as a set at the end. The poems inscribed on the 'Month cups' are all couplets from Tang dynasty poems. The Kangxi Emperor greatly admired Tang poems as demonstrated in ordering the compilation of all recorded Tang poems in 1705, on the 44th year of his reign. This project came into fruition under the leadership of the official Cao Yin, when the 'Complete Collection of Tang Poems' Quan Tangshu was published in 1706, including over 40,000 poems and a foreword written by the Kangxi Emperor himself; see R.Scott, For the Imperial Court. Qing Porcelain from the Percival David Foundation of Chinese Art, New York, 1997, pp.82-83. It is thus likely that these delicate 'Month cups', decorated with poems favoured by the Emperor, were made during the later period of the Kangxi reign, when... For further information on this lot please visit Bonhams.com

A RARE SMALL JADEITE WINE-POT AND COVER18th/19th centuryOf elegant globular form, with expertly-carved spout and C-shaped handle, the exterior carved with flowering tree peonies, the domed cover carved carved with blossoming stems surmounted by a knop finial, the stone with bright apple-green inclusions. 9.7cm (3 7/8in) wide. (2).Footnotes:十八/十九世紀 翠玉蓋壺Provenance:Spink & Son Ltd., London,E. A. Parry (1879-1946), London, acquired from the above on 31 December 1923, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1923年12月31日購自上者，並由後人保存迄今Compare with a jadeite wine pot or waterdropper and cover, late 18th/early 19th century, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen, vol.3, London, 2016, p.809, no.1880, which was presented to Queen Mary in 1949 by the Queen and King of Norway. See also a related jadeite wine pot and cover, 19th century, from the Salting Bequest, in the Victoria and Albert Museum, illustrated by M.Wilson, Chinese Jades, London, 1997, no.46.參考一例十八世紀晚期/十九世紀早期翠玉蓋壺或水盂，由挪威國王王后於1949年贈與英國瑪麗王后，收錄於J.Ayers著，《Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen》，卷三，倫敦，2016年，頁809，編號1880。另見George Salting舊藏一例十九世紀翠玉蓋壺，現藏於倫敦維多利亞和阿爾伯特博物館，收錄於M.Wilson著，《Chinese Jades》，倫敦，1997年，編號46。For further information on this lot please visit Bonhams.com

A CINNABAR LACQUER CARVED BOWL16th/17th centuryExpertly carved with deep rounded sides rising from a ribbed foot ring to a gently everted rim, the exterior decorated with exotic birds amongst flowering peony sprays borne on undulating leafy stems, on a diaper-pattern ground, gilt foil lining to the interior, wood stand. 10.8cm (4 1/4in) diam. (2).Footnotes:十六/十七世紀 剔紅花鳥紋盌Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Although there are several similar published examples of carved cinnabar lacquer bowls with similar motifs, the present lot is rare for its gilt lining. Compare with a similar carved cinnabar lacquer bowl, Ming dynasty, illustrated in China Lacquerwork & Enamelware Selection, Beijing, 2006, p.55; see also another carved red lacquer bowl, Ming dynasty, illustrated by S.Kwan, Chinese Lacquer: The Muwen Tang Collection Series, Hong Kong, 2010, pp.222-223, pl.69; see also a related carved cinnabar lacquer bowl, Wanli mark and period, illustrated by K.J.Brandt, Chinesische Lackarbeiten, Linden Museum, Stuttgart, 1988, pl.44; and B.McElney, Chinese Metalwares and Decorative Arts, Museum of East Asian Art, Bath, 1993, pl.321.See a similar carved cinnabar lacquer bowl, 16th/17th century, with metal lining, which was sold at Bonhams London, 7 November 2013, lot 300.與本例紋飾類似的剔紅漆盌於現有出版物中時可見到，但如本例內壁包金者卻十分罕見。可與之比對的一件明代剔紅花鳥紋盌，見於《珠聯璧合之美：中國漆器琺瑯器收藏精品選》，北京，2006年，頁55。亦可參見另一件明代剔紅漆盌，圖見關善明著，《中國漆藝》，香港，2010年，頁222-223，圖版69。另有明代萬曆款剔紅漆盌則見於K.J.Brandt著，《Chinesische Lackarbeiten》，林登博物館，斯圖加特，1988年，圖版44，及B.McElney著，《Chinese Metalwares and Decorative Arts》，巴斯東亞藝術博物館，1993年，圖版321。倫敦邦瀚斯曾於2013年11月7日售出一件十六/十七世紀剔紅花鳥紋盌，拍品編號300，內壁同樣包金，可為參考。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 FINE AND RARE MUGHAL WHITE JADE QUATRELOBED SPICE BOX AND COVERIndia, 18th centuryThe box expertly carved and hollowed with four cylindrical compartments with straight walls, supporting a gently-curved lid carved with stylised leaves surmounted by a flower-bud finial, the cover's underside carved with a central flowerhead issuing four stylised leaves, the smooth translucent stone of even white tone. 9cm (3 1/2in) long. (2).Footnotes:十八世紀 痕都斯坦式白玉雕花瓣形分格蓋盒Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The present box and cover is an exquisite example of Mughal jade carving at its very finest. The master carver accomplished a perfectly balanced quatrelobed form in the box, to properly match the four-domed cover. The superb white jade stone was greatly admired by the carver focusing on form with minimal decoration allowing the viewer to enjoy the natural quality of the translucent white jade stone. Indian Mughal jades found their way to central Asia and thus to the Imperial Court in Beijing, where they were sent as tribute from inner-Asian regions. The Qianlong Emperor was a great admirer of these so-called 'Hindustan' jades and praised them for their exquisite lightness, thin walls and florid decoration. The Emperor's passion for Mughal jades led him in 1768, to write Tianzhu wuyindu kao'e, a scholarly text on the geography of Hindustan and the derivation of its name. The area he identified is today northern India, with the city of Agra at its centre. Subsequently, Mughal jades came to have a large influence on jade production in China.See a gem-set jade quatrelobed box and cover in the Metropolitan Museum of Art, New York (acc.no.02.18.777a–c). See also a gold-embellished Mughal jade quatrelobed box and cover, in the National Palace Museum, Taipei, illustrated by Teng Shu-p'ing, Exquisite Beauty: Islamic Jades, National Palace Museum, Taipei, 2007, p.111, no.129; and a further related semi-precious-stone-inlaid jade quatrelobed box and cover illustrated in ibid., p.112, no.131. Compartmented jade spice boxes, such as the present lot, were produced for the Mughal elite, to hold cardamom pods or stuffed betel-leaves (pan) which were used to colour the lips red as a cosmetic, or to be chewed as then was believed to freshen the mouth and help digestion; see S.Aziz Natnoo, 'Betel-Leaf (Pan) Culture: A Study of Mughal India in International Journal of Humanities and Social Sciences, vol 5, issue 1, January-February 2018, p.39. Compare with a related quatrefoil carved jade box, north India, circa 1740-1800, which was sold at Christie's New York, 19 June 2019, lot 198.白玉質，琢作四瓣花式盒，略帶方形，蓋面中央浮雕葉紋，立雕花蕾為蓋鈕，內部隔作四格。本品玉質色澤勻淨，器壁通透，線型流暢，打磨精到，且通體除立雕花鈕外無附加紋飾，充分凸顯玉材自然之美，是痕都斯坦玉雕精品。痕都斯坦即指蒙兀兒帝國（1526-1857）；1768年，乾隆皇帝親自撰《天竺五印度考訛》一文，考證發音，定名「痕都斯坦」。在蒙兀兒帝國治下，伊斯蘭玉器逐漸形成獨特的裝飾風格，並於十八世紀後期經新疆源源不斷貢入清廷，令乾隆皇帝大為激賞。相類玉盒可見紐約大都會藝術博物館館藏一例鑲金嵌寶帶托盤四格玉盒，藏品編號02.18.777a–c，形似本例。另見一例青白玉分格盒，收錄於鄧淑蘋著，《國色天香——伊斯蘭玉器》，國立故宮博物院，台北，2007年，頁112，編號131。形如本例的分隔蓋盒多為蒙兀兒精英階層盛裝香料之用，參S.Aziz Natnoo著，〈Betel-Leaf (Pan) Culture: A Study of Mughal India〉，收錄於《國際人文與社會科學期刊》，卷五，第一輯，2018年1-2月，頁39。紐約佳士得曾售一件約1740–1800年玉分格盒，2019年6月19日，拍品編號198，可為比對。For further information on this lot please visit Bonhams.com

A VERY RARE FAMILLE VERTE 'LOTUS' MONTH CUPKangxi six-character mark and of the periodThe finely potted vessel rising to a gently flaring rim, decorated to represent the sixth month with a pair of Mandarin ducks swimming in a lotus pond, with a kingfisher in flight above, the reverse with a poetic inscription: Gen shi ni zhong yu. Xin cheng lu xia zhu, 'The roots are like jade gleaming in the mud. The hearts contain pearls when dew has descended'. 4.9cm (1 8/9in) high.Footnotes:清康熙 五彩「荷花」花神盃青花「大清康熙年製」楷書款Provenance:Captain Charles Oswald Liddell (1854-1941)Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 12 June 1929, and thence by descentPublished and Exhibited: Bluett & Sons Ltd., The Liddell Collection of Old Chinese Porcelain, London, June 1929, p.11, no.100 or 101.Captain Charles Oswald Liddell (1854-1941) was born in 1851 in Edinburgh. Having moved to China for family business, he worked there from 1877-1913. He married Elizabeth Birt in 1880 in the Anglican Cathedral in Shanghai, and thereby inherited Birt's Wharf there, expanding the business to Hangzhou, Tianjin and Harbin. He was joined by his brother John when the firm became known as Liddell Bros. In 1915 Liddell was Quartermaster and Hon. Captain in the 1st Battalion, The Monmouthshire Regiment, having served previously (and more adventurously) in the 'Shanghai Light Horse'. Liddell collaborated with A.W.Bahr in an exhibition in Shanghai in 1908 (he was Chairman of the North China branch of the Royal Asiatic Society), and in writing descriptions for it which were printed by A.W.Bahr, Old Chinese Porcelain and Works of Art in China, 1911. Charles Liddell had formed his collection, except for three pieces, while trading in China for nearly forty years. He purchased a number of them from two significant sources: the collection of Prince Chun, the last Regent of the Qing dynasty; and from the collection of the private secretary and adviser to Li Hongzhang. In May-June 1929 Bluett offered part of the collection for sale, publishing a catalogue of The Liddell Collection of Old Chinese Porcelain with 229 entries and eight illustrative plates, one of them unusually in colour.來源：Charles Oswald Liddell上尉（1854-1941）舊藏倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1929年6月12日購自上者，並由後人保存迄今展覽著錄：Bluett & Sons Ltd.，《Liddell收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》，倫敦，1929年6月，頁11，編號100或101利德爾上尉（Captain Charles Oswald Liddell），1854年生於愛丁堡。1877年移居中國，並為其家族企業一直在華工作至1913年。1880年，他與Elizabeth Birt在上海聖公會大教堂舉行婚禮，隨後接手了Birt家族在上海的平和碼頭，並將業務擴展到杭州、天津和哈爾濱等地。平和洋行的英文商號在其弟John加入後改為Liddell Bros。利德爾曾服役於上海英租界輕騎隊，並於1915年任蒙默思郡團一營軍需長官和榮譽上尉。1908年，利德爾與巴爾（A.W.Bahr，時任皇家亞洲學會華北分會秘書）合作於上海舉辦展覽，巴爾將展覽描述集結成《中國古瓷美術譜（Old Chinese Porcelain and Works of Art in China）》並於1911年出版。利德爾的藏品，除其中三件以外，全數在其在華經商的近四十年間入藏；其中一大部分來自兩個重要渠道：清朝末代攝政王醇親王載灃的藏品，以及李鴻章的私人秘書兼顧問的收藏。1929年5月至6月期間，倫敦古董商Bluett's出售了利德爾的部分藏品，並出版了《利德爾收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》圖錄，收錄了共計229件藏品並附8張插圖，其中甚至包含一幅頗不尋常的彩色插圖。Delicately potted porcelain cups, such as the present example, were known as 'Month cups' and were made at the Imperial kilns during the Kangxi reign. These vessels were painted in underglaze-blue and overglaze famille verte enamels in wucai style depicting individual flowers that designated each of the twelve months of the year. The design format of these cups, incorporating a pictorial composition on one side and a poetic inscription ending in a seal mark on the other, was inspired by the long tradition in classical painting and was an innovation of the Kangxi period. The poems inscribed on the 'Month cups' are all couplets from Tang dynasty poems. The Kangxi Emperor greatly admired Tang poems as demonstrated in ordering the compilation of all recorded Tang poems in 1705, on the 44th year of his reign. This project came into fruition under the leadership of the official Cao Yin, when the 'Complete Collection of Tang Poems' Quan Tangshu was published in 1706, including over 40,000 poems and a foreword written by the Kangxi Emperor himself; see R.Scott, For the Imperial Court. Qing Porcelain from the Percival David Foundation of Chinese Art, New York, 1997, pp.82-83. It is thus likely that these delicate 'Month cups', decorated with poems favoured by the Emperor, were made during the later period of the Kangxi reign, when the compendium of Tang poetry was published.The twelve flowers painted on the 'Month cups' were selected following the traditions of the Flower Festival, which fell on the 15th day of the second month in the Chinese calendar, signifying the arrival of springtime and celebrated the birthday of all flowers. The Flower Festival was highly popular du... For further information on this lot please visit Bonhams.com

A RARE IVORY SEALQing Dynasty or earlierCrisply carved as a Buddhist wheel supported on a lotus-petal pedestal, and square seal, the seal face carved in zhuanshu calligraphy reading 'chong shan yi jiao', which may be translated as 'Revere virtue [and] respect the teaching'.6.6cm (2 5/8in) high.Footnotes:清或更早 牙雕印章Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今An ivory seal carved with the inscription 'Chong shan yi jiao', 'Revere virtue [and] respect teaching' was bestowed in 1443 by the Zhengtong Emperor on the Chong Fu temple in Dingcheng city, Gansu Province. The present seal is likely a reference to the same Imperial saying.An ivory seal of similar form with a Buddhist Wheel of the Law, but with a dedicatory inscription dated to 1427, from the Mr and Mrs R.H.R. Palmer collection, was exhibited by the Arts Council of Great Britain and the Oriental Ceramic Society, The Arts of the Ming Dynasty, London, 1957, no.371. 據載，明英宗正統皇帝曾於1443年御賜甘肅崇福寺「崇善翊教」象牙印章一具；本例或為以相同印文治印。參考R.H.R. Palmer伉儷收藏一例1427年制牙雕印章，同以法輪為鈕，曾借展於1957年英國藝術委員會與倫敦東方陶瓷學會於倫敦主辦之「明朝藝術（The Arts of the Ming Dynasty）」大展，展品編號371。This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com

A RARE CINNABAR LACQUER CARVED TRIPOD INCENSE BURNER, DINGQianlongOf archaistic form, carved around the exterior with taotie masks and archaic style motifs on a diaper-pattern ground, the globular body supported on three legs terminating in clawfeet issuing from mythical-beast heads, set with a pair of S-shaped handles, with hardwood stand and cover with jadeite finial, original metal liner. 15.1cm (6in) wide. (3).Footnotes:清乾隆 剔紅饕餮紋三足爐Provenance:Spink & Son Ltd., London (label)Parry Collection, London, and thence by descent來源：倫敦古董商Spink & Son Ltd.（標籤）倫敦Parry家族收藏，並由後人保存迄今See a related carved cinnabar lacquer tripod incense burner and cover, second half of the 18th century, without handles but with similar globular body and carving, in Brighton Pavilion until 1848, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen, vol.III, London, 2015, p.873. See also a related cinnabar lacquer box and cover in the form of a tripod ding, Qianlong/Jiaqing, illustrated by D.Clifford, Chinese Carved Lacquer, London, 1992, p.138, pl.113.Drawing inspiration from antiquity in form and design was strongly advocated by the Qianlong Emperor who actively guided the production of Court lacquerwares. He proposed to 'restore ancient ways', referring to the view of ancient culture as having intrinsic qualities of sincerity, simplicity and happy exuberance. For this purpose the Emperor instructed the Court to collect drawings of antiquities, such as the Xi Qing Gu Jian (Catalogue of Xiqing Antiquities); 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; and see Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2008, p.117, and for Qianlong period archaistic lacquer examples see nos.167-169.Compare with a carved cinnabar lacquer tripod bowl and cover, Qianlong, without handles, but of similar globular form, which was sold at Sotheby's Hong Kong, 2 June 2017, lot 666.造型古雅，獸面蹄足上承半球形腹，口沿兩側各有一曲耳，器外壁以錦地饕餮紋為飾。布萊頓英國皇家行宮內於1848年前藏有一例十八世紀下半葉剔紅鼎式帶蓋香爐，與本例形制相似惟無附耳，圖見J.Ayers著，《Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen》，卷三，倫敦，2015年，頁873。另參考一例清乾隆/嘉慶剔紅鼎式帶蓋盒，收錄於D.Clifford著，《Chinese Carved Lacquer》，倫敦，1992年，頁138，圖版113。乾隆帝十分推崇自古物中取材器物造型與設計，其慕古之情對清代宮廷漆器藝術之影響甚深。亦因其提倡「復古」，當時清宮內匯集大量古物圖譜如《西清古鑑》等，相關討論可參見張麗端《宮廷之雅：清代仿古及畫意玉器特展圖錄》，台北，1997年，頁49-50。另有多例乾隆年間的仿古漆器，見《和光剔彩——故宮藏漆》，台北，2008，編號167-169，可為參考。香港蘇富比曾於2017年6月2日售出一座清乾隆剔紅三足蓋盌，拍品編號666，可資比對。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 VERY RARE FAMILLE ROSE ENAMELLED WHITE GLASS 'FLOWER BASKET' SNUFF BOTTLEGuyue Xuan iron-red enamel mark, Beijing, circa 1775-1799Of flattened rounded form, with a recessed oval base, the milky-white glass finely carved in relief and decorated in famille rose enamels in the form of a wicker basket bearing a profusion of flower sprays including prunus blossom, lilies, chrysanthemums, peonies and narcissus, all beneath an overlapping plantain leaf collar and a scrollwork band at the neck, the foot inscribed Guyue xuan (Ancient Moon Pavilion), gilt metal stopper and ivory spoon. 6cm (2 3/8in) high. (2).Footnotes:約1775-1799年 料胎畫琺瑯「花籃式」鼻煙壺 礬紅「古月軒」楷書款Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The inscription Guyue Xuan (literally 'Ancient Moon Pavilion') on the present lot refers to one of the halls in the Old Summer Palace (Yuanming yuan) completed in 1767, prompting the Qianlong Emperor to order a group of wares, mostly enamels on glass, bearing the name of that particular pavilion. Compare with a similar enamel on glass snuff bottle, with the same motif, Guyue Xuan mark and attributed to the Palace Workshops in Beijing, 1770-1790, illustrated by H.Moss, V.Graham, and K.B.Tsang, The Art of the Chinese Snuff Bottle, vol.2, New York and Tokyo, 1993, no.200. The subject of a basket of flowers was a popular design during the 18th century and can be seen in many of the decorative arts of China; it may be related to the Daoist Immortal Lan Caihe whose attribute is a a basket of flowers. Compare a closely related famille rose enamelled white glass snuff bottle, Yuzhi mark, 1775-1800, attributed to the Palace Workshops, Beijing, illustrated by H.Moss, V.Graham and K.B.Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection. Arts of the Fire, vol.6, Part 1, Hong Kong, 2008, no.1105, which was later sold at Sotheby's Hong Kong, 27 May 2013, lot 238. See also a similar carved and enamelled white glass snuff bottle, Guyue Xuan mark, 1775-1799, which was sold at Christie's New York, 18 March 2021, lot 681.「古月軒」，一說為圓明園中一軒名，《故宮鼻煙壺》一書將乾隆朝料胎畫琺瑯鼻煙壺稱為「古月軒」。因其屬於玻璃與畫琺瑯的複合工藝，需先用玻璃造型，再以琺瑯顏料在胎體表面繪畫，最後放入小窯焙燒；且因玻璃與琺瑯顏料熔點非常接近，製作難度高，殊為珍貴。參考一例「古月軒」款且應為清宮造辦處所作，1770-1790年制料胎畫琺瑯「花籃式」鼻煙壺，收錄於H.Moss、V.Graham、與K.B.Tsang著，《The Art of the Chinese Snuff Bottle》，卷二，紐約，東京，1993年，編號200。花籃紋或源於道教仙人藍彩和之法器，是十八世紀的常見紋飾，廣泛用於各類材質器物。對比一例清乾隆1775-1800年制「御製」款料胎畫琺瑯「花籃式」鼻煙壺，應為清宮造辦處所作，收錄於H.Moss、V.Graham、與K.B.Tsang著，《A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection. Arts of the Fire》，卷六，第一部分，香港，2008年，編號1105；後於香港蘇富比2013年5月27日「瑪麗及莊智博鼻煙壺珍藏：第六部份」專場拍賣售出，拍品編號238。紐約佳士得於2021年3月18日售出一例1775-1799年御製涅白地粉彩花卉紋玻璃鼻煙壺，同署「古月軒」款，拍品編號681，可為參考。This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com

A FINE AND RARE PAINTED ENAMEL AND GILT-BRONZE SQUARE VASEQianlongOf slender square section tapering form, delicately enamelled with cusped panels variously depicting Xiwangmu borne on clouds with a boy attendant offering a dish of peaches, and Magu with a further boy attendant in a rocky landscape, all on a bright yellow ground with a profusion of flower sprays and foliage, the neck with archaistic pendent lappets on a pink ground within key-fret bands, set with a pair of gilt bronze lion-mask handles, with hongmu stand. 16.5cm (6 1/2in) high. (2).Footnotes:清乾隆 銅胎畫琺瑯開光仕女圖長方形瓶Provenance:J. C. Vickery, LondonE. A. Parry (1879-1946), London, acquired from the above on 25 August 1924, and thence by descentPublished, Illustrated and Exhibited: Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-1936, p.186, no.2187.來源：倫敦古董商J. C. Vickery倫敦E. A. Parry（1879-1946）舊藏，於1924年8月25日購自上者，並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935-1936年，頁186，編號2187This remarkable vase was included in the International Exhibition of Chinese Art held at the Royal Academy of Arts, Burlington House, London, in 1935-1936. This seminal exhibition had the patronage of their Majesties King George V and Queen Mary, and the President of the Chinese Republic. It included over 3,000 objects. These were variously loaned by the Chinese Government, including pieces shown for the first time outside China, objects from the collection of Sir Percival David, which were exhibited for the first time in public, pieces from the British Royal Collection, and from many important museums including the British Museum, the V&A, the Louvre, Guimet, Cernuschi, Topkapi Saray, the Metropolitan Museum of Art, Cleveland, Kansas City, Cologne, Dresden, and by notable private collectors including HRH Crown Prince of Sweden, Alan Barlow, R.C. Bruce, Buchanan-Jardine, Mr & Mrs Alfred Clark, Dr Leonard Gow, C.T. Loo, Carl Kempe, H.J. Oppenheim, Oscar Raphael, F. Schiller, Mr & Mrs Walter Sedgwick, A. Stoclet , S.D. Winkworth and Prof. W. Perceval Yetts - a roll call of the greatest collectors of Chinese art in the West in the 20th century. E.A. Parry loaned 6 pieces to the Exhibition, demonstrating the superb quality of the Collection and the high esteem in which it was held by the Exhibition Committee, which was directed by Sir Percival David. These pieces were admired to this date in the Parry family homes and this is the first time since the 1935-1936 Exhibition that they are seen in public once again. During the Qianlong period, the southern port of Guangzhou (otherwise known as Canton) was the main trade entrepot between Europe and China. Influenced by European painted enamels and oil paintings, local craftsmen began producing a large number of painted enamel wares depicting foreign flowers, architecture and Western figures as well as Chinese Immortals and subject matter which were sent as tribute to the Imperial Court in Beijing. Apart from the Guangzhou workshops, a smaller number of painted enamel wares were also manufactured in the Imperial Workshops in the Forbidden City, Beijing, which were first established during the reign of the Kangxi Emperor.Xiwangmu, the Queen Mother of the West, shown on one side of the vase, is a Daoist deity often depicted with an assistant carrying a basket of peaches beside her, such as on the present lot. She has an orchard of peaches deep in the Kunlun mountains in the West, which when eaten bestow Immortality. Magu, shown on the other side, is another female Immortal associated with the elixir of life. She is often portrayed next to a basket of flowers or herbs with life-giving properties. Compare the painting of Xiwangmu with another similar female Immortal on a painted enamel vase, Qianlong seal mark and period, in the Qing Court Collection, illustrated in Compendium of Collections in the Palace Museum: Enamels, 5, Beijing, 2011, pp.106-107, no.72. Compare also the dense foliate scrolls with similar ones on two Imperial-tribute painted enamel vases, Qianlong seal marks and of the period, illustrated in Ibid., nos.119 and 120.本拍品曾借展1935至1936年於倫敦皇家藝術學院伯靈頓宮舉辦的中國藝術國際展覽會。這一史無前例的展覽得到了中英政府及雙方人士的大力支持，由雙方元首擔任名譽主持人，英王喬治五世和瑪麗王后為監理。展品共計三千餘件，中國政府應邀出借包括故宮文物在內的近千件藏品，也是藏品首次在中國境外展出；展覽還包括了英國皇室的中國文物收藏，以及來自世界各地重要博物館（如大英博物館、維多利亞和阿爾伯特博物館、盧浮宮、吉美博物館、賽努奇博物館、託卡比皇宮博物館、大都會藝術博物館、克利夫蘭藝術博物館、堪薩斯城納爾遜-阿特金斯藝術博物館、科隆博物館、德累斯頓博物館等）與著名私人藏家（如瑞典王儲、Alan Barlow爵士、R.C. Bruce、Buchanan-Jardine男爵、克拉克伉儷（Mr & Mrs Alfred Clark）、Leonard Gow博士、盧芹齋、卡爾·坎普（Carl Kempe）、H.J. Oppenheim、Oscar Raphael, F. Schiller、Walter Sedgwick伉儷、A. Stoclet、S.D. Winkworth、W. Perceval Yetts教授等）的公私收藏精品，名單幾乎囊括了二十世紀西方世界最為重要的中國藝術收藏家。 E.A. Parry向本次&... 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 PAIR OF QIANGJIN AND TIANQI LACQUER QUATRELOBED TRAYSQianlongEach tray finely incised and painted in the qiangjin and tianqi technique reserved on a rich red ground, elegantly-decorated in the well with a gilt raised quatrelobed cartouche framed by a key-fret border enclosing geometric-patterns in orange and silver containing auspicious wan and floral patterns, the elegantly shaped cavetto with a cartouche on each side decorated with floral honeycomb diaper-ground reserved against a geometric pattern, the exterior walls with wan diaper-ground, the underside black lacquered, all raised on four short feet. 17.7cm (7in) wide. (2).Footnotes:清乾隆 填漆戧金海棠式盤一對Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The present pair of trays was made for the Imperial Court and follows the Qianlong-period revival of forms and design made during the Ming dynasty's Jiajing period. See a carved cinnabar and qiangjin lacquer quatrelobed tray, Jiajing, illustrated in The Creation of Natural Immensity and Grandeur: the Yang Ming Shan Fang Collection of Lacquer from Song, Yuan, Ming and Qing Dynasties, Beijing, 2020, pp.92-93, no.24. Compare also a qiangjin and tianqi lacquer box and cover of quatrelobed form, mid Qing dynasty, with a very similar design to the present pair of trays, illustrated by S.Kwan, Chinese Lacquer: The Muwen Tang Collection series, Hong Kong, 2010, p.336, no.126.海棠式，通體髹赭漆，以彩漆並戧金花紋為飾，盤底髹黑漆。盤心隨形開光以一道鎏金突稜為界。開光外環繞以回紋，內填錦地萬字及花卉紋。內壁造型優雅，四壁均各有一開光，內填六方錦地花卉紋。本品應為清宮內廷之作，因乾隆一朝大興復古，此二盤從造型至紋樣上也頗具明風，如陽明山房所藏一件明嘉靖剔紅戧金海棠式盤，收錄於《巧法造化：陽明山房藏宋元明清漆器》，北京，2020年，頁92-93，編號24。其裝飾亦可與一件清中期填漆錦紋海棠形盒比對，圖見關善明著，《中國漆藝》，香港，2010年，頁336，編號126。For further information on this lot please visit Bonhams.com

A FINE AND RARE PAIR OF THREE-COLOUR CINNABAR LACQUER CARVED PRUNUS-SHAPED BOWLS AND COVERS, ZHADOUQianlongEach with an everted foliated rim, carved and decorated with cusped red cinnabar floral-cell cartouches and ruyi sceptres reserved on a greenish-black and yellow wan-diaper ground, the body and cover further decorated with red and coloured-lacquer floral-cell pattern bands, the gilt-bronze knop finials encircled by petal lappets and key-fret borders, the interiors and bases lacquered black. Each 15.7cm (6 1/4in) wide. (4).Footnotes:清乾隆 剔彩錦地紋帶蓋花口唾盂一對Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Notable for the vigorous carving, precision of knifework and meticulous attention to detail, the present bowls and covers encapsulate the opulent style developed under the orders of the Qianlong Emperor, who took an active role in developing Court lacquerwares. The high standards achieved in lacquer production during the Qianlong reign also resulted from the Emperor's intervention by ordering ivory craftsmen from Guangzhou to Beijing to revive many techniques used in Ming lacquer carvings. These included the so-called 'three-colour-layered lacquer carving', ticai, a popular practice during the late Ming dynasty.A closely-related two-coloured cinnabar lacquer zhadou, mid Qing dynasty, in the Hall of the Three Rarities, Sanxitang, is illustrated in Imperial Furniture of Ming and Qing Dynasties: Classics of the Forbidden City, Beijing, 2008, p.340, no.373. Compare also with a related zhadou and cover, Qianlong, second half 18th century, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, London, 2015, p.873, no.2011. Compare the layered carving technique with a three-coloured lacquer carved box and cover, 18th/19th century, illustrated in Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2008, p.164, no.180. See a single related carved red lacquer zhadou and cover, 18th century, which was sold at Christie's New York, 18 September 2015, lot 2096.折沿花口，折沿上有四處瓣形開光並剔出錦地紋為飾，開光之間髹以黃綠彩漆並治萬字錦地紋，其上各剔紅漆如意一柄。器身及器蓋同樣在三色彩漆之上剔出各式錦地紋帶。蓋鈕鎏金。器內及器底均髹黑漆。本例雕工細緻，紋飾精巧，呈現了乾隆年間流行的奢華風格。乾隆皇帝本人對宮廷漆器工藝及風格的發展有極大的影響。在其治下，廣東的牙雕工匠被徵調至內廷，明代漆雕的許多工藝也被恢復，清代漆器工藝在此時一度達到巔峰。其中一項被復原的明代漆雕技法為「剔彩」，即在器物上分層髹以不同顏色的漆，因此所剔紋樣即可呈現不同層次及色彩斑斕之效果。參考故宮三希堂陳設一例相似的清中期剔彩唾盂，圖見《明清宮廷家具》，北京，2008年，頁340，圖373。另一件可與之相較的清乾隆（十八世紀下半葉）帶蓋唾盂可見於J.Ayers著，《Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen》，卷三，倫敦，2015年，頁873，編號2011。本品所運用之剔彩技法及幾何紋飾亦可比較一例十八/十九世紀剔彩八棱式盒，與收錄於《和光剔彩——故宮藏漆》，台北，2008年，頁164，編號180。紐約佳士得曾於2015年9月18日售出一例十八世紀剔紅牡丹梅紋錦地渣斗，拍品編號2096，可資比對。For further information on this lot please visit Bonhams.com

A RARE CLOISONNÉ ENAMEL BOWL19th centuryOf rounded form inverted towards the top, raised on short foot, the exterior colourfully enamelled with four depictions of a robe-clad figure seated on rockwork amongst tumultuous waves on a ground of turquoise ground, the interior decorated in the well with a medallion enclosing a red five-clawed dragon emerging from crashing waves and rocks by a tortoise against green ground, the cavetto with a tiger, phoenix and qilin against turquoise ground, all reserved against ruyi-shaped cloud scrolls, the base enamelled with a foliate lotus blossom. 22cm (8 5/8in) diam.Footnotes:十九世紀 銅胎掐絲琺瑯瑞獸紋盌Provenance:J. C. Vickery, LondonE. A. Parry (1879-1946), London, acquired from the above on 25 August 1924, and thence by descent來源：倫敦古董商J. C. Vickery倫敦E. A. Parry（1879-1946）舊藏，於1924年8月25日購自上者，並由後人保存迄今The form of the present bowl, unusually inverted towards the rim, as well as the decoration, suggest it may have been used for a ritual purpose or as an alms bowl. The interior is decorated with five mythological creatures, dragon, tortoise, phoenix, tiger and qilin. This is an unusual combination which varies from the known combination of the Five Heavenly Beasts, which includes a number of these creatures, but not the qilin, and in other colours.盌束口，弧壁深腹，下承圈足，略呈缽形。外壁飾四人著袍立於礁石之上，內壁飾龍、龜、虎、鳳、麒麟五種瑞獸。《禮記》中將麟鳳龜龍稱為「四靈」，而道家則以青龍、白虎、朱雀、玄武四方神獸為「四靈」，此例中所飾神獸或為「四靈」之組合變體。For further information on this lot please visit Bonhams.com

AN EXTREMELY RARE IMPERIAL CINNABAR AND TIANQI LACQUER CARVED 'PLUM BLOSSOM' 'PICNIC' BOX SET, COVER AND STANDQianlongThe elaborate set comprising a cinnabar lacquer cover with lobed sides, finely carved on the upper surface with six tribute bearers carrying scrolls, coral vases, coins and other offerings set within a mountainous landscape scene dotted with rocks and paulownia trees, the vertical sides of the cover carved with cartouches depicting the 'Hundred Antiques', all on a diaper ground, the interior with a further two-tiered 'prunus blossom' box accommodating five smaller boxes enclosing a central circular box, all finely decorated with polychrome designs depicting delicate sprays of blossoming lotus, supported on a separate cinnabar lacquer stand, the upper surface incised with a large floral bloom radiating tendrils, the sides carved with a honeycomb pattern, raised on five cabriole legs. 16.8cm (6 5/8in) high x 19.5cm (7 5/8in) wide. (17).Footnotes:清乾隆 剔紅胡人進寶梅花式套盒Provenance:Spink & Son Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 31 March 1925, and thence by descentPublished, Illustrated and Exhibited:Spink & Son Ltd., A Selection of Oriental Works of Art, London, circa 1924, p.17, no.281來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1925年3月31日購自上者，並由後人保存迄今展覽著錄：Spink & Son Ltd.，《A Selection of Oriental Works of Art》，倫敦，約1924年，頁17，編號281This exquisite 'picnic' set was produced in the Imperial Lacquer Workshops of the Zaobanchu (Imperial Palace Workshop), located in the Forbidden City. Notable for the exceptional quality of its carving through the multiple layers of cinnabar lacquer and the ingenious combination of the polychrome tianqi (filled-in) technique decorating its inner compartments, the present lot reveals the opulent taste of the Qianlong Emperor and the zenith of lacquer carving achieved during his reign. Layer upon layer of lacquer was patiently applied to build up a thick surface through which the craftsmen meticulously carved a variety of grounds for the different elements of the elaborate designs, and the tianqi lacquer technique provided an attractive visual contrast to the carved cinnabar lacquer exterior, to the delight of the Emperor and the Court.The shape of the present box with its five-lobed sides is often referred to as meihua xing, or 'Plum-blossom form'. This shape appears to have been highly favoured by the Qianlong Emperor. See a 'plum-blossom'-shaped cinnabar lacquer box, mid Qing dynasty, standing on a similar stand as the present example, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum. Lacquer Wares of the Qing Dynasty, Shanghai, 2006, p.60, no.40. In addition, the theme of tribute bearers appears to have been highly favoured by the Qianlong Emperor, as can be noted on a number of boxes in leading museum collections. A cinnabar lacquer lobed box, Qianlong, shaped as conjoined circles, in the National Palace Museum, Taipei, depicts a foreigner on horseback accompanied by his servant, is illustrated in Emperor Chien-lung's Grand Cultural Enterprise, Taipei, p.56, pl.I-45; see also a small cinnabar lobed box, Qianlong, which depicts a similar scene, and is illustrated by C.Lihua, Many Splendors: Yuan, Ming and Qing Lacquerware from the Chao Collection, Beijing, 2010, no.72.The closest comparison for this sumptuous arrangement of 'boxes within a box' is the pair of musical-stone shaped boxes in the collection of the Palace Museum, Beijing. Contained within each of the Palace Museum boxes are four similarly-lacquered smaller containers; both sets of boxes were included in the exhibition, Views of Antiquity in the Qing Imperial Palace, Macao, 2006, p.326, no.116. See also another carved cinnabar lacquer box, divided into compartments on a separate base, illustrated by M.Beurdeley, The Chinese Collector Through the Centuries: From the Han to the 20th Century, Fribourg, 1966, p.161. Also compare the tianqi work executed on the interior boxes within a lacquered rectangular box and a two-tiered box, Qianlong, in the Palace Museum, Beijing, illustrated in Zhongguo qiqi quanji, vol.6, Fuzhou, 1993, nos.95 and 101.Compare with an extremely rare polychrome lacquer peach-shaped box and covers accommodating nine matching boxes and covers, Qianlong, which was sold at Christie's New York, 23 March 2013, lot 1319. See also a carved cinnabar octafoil box and cover accommodating eight fitted dishes, Qianlong, which was sold at Christie's Hong Kong, 27 November 2007, 1794.盒梅花形，下承底座，通體雕朱漆花紋。蓋面雕胡人進寶圖，進貢者分別手捧畫卷、珊瑚插瓶、錢幣及其他寶物。蓋外壁每瓣之上均治錦地開光，開光內為各式博古圖。內置雙層梅花式套盒，盒蓋隨形開光填漆彩繪蓮紋。下層為攢盒形式，內含五個扇形小盒環繞中央一圓盒，萬字錦地，每隻扇形小盒皆在盒蓋繪有一隻蝙蝠，中央圓盒繪一簇壽桃，有五福捧壽、福壽綿延之意。盒座表面飾以大朵纏枝團花，座身滿鋪六角錦地紋，下承五彎獸足，曲線優雅。整體結構匠心獨運，精巧絕倫。本例無疑為清宮造辦處所製御用之物。盒蓋漆層厚重，雕工細膩，配以色彩斑斕之填漆內盒，更添光彩，彰顯乾隆皇帝的奢華品味外，更是其在位期間漆藝巔峰之體現。盒蓋所用「剔紅」之法，需在器物的胎型上塗上數十層至百層生漆，等乾後再雕刻出浮雕的紋樣，是對工匠耐性及手藝的極大考驗。而內盒上所施用的填... For further information on this lot please visit Bonhams.com

A RARE VERY PALE GREEN JADE 'DRAGON' KNOT-LOOSENER, XI18th/19th centuryOf elegantly curving C-form, the fang-shaped tool terminating with a dragon-head, the stone of even greenish-white tone. 9.8cm (3 7/8in) long.Footnotes:十八/十九世紀 青白玉龍首觿Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The dragon-shaped arched fang-shaped pendant, which was likely made to be used as a knot-loosener, is carved after the archaic prototype made in jade and agate during the Zhou dynasty (1045-256 BC). At that time, xi pendants were usually made as pairs and buried in tombs. While the examples dated to the Spring and Autumn period resembled the shape of an animal's tooth or fang, the pendants made during the Warring States period were usually more slender in form. Dragon-shaped pendants were developed from the late Warring States period to early Western Han dynasty; see Gu Fang, The Pictorial Handbook of Ancient Chinese Jades, Beijing, 2007, p.240. See jade and agate Xi, in the Palace Museum, Beijing, illustrated in Compendium of Collections in the Palace Museum: Jade 3 Spring and Autumn Period and Warring States Period, Beijing, 2010, nos.201-206, and 208-209.觿者，解結錐也。周人為解衣帶之結而常佩解結之工具，並用於隨葬，常見以玉石或瑪瑙成對製成，為此例濫觴。春秋時期的玉觿似獸牙，較為粗短；戰國至西漢時期則呈長角狀或彎曲的龍體。安徽省巢湖市北山頭西漢墓出土一件龍形玉觿，見古方著，《中國古玉器圖典》，北京，2007年，頁240。另見《故宮博物院藏品大系：玉器編3，春秋戰國》，北京，2010年，編號201-206，及208-209。For further information on this lot please visit Bonhams.com

A RARE PALE GREEN AND RUSSET JADE INSCRIBED ARCHAISTIC CUPMing DynastyThe deep oval vessel set on a short foot with spreading rim, carved with three horizontal bands, the upper bearing a two-line archaic-character inscription, the middle register with stylised archaistic chilong motifs, the lower with scrollwork designs, the openwork handle carved in the form of a sinuous scrolling dragon, the greenish-yellow stone with russet veining and inclusions. 11cm (4 3/8in) high.Footnotes:明 青白玉仿古紋觥Provenance:Spink & Son Ltd., London,E. A. Parry (1879-1946), London, acquired from the above on 30 November 1938, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1938年11月30日購自上者，並由後人保存迄今Archaistic jade vessels similar to the present lot were probably based on jade rhytons dating to the Han dynasty. See a jade vessel excavated from the tomb of the King of Nanyue, Guangdong Province, illustrated by J.Rawson in Chinese Jade from the Neolithic to the Qing, London, 1995, p.70, fig.61, which, in turn, appears to have been based on Western Asian forms shaped as horns rising from a twisted, bifurcated tail-form handle at the bottom and incised around the sides with scroll decoration. By the Song and Ming dynasties, this shape was modified and the sides carved with bands of archaistic decoration inspired by that found on ritual bronzes and jades of the Eastern Zhou and Han dynasties, often with the addition of chilong carved in high relief around the sides, and sometimes with a dragon-form handle, such as the one which can be noted on the present cup. Compare with a related jade cup, Ming dynasty, decorated with archaistic designs of cicadas, taotie masks and stylised dragons, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum, vol.2, Hong Kong, 1995, pp.232-233, no.183.A related yellowish-celadon jade rhyton cup, 17th century, was sold at Christie's London, 12 November 2010, lot 1178.玉質青黃，赭褐沁呈色自然。橢圓體，深膛矮足，口微侈。器外壁環以三周紋飾，最上一週為明異體篆書銘文兩行，中層雕螭龍紋，下層飾羽翅紋。鏤空盃鋬以一矯健遊龍造型。此類仿古玉器多以漢代玉觥為濫觴。如廣東西漢南越王墓中出土一件角形玉盃，圖見J.Rawson著，《Chinese Jade from the Neolithic to the Qing》，倫敦，1995年，頁70，圖61；其器形源於西亞，形似犀角，底部捲曲成把手，盃身纏以回環往復之龍紋。至宋明兩代，該類器型持續發生衍變，盃身多飾以仿東週及兩漢時期青銅禮器及玉器之紋樣，並常見高浮雕螭龍紋，鋬以龍造型為多。比較一例清宮舊藏明代玉仿古銅紋單耳盃，外壁亦雕三周紋飾，收錄於《故宮博物院藏文物珍品全集：玉器（中）》，香港，1995，頁232-233，編號183。另有一例十七世紀青黃玉雕角盃，售於倫敦佳士得，2010年11月12日，拍品編號1178，可資比對。For further information on this lot please visit Bonhams.com

A RARE CINNABAR LACQUER CARVED 'DRAGON' TRAY16th/17th centuryThe well of the rectangular tray carved through layers of cinnabar lacquer with a writhing five-clawed dragon pursuing the flaming pearl amidst wispy ruyi-shaped clouds, the interior and exterior sides similarly carved with ruyi clouds, all on a diaper-pattern ground. 25.4cm (10in) long.Footnotes:十六世紀/十七世紀 剔紅雲龍紋長方形盤Provenance:Captain W.F. Collins (1865-1948), Beijing, who sent the lacquer tray to Bluett's on 27 May 1926Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 7 June 1927, and thence by descentCaptain William Fellows Collins, was agent in Peking for the Anglo-French China Corporation Ltd and for S. Pearson & Son, and supplied Bluett's. John Sparks, Franck & Co and other dealers with consignment of Chinese ceramics and works of art from Beijing. He later reached the rank of Colonel and was awarded the DSO. For more information about Collins, see R.Davids and D.Jellinek, Provenance, Oxon, 2011, p.124.來源：高林士（1865-1948）於1926年5月27日由北京送至倫敦古董商Bluett's倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1927年6月7日購於上者，後由家族繼承高林士（William F. Collins上尉），時任聯華銀公司（Anglo-French China Corporation Ltd）及英國培生集團（S. Pearson & Son）駐北京代理，並為英國Bluett's、John Sparks、Franck & Co 等古董商由北京提供中國古董及藝術品。其後擢升至上校，並被授予傑出服務勳章。有關高林士的具體信息，參見R.Davids與D.Jellinek著，《Provenance》，牛津，2011年，頁124。Notable for its extremely fine and deep carving, made possible through the varying thickness of the lacquer ground, this exceptional tray relates to the extremely fine lacquer wares manufactured in the Imperial Workshops during the reign of the Wanli Emperor of the Ming dynasty. See a carved yellow and red lacquer 'dragon' tray, Xuande Yiwei mark, 16th/17th century, illustrated in Carving the Subtle Radiance of Colors: treasured Lacquerware in the National Palace Museum, Taipei, 2008, p.111, no.99. See also a related qiangjin and tianqi lacquer tray, decorated with a similar design of dragons, Wanli Renchen year and of the period, in the Nezu Art Museum, Tokyo, illustrated by Ch'iang-chin, Chinkin and Zonsei, Lacquerware, Tokyo, 1974, p.73, no.53.Capable of flying high in the sky and diving back in the sea, dragons were seen as intermediaries between Heaven and Earth and symbolic of the Emperor and Imperial power. Typically, the representation of five-clawed dragons was reserved for Imperial wares. Ruyi-clouds were also auspicious, as they resembled the lingzhi fungus, prized for its attributions of longevity, and combined with the dragon represent auspicious wishes of longevity to the Emperor. Compare the present tray with a related carved yellow and red lacquer 'dragon' tray, Wanli mark, cyclically dated Renchen year corresponding to 1592 and of the period, which was sold at Bonhams Hong Kong, 27 November 2018, lot 52.盤方形，斜沿，圈足，足內髹黑漆，盤心雕有一尾五爪龍，四周環繞如意雲紋，盤身內外壁均剔刻錦地如意雲紋以為飾。漆層厚重，刀法深邃。本例漆地在不同處厚薄有異，因此其雕工亦深淺不一，精細之餘更是極富層次感，大有明萬曆朝御製漆器之風範。參看台北國立故宮博物院藏一件明十六/十七世紀宣德款剔彩雙龍紋長方盤，收錄於《和光剔彩——故宮藏漆》，台北，2008年，編號99。另見日本根津美術館藏一件明萬曆戧金填彩雙龍紋盤，底刻萬曆壬辰紀年款，其紋飾與本品一致，見《鎗金・沈金・存星一図版資料》，東京，1974年，頁73，編號53，其紋飾亦資參考。傳說中，龍既可翱翔天際亦可潛行深海，因此被視為擁有溝通天地的能力，同時亦是皇權之象徵；其中五爪龍紋更被認為是皇家專用。如意雲紋亦是中國紋樣中常見的祥瑞裝飾，其形似靈芝，而後者也被認為是延年益壽之物。該盤結合龍紋與靈芝紋為飾，可能是用於皇家壽儀之物。比較一例明萬曆1592年制剔黃雙龍雲紋長方盤，底刻「大明萬曆壬辰年製」款，售於香港邦瀚斯2018年11月27日，拍品編號52。For further information on this lot please visit Bonhams.com

A RARE CARVED CINNABAR LACQUER 'HUNTING SCENE' BOWL16th/17th centuryThe rounded sides rising from a short foot to a flared rim, deeply carved with a continuous scene of four Mongolian equestrian hunters armed with spears, one of which has successfully speared an animal, riding in a tree-strewn landscape including pine, willow, paulownia, with grass and lingzhi, reserved on a floral diaper ground, the interior lacquered black, with hongmu stand. 10.8cm (4 1/4in) diam. (2).Footnotes:十六/十七世紀 剔紅狩獵圖盌Provenance:Captain W.F. Collins (1865-1948), Beijing, who sent the bowl to Bluett's on 27 February 1926Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 26 May 1926, and thence by descent來源：高林士（1865-1948）於1926年2月27日由北京送至倫敦古董商Bluett's倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1928年5月26日購自上者，並由後人保存迄今Captain William Fellows Collins, was agent in Peking of the Anglo-French China Corporation Ltd and of S. Pearson & Son, and supplied Bluett's. John Sparks, Franck & Co and other dealers with consignment of Chinese ceramics and works of art from Beijing. He later reached the rank of Colonel and was awarded the DSO. For more information about Collins, see R.Davids and D.Jellinek, Provenance, Oxon, 2011, p.124.Lacquer bowls depicting hunting are rare. Although hunting was extolled by early Ming Emperors - who had inherited the tradition from the Mongol Yuan as a sign of military prowess and state authority, by the mid and late Ming period it was seen by the literati as a distraction from grave matters of state. The role of hunting became a charged area of contestation, where Ming Emperors and senior court ministers staked claims about rulership, ruler-minister relations, and the role of the military in the polity. The heirless Zhengde Emperor (1505-1521) was particularly passionate about hunting, much to the consternation of his ministers; see D.M.Robinson, Martial Spectacles of the Ming Court, Cambridge MA, 2013, pp.214-220. See two related hardstone-inlaid zitan boxes and covers, early Qing dynasty, decorated with equestrian hunting figures, illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn, Hong Kong, 2002, nos.230-231.See a carved cinnabar lacquer rectangular box and cover, with a similar motif of hunting, attributed to Zhou Zhu, Ming dynasty, 16th/17th century, which was sold at Sotheby's Hong Kong, 7 October 2010, lot 2213.高林士（William Fellows Collins上尉），時任聯華銀公司（Anglo-French China Corporation Ltd）及英國培生集團（S. Pearson & Son）駐北京代理，並為英國Bluett's、John Sparks、Franck & Co 等古董商由北京提供中國古董及藝術品。其後擢升至上校，並被授予傑出服務勳章。有關高林士的具體信息，參見R.Davids與D.Jellinek著，《Provenance》，牛津，2011年，頁124。以「狩獵圖」為主題紋飾的漆盌十分少見。明朝雖以武力建國，但至明中期，顯著尚武氣質的王朝已逐漸讓位給文人官僚集團；明武宗正德皇帝對田獵騎射的熱情則被文人集團視為荒唐；見D.M.Robinson著，《Martial Spectacles of the Ming Court》，麻省，2013年，頁214-220。北京故宮博物院藏兩例清早期紫檀百寶嵌狩獵圖盒，收錄於《故宮博物院藏文物珍品全集：竹木牙角雕刻》，香港，2002年，編號230-231，騎手頭戴番帽，手執長矛的造型可與本例比對。參考一例十六/十七世紀剔紅狩獵圖紋蓋盒，售於香港蘇富比，2010年10月7日，拍品編號2213。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

AN EXCEPTIONALLY RARE IMPERIAL INSCRIBED TWO-COLOUR CINNABAR LACQUER CARVED BRUSHPOT, BITONGQianlong seal mark and of the periodExpertly carved around the exterior in relief with an Imperial poem in kaishu script titled Xiao yuan xian yong wu shou ('Five verses from the small leisure orchard') in red, on a black square diaper-pattern ground, the rounded rim carved with a zigzag floral design, all supported on a stepped base decorated with black floral honeycomb diaper-ground, raised on five ruyi-shaped carved red lacquer framed feet, the interior and base black lacquered. 12.2cm (4 3/4in) high.Footnotes:清乾隆 御製剔紅「小園閒詠五首」御題詩筆筒「乾隆御製」款 「乾」「隆」印Provenance:Spink & Son Ltd., LondonMrs G. N. Parry (1923-2013), London, acquired from the above on 29 April 1961, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦G. N. Parry夫人（1923-2013）舊藏，於1961年4月29日購自上者，並由後人保存迄今Finely carved lacquer brushpots with Imperial poems carved in elegant kaishu script, such as the present example, are very rare, but two examples from the Qing Court Collection, in the Palace Museum, Beijing have been published. The first brushpot, nearly identical to the present lot, is illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, Hong Kong, 2006, pl.32. The second example is illustrated in 200 Objects You Should Know: Carved Lacquer Ware, Beijing, 2008, pl.162. A third example, a closely-related but slightly smaller carved two-colour lacquer brushpot with the same poem, Qianlong seal mark and period, is illustrated by S.Marsh, Brushpots: A Collector's View, Barcelona, 2020, p.80. Only one other very similar example appears to have been sold at auction. Compare with a carved cinnabar lacquer brushpot, with the same poem, Qianlong seal mark and of the period, but with a red colour foot and no key-fret border, which was sold at Sotheby's Hong Kong, 10 April 2006, lot 1526.All the brushpots mentioned above have subtle variations in their design. It has been suggested that these differences are due to having been produced over a period of time; see S.Marsh, ibid.,, p.80. However, only the present lot has the exquisite carving on the mouth rim of a zigzag diaper-pattern, while sharing with one of the two Beijing Palace Museum brushpots the same colour and shaped foot.The poem adorning the present brushpot, entitled 'Five verses from the small leisure orchard' Xiao Yuan Yong Wu shou, was composed by the Qianlong Emperor himself and is recorded in the Anthology of Qianlong Poems Qing Gaozong Yushi Wen Quanji. Le Shan Tang Ding Ben, chapter 27, p.5, which may be translated as:'Five Verses from the small leisure orchard'1In the autumn lake the fish timidly near the bait, such are the affairs of rod and hook. Above the green waters a bamboo rod, a clear breeze rustles the collar of the palm-bark rain cape. The grassy reeds of the outskirt, among the moon and stars. Returning home along in the still night, along the mossy clear path. 2Taking the pine as my home, seeing home where the crane guards the gate. Knowing people and visiting guests, deserve fine grain from the paddies. The ancient spirit of the moon staying the night, the combing breeze through manifold feathers. Up to now, fine servant boys, need not be expensive and lofty. 3How much do you understand the colours of autumn? the reeds and flowers are all now white. The battling wind shakes the moorside at sunset, drinking the dew on the cold isle. Life and vitality knows to be thankful, and not willing to stop anytime. In the vast smoky water, it is best to go by a flat boat.4The pavilion across the river, connected by a bridge. Old autumn with jaded white sky, the red maples in the cold current. Rolling curtains of willow to the night moon, walking in the wind and frost. How I love this path, crossing the water east. 5Of the flowers and trees of the four seasons, my favourite in the garden is the plum blossom. Refusing to yield to the snow, in the breeze several flowers have blossomed. The pure fragrance wafts to the bones, cold and moist with icy cheeks. Alone, the secluded person can appreciate it, inspecting the branches. The poems were written by Prince Hongli, before he became the Qianlong Emperor, and were originally published in the Yuzhi Leshan Tang Quanji. The Leshan Tang was within the Palace where the Qianlong Emperor lived as a Prince, and these poems were published in the second year of his reign. It could be said that the Qianlong Emperor was nostalgic about his earlier time in this palace before he became Emperor, and so wanted brushpots carved with this particular poem. We enter the private realm of the Qianlong Emperor - firstly, through the poem, in his small garden rather than on an ostentatious grand tour, and secondly, through the brushpot, with him seated at his scholar's desk. Although brushpots with calligraphy can be found from earlier reigns, such as the Kangxi period, it was only during the Qianlong period that a brushpot is decorated with the Emperor's own poem. This can be taken as a sign of the Qianlong Emperor's confidence in poetry and classical Chinese literature and furtherance of his image as an accomplished scholar. Indeed, the Qianlong Emperor was a prolific poet and composed thousands of poems that, taken together, construct an image of the Emperor as a wise, erudite yet sensitive ruler. As a Manchu, he was still very much conscious of his perceived 'foreignness' by the Han Chinese elite. His sensitivity to the issue resulted in both a sorcery scare in 1768: a hunt for perceived sorcerers cutting off the Manchu prescribed queues, and literary inquisitions that sought to censor and destroy any text that he considered insulting to the Manchu. See P.A.Kuhn, The Chinese Sorcery Scare of 1768, New Haven, 2009. The Qianlong Emperor's concerns however, had a positive side too, propelling him to forge an identity, given that he was not entirely Han Chinese, to became the custodian, protector and benefactor of that culture. As such, the Qianlong Emperor aimed to show himself as worthy of any educated Han Chinese literatus: learned in the classics and the arts of painting and calligraphy. He therefore surrounded himself with the accoutrements of the scholar, such as brushpots, embellished with his own poems in fine calligraphy. In this series of poems carved on the present brushpot, the description of beautiful scenery and nature parallels the harmony and beauty of a world under his dynasty's rule. Brushpots with these poems, such as the present lot, would instill in the writer the erudition of the Emperor, and similar poems were inscribed on other brushpots in different mediums. See for example, the same poem on an underglaze red and white brushpot, Qianlong, illustrated in Sun Yingzhou de taoci shijie, Beijing, 2003, p.262, no.161.圓口直筒，筒身微斂，筒內髹黑漆，口沿飾紅邊，底部剔紅鐫出回紋一匝，下承四足錦地基座。器身外壁於深色回紋錦地上作剔紅雕刻乾隆... For further information on this lot please visit Bonhams.com

A VERY RARE GILT AND BROWN LACQUER 'PHOENIX AND CHILONG' STEM BOWL15th/16th centuryThe broad vessel rising to a slightly everted rim and supported on a splayed, flat stem foot, the upper register carved in relief with four phoenix amongst trailing leafy peony stems beneath a floral diaper-pattern border on the mouth rim, the stem with two sinuous chilong clambering amongst scrolling leafy lingzhi, all on a gilt ground, the interior and base lacquered brown. 15.3cm (6in) diam.Footnotes:十五/十六世紀 剔黑金彩龍鳳呈祥高足盌Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族舊藏，並由後人保存迄今The remarkable style of carving on the present stem bowl is in continuation of Northern Song dynasty lacquerware. Compare a carved black lacquer rectangular tray reserved on yellow ground, illustrated by TaKagi KeitaKu, Chinese Lacquerware: An Odyssey of Connoisseurship, Tokyo, 2015, pp.4-5. The workmanship on the stem bowl is exquisite in the refined design and detailing of the lappets on the peony blossoms, the leaves, and the feathers of the phoenix, to the sinuous design of the chilong. Also exceptional is the clever use of the 'negative' space, contrasting the brown lacquer design with the rich gilt ground. Such lacquerwares are exceedingly rare. See, however, a closely related black lacquer and gilt-ground bowl and cover, with similar design of phoenix and peony reserved against a gilt-ground, early 15th century, illustrated by Knapton Rasti Asian Art Ltd., Works of Art, London, November 2006, p.12, no.6.For a similar design on a stem bowl, see Carved Lacquer, The Tokugawa Art Museum, Nezu Institute of Fine Arts, 1984, p.47, pl.56; and see a related brown, red and gilt lacquer dish, Ming dynasty, early 16th century, with related chilong and lingzhi band around the cavetto and a gilt-ground central medallion, in the Linden-Museum, Stuttgart, illustrated in Im Zeichen des Drachen, Munich, 2006, no.52. Phoenix and peony, combining the 'King of birds' with the 'King of flowers' augur great blessings and prosperity and represent the saying of 'May there be wealth, rank and good fortune'. The chi-dragon and lingzhi, symbolise the wish for peace and benevolence during a long reign.敞口撇足，鎏金為地，剔黑漆為飾，盌身雕有四鳳遊梭於纏枝牡丹之中，口沿治錦地紋。盌足兩條螭龍穿行於卷草靈芝間。所飾漆雕延續北宋時期風格，如一例黃地剔黑漆方盤，收錄於TaKagi KeitaKu著，《Chinese Lacquerware: An Odyssey of Connoisseurship》，東京，2015年，頁4-5。本例設計精巧，雕工豐富細膩，花、葉、鳳羽以至螭龍的盤曲身軀，處處均顯匠心細節。對盌內壁的處理同樣不俗，所髹棕漆與外壁富麗的鎏金地形成了鮮明的對比，能與制在工藝與造型上相比之漆器相當罕見。參考一件十五世紀早期鳳穿牡丹紋帶蓋漆盌，同以剔黑金彩為飾，詳見Knapton Rasti Asian Art Ltd.，《Works of Art》，倫敦，2006年11月，頁12，編號6。與該例紋樣相似之設計亦可見於《Carved Lacquer》，德川美術館，根津美術館，1984年，頁47，圖版56。另可參考德國斯圖加特林登博物館館藏一例十六世紀初明代鎏金漆盤，其折沿之下飾有與本例相近的螭龍及靈芝紋，其盤心開光亦雕於鎏金地之上，收錄於《Im Zeichen des Drachen》, 慕尼黑，2006年，編號52。作為傳統吉祥圖案的鳳凰牡丹紋樣結合了鳥中之王與花中之王，寓意祥瑞富貴；螭龍與靈芝則象徵長治久安。For further information on this lot please visit Bonhams.com

A VERY RARE PAIR OF IMPERIAL INSCRIBED CINNABAR LACQUER CARVED TEA BOWLSQianlong seal marks and of the period, the inscription dated Bingyin year, corresponding to 1746Each vessel with deep rounded sides rising from a straight foot to a gently flaring rim, carved to the exterior through layers of cinnabar lacquer to a black diaper-pattern ground with an Imperial poem, 'Three-Purity Tea,' Sanqing Cha, dated to the Bingyin year (corresponding to 1746) followed by the seals Qian and Long, all between two borders of ruyi designs encircling the rim and foot, against matching leiwen grounds around the foot and rim, the red-lacquered base intaglio-carved with a six-character seal mark within a recessed square, the interior lacquered brown. Each 11cm (4 3/8in) diam. (2).Footnotes:清乾隆 御製剔紅御題詩三清茶盌一對 「大清乾隆年製」、「乾隆丙寅小春御題」款 「乾」、「隆」印Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The present pair of tea bowls was part of a tea set used by the Qianlong Emperor at tea ceremonies held during New Year celebrations. The vessels are both inscribed with one of his favourite poems, Sanqing cha ('Three-Purity Tea'), which he wrote during the Bingyin year (1746), on the occasion of his 36th birthday while sipping tea in his studio on a cold winter's day. The poem refers to the tea made from plum blossoms, finger citron and pine nut kernels, which was offered to the Emperor during his visit to the sacred mountain Wutai. When brewed together in snow water, these three ingredients gave the tea a unique flavour and purity. The poem further describes the virtues of tea making and drinking, which reminded one of the Buddhist values of simplicity, austerity and purity. As a consummate connoisseur, The Qianlong Emperor combined art and tea at intimate gatherings within the Palace walls. A party hosted by the Emperor was a remarkable experience, an aesthetic convergence of artwork and tea leaf. The Qianlong Emperor brewed and tasted tea using the finest objects in the Palace Collection, a great treasure of implements and wares dating back to the eleventh century. During a gathering, the talk flowed from the age and glaze of a tea vessel to the specific number of buds and leaves plucked for a particular tea. Brewed and served, the tea itself was appreciated for its hue, scent and flavour, prompting a new yet leisurely stream of comments and observations. On the occasion of the New Year celebrations, the Emperor held a tea-drinking banquet in the Palace of Cherished Glory, Chonghua Gong, in the Forbidden City, where he asked his guests to compose poetry, and as a token of his appreciation, he rewarded the best poet with a 'Sanqingcha' bowl.The famous poem is recorded in the 'Anthology of Imperial Qianlong poems and prose' Qing gaozong yuzhi shiwen quanji, 'Imperial Poems' Yuzhi shiwen chuji, vol.1, chapter 36, p.17, and may be translated as:The plum blossom in appearance not ostentatious,The finger citron, scented and fresh, Pine nuts of most fragrant aroma,Three ingredients of outstanding purity.An infusion is brewed in a shallow tripod vessel,And the ingredients steeped in snow-water collected in a bamboo casket.After coming to a boil, bubbles like the eyes of fish or crabs can be seen in the surface of the water,Steam rises from the tripod appearing to alternate between Utpadanirodha birth and death. Teacups from the kilns of Yue sprinkled with Immortals' milk,The warmth of my yurt is agreeable to the joy of the mystic trance.The five Buddhist Skanda purify the greater part of all things,Spiritual awakening may occur but cannot be spoken of.The sweet smelling ingredients are dealt with and suitably delivered,Silky smooth the Immortals' wine, clear and limpid. Wo Quan's offering may be eaten.Lin Bu can admire the change of seasons.Nonchalantly the Koan of the Zhaozhou monk may be uttered,And the eccentricity of Yu Chuanzi laughed at heartily. On a cold night in winter, listening to the sound of the water clock,From the Guyue Studio I observe the moon, hanging in the sky like a jade archer's ring. I take advantage of what remains to drink my fill,And chant deliberately so that I might arise without exhaustion. Composed by the Emperor in the tenth lunar month of the Bingyin year [corresponding to 1746] during the reign of the Qianlong Emperor. The poem contains numerous literary and Buddhist allusions. The Manchu Imperial family were followers of the teachings of Tibetan Buddhism but much of the terminology used - to fit with Chinese poetic practice - relates to Chan Buddhism. Wo Quan was a mythical being who lived in the mountains, where he collected herbs for his own sustenance. He was particularly fond of pine nuts and was said to have presented some as a gift to the legendary Emperor Yao. Yao, however, did not eat them, and so missed out on their long life-giving properties. The Qianlong Emperor implies in the poem that, unlike the legendary Emperor Yao, he would not have hesitated. Another reference in the poem is made to 'the Monk of Zhaozhou'. This was Congshen (778-897), a Tang dynasty Chan Buddhist monk. In Chan Buddhism, a koan is a question, story or statement which may appear contradictory but after greater meditation upon, can lead to enlightenment. The koan of the Monk of Zhaozhou refers to the following story: when two monks visited Congshen, he asked if they had visited this temple before. When the first said yes, Consghen invited him to drink tea; when the second said no, Congshen also invited him to drink tea. When asked by the head monk why he had asked this seemingly pointless question, Congshen also invited him to drink tea. The reference echoes the Qianlong Emperor's enlightened generosity in hosting tea parties with his ministers. Compare with a very similar carved lacquer bowl, with the same poem, Qianlong seal mark and of the period, in the Qing Court Collection in the Palace Museum, Beijing, illustrated in The Emperor's Private Paradise: Treasures from the Forbidden City, New Haven and London, 2011, no.57. For a similar pair of lacquer bowls also carved with the Qianlong Emperor's poem Sanqing cha ('Three Purity Tea'), see a pair in the Tianjin Municipal Art Museum, illustrated in The Complete Series of Chinese Lacquer Zhongguo qiqi quanji, vol.6, Fuzhou, 1993, pl.211; and see another example in the Victoria and Albert Museum, London, which is illustrated by H.Garner, Chinese Lacquer, London, 1979, pl.93. Bowls inscribed with the Sanqing Cha poem were also produced in porcelain; see a blue and white bowl, Qianlong seal mark and of the period, illustrated in Special exhibition of K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware from the Ch'ing Dynasty in the National Palace Museum, Taipei, 1986, no.142; see also an iron-red example, Qianlong seal mark and of the period, also in the National Palace Museum, illustrated in Empty Vessels, Replenished Minds: the Culture, Practice, and Art of Tea, Taipei, 2002, no.129. Two further iron-red bowls, Qianlong seal mark and period, are illustrated in Late Chinese Imperial Porcelain, Art Gallery of New South Wales, Sydney, 1980, no.1.See a single very similar lacquer tea bowl with the same poem, Qianlong seal mark and of the period, which was sold at Christie's Hong Kong, 2 December 2015, lot 3163. See also a similar pair of Imperial inscribed cinnabar lacquer tea bowls, Qianlong mark and period, which were sold at Sotheby's Hong Ko... For further information on this lot please visit Bonhams.com

A RARE LAPIS LAZULI TRIPOD INCENSE BURNER AND COVER, DINGQing DynastyThe lustrous blue stone carved around the exterior with an inscription reading 大唐貞觀寶鼎 ('Da Tang Zhenguan Baoding'), 'Precious ding from the Tang Zhenguan Reign', supported on three double scroll and paw cabriole feet, the sides with mythical-beast-head handles suspending loose rings, the domed cover similarly carved with characters, carved hardwood stand. 14.2cm (5 5/8in) wide across the handles. (3).Footnotes:清 青金石三足鼎式蓋爐Provenance:Spink & Son Ltd., London,E. A. Parry (1879-1946), London, acquired from the above on 31 March 1925, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1925年3月31日購自上者，並由後人保存迄今Lapis Lazuli was valued for its beautiful colour and and the sparkle of gold from the pyrite inclusions. See a closely-related but smaller lapis lazuli archaistic tripod incense burner and cover, late 18th/19th century, in the British Royal Collection, listed by 1920 in Queen Mary's Bibelots, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol.III, London, 2016, p.827, no.1922.A related archaistic lapis lazuli censer, gui, dated 18th century (12cm wide), was sold at Christie's London, 11 November 2011, lot 1368.青金石屬珍罕石材，色澤藍紫，部分有白斑紋。參考英國皇家收藏一例十八世紀晚期/十九世紀青金石仿古紋三足爐，形似本例惟體積稍小，早在1920年即被收錄入《瑪麗王后擺飾（Queen Mary's Bibelots）》清單，圖見於J.Ayers著，《Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen》，卷三，倫敦，2016年，頁827，編號1922。倫敦佳士得曾於2011年11月11日售出一例十八世紀青金石簋式爐，拍品編號1368，可資比對。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

TWO EXCEPTIONALLY RARE REALGAR CUPS18th centuryOne of rounded square form, the other of stylised peach form, set on raised feet, the vessels displaying the natural properties of the orange-red sulphide mineral, each with pewter lining. The larger 7.2cm (2 7/8in) wide. (2).Footnotes:十八世紀 雄黄小盃一組兩件Provenance:Spink & Son Ltd., LondonMrs E. A. Parry (1879-1977), London, acquired from the above on 30 September 1925, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry夫人（1879-1977）舊藏，於1925年9月30日購自上者，並由後人保存迄今Objects made of realgar, which is a sulphide of arsenic found in Yunnan, Guizhou and Gansu Provinces, are exceptionally rare and very few can be found in museum or private collections. See in the National Museum of Scotland, Edinburgh, a realgar cup, 18th/19th century, acc.no.A.1924.478, and a realgar figure of Budai, 19th century, acc.no.A.1925.414. See also a relagar figure of Shoulao, Qing dynasty, in the British Museum, London, acc.no.1913,0408.1; and a figure of the Daoist Immortal He Xiangu, 18th century, in the British Museum, London, illustrated by R.S.Jenyns, Chinese Art, vol.3, Fribourg, 1981, p.220, no.200; and see a partially realgar inkcake, Qianlong mark dated to 1737 and of the period, in the Qing Court Collection, in the Palace Museum, Beijing, coll.no.Gu00129724-7/26. R.Soame Jenyns notes in ibid., p.220 that realgar may have been one of the constituents used by Daoists in their search for the Elixir of Immortality (which often had the opposite result). The strong connection of realgar in Chinese art to Daoism is supported by the examples above which include figures of Daoist Immortals, and the present lot which includes a peach-shaped cup, a fruit which symbolises in Daoist lore the wish for longevity. The realgar material was so prized that the yellow-orange arsenic sulfide mineral was often imitated in glass, including vessels made for the Imperial Court during the celebrated Qianlong reign. See a pair of imitation realgar glass vases, Qianlong four-character seal marks and period, illustrated by E.S.Rawski and J.Rawson, ed., China: The Three Emperors 1662-1795, London, 2005, p.304, no.234; and see an imitation realgar glass wine cup, Qianlong four-character mark and of the period, which was sold at Christie's Hong Kong, 29 May 2013, lot 2312.雄黃，《本草綱目》稱其又名石黃，化學成分為三硫化砷，中國雲南、貴族和甘肅等省都有出產。雄黃製品於博物館或私人收藏中存世極少，已知者包括蘇格蘭國立博物館館藏一例十八/十九世紀雄黃盃，藏品編號A.1924.478，及十九世紀雄黃布袋和尚像，藏品編號A.1925.414。倫敦大英博物館藏亦藏有兩例雄黃製品，包括一例清雄黃壽老，藏品編號1913,0408.1；及一例十八世紀何仙姑像，收錄於詹寧斯著，《中國藝術（Chinese Art）》，卷三，弗里堡，1981年，頁220，編號200。北京故宮博物院館藏一件清宮舊藏清乾隆蘭亭修褉黃御墨，以包括雄黃在內的天然黃色材料製成，藏品編號Gu00129724-7/26。詹寧斯在其《中國藝術》一書第220頁中稱，雄黃或許是道家煉製丹藥時所用成分之一，雖然效果常常適得其反。上述幾例道教人物像，以及本例其一盃呈桃形，這一道教語義下象徵長壽的水果，均可視為雄黃與道教的緊密聯繫在藝術上的體現。雄黃材料色澤悅目但難以保存，因此益發珍貴。清中期後，以玻璃仿製寶石之風日盛，民間乃至清廷造辦處皆可見仿雄黃料製品，如清乾隆御製仿雄黃料六棱瓶一對，收錄於E.S.Rawski與J.Rawson合著，《China: The Three Emperors 1662-1795》，倫敦，2005年，頁304，編號234；以及一例清乾隆仿雄黃料酒盃，售於香港佳士得，2013年5月29日，拍品編號2312。For further information on this lot please visit Bonhams.com

A FINE AND RARE WHITE JADE 'DRAGON AND YOUNG' POURING VESSEL, YIQianlongThe deep rounded sides carved with a pouring lip to one end and a chilong handle to the other clambering up the side of the vessel, with its head resting at the rim, the sides carved in high relief with sinuous, striding chilong amongst incised wispy clouds, the lustrous stone of white even tone. 14cm (5 1/2in) long.Footnotes:清乾隆 白玉雕蒼龍教子匜Provenance:Spink & Son Ltd., LondonParry Collection, London, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦Parry家族收藏，並由後人保存迄今Notable for its exceptionally lustrous white jade and highly refined high relief carving of sinuous chilong clambering its elegant body, the present pouring vessel counts amongst the finest jade carvings made during the celebrated reign of the Qianlong Emperor. The exceptional purity of the jade, particularly visible in the areas left unadorned, smoothly polished to a lustrous sheen, here combines with the archaistic style favoured by the Qianlong Emperor and the masterful ingenuity of craftsmanship and design. In form and design, the present vessel is inspired by the archaic bronze water pouring vessel, yi, which was often used in conjunction with a pan for the ritual washing of hands. It was a late Western Zhou adaptation of the gong and the he vessels, and its use continued well into the Eastern Zhou period; see a bronze pouring vessel, yi, Western Zhou dynasty, cast with clambering chilong, illustrated by J.Rawson, The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes, Hong Kong, 1988, pl.31. At the same time, the depictions of sinuous chilong displaying curled and bifurcated tails is inspired by the jade carving style of the Han dynasty; see a jade scabbard chape, Han dynasty, carved with a pair of chilong illustrated by J.Rawson, Chinese Jade From the Neolithic to the Qing, London, 1995, p.299, no.21:9. The Qianlong Emperor's appreciation of jade, expressed through more than eight hundred of his writings, combined with his passion for antiques, resulted in his commissioning significant numbers of archaistic jade carvings for his Court. The Emperor advocated taking inspiration from antiquity in form and design to 'restore the ancient ways', or the intrinsic values of harmony, simplicity and happy exuberance. In a poem entitled 'The Ballad on a Cup of Jade', composed during the eighth year of his reign (1743), the Emperor maintained the importance of appreciating jade as a genuinely personal path towards virtue. The Emperor instructed the Court to collect drawings of antiquities, such as the Xi Qing Gu Jian (Catalogue of Xiqing Antiquities). To fulfill the Emperor's ambitious project therefore, the artisans working at the Imperial Ateliers and in jade workshops in Suzhou were encouraged to carefully study the remarkable archaic bronzes in the Court collection or woodblocks depicting such antiques to draw inspiration for their new creations; 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.The exceptional quality of the white jade stone which was used to produce this vessel would have become more available for the Jade Workshops following the Qianlong Emperor's conquest of the Dzungar Khanate between 1755 and 1759, where much of the jade was sourced. The jade carver, whilst demonstrating his skills in the form and relief carving, ensured that the magnificent quality of the stone would be exhibited through the areas left unadorned. The present vessel therefore encapsulates the Qianlong Emperor's personal taste for antiquity in form and design, combined with the superb jade material.A related white jade archaistic pouring vessel yi carved with clambering chilong, Qianlong, in the Musée National du Chateau de Fontainbleu, France, is illustrated in Jade: From Emperors to Art Deco, Paris, 2016, p.238, no.192.白玉琢制，圓身深腹，柄以攀爬於口沿之上的一尾螭龍為飾，流口位置與螭龍柄相對。雙浮雕螭龍分飾盃身兩側，穿行於縷雲之間。本例可謂乾隆年間玉雕器皿之佼佼者。其玉色光潔，精巧雕工在優雅蜿蜒的龍身上尤為突出。玉質之純淨在精心打磨過的素面之處表露無遺。除其精湛玉工外，該匜亦融合了乾隆皇帝所推崇的復古風格。該器以古代青銅匜為濫觴。後者在上古時代常與青銅盤搭配，於儀禮上供濯洗之用。盤匜搭配作為儀禮水器的使用方式興自西周，匜器也逐漸取代了之前流行的注水器如觥、盉等，並一直延續到東周時期。以螭龍紋為飾的西周青銅匜，可見於J.Rawson著，《The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes》，香港，1988年，圖版31。本例玉匜上的螭龍形象則可能源於漢代，參見一例漢螭龍紋玉劍珌，收錄於J.Rawson著，《Chinese Jade From the Neolithic to the Qing》，倫敦，1995年，頁299，編號21:9。乾隆皇帝筆下有八百多篇詠玉的詩文，足見其對這種材質之喜愛珍重。加上他對古物的追慕之情，當時宮廷內按其交辦所製之復古風格玉雕數目龐大。乾隆一生以「復古」為念，更在作於乾隆八年（1743年）的御製文《玉盃記》中以玉工所言煉玉之法比之於君子之道，並直言「執藝以諫者，古典所不廢」讚賞&#... For further information on this lot please visit Bonhams.com

A PAIR OF FAMILLE VERTE 'LI BAI' WINE CUPSKangxi/early YongzhengEach of conical form rising from a short foot to the flared sides, delicately enamelled around the exteriors with the famous Tang dynasty poet, variously in a semi-reclining pose holding a wine cup and seated leaning against a qin, amongst wine jars and vessels, with boys in attendance, two wood stands, possibly zitan. Each 6.7cm (2 5/8) diam. (4).Footnotes:清康熙/雍正早期 五彩太白醉飲圖笠式盃一對Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The present pair of cups is rare and part of a small group of exquisitely enamelled polychrome wares, including cups, small bowls and saucer-dishes, finely decorated with scholars in idealised natural retreats, dating to the late Kangxi and early part of the Yongzheng reigns, circa 1720-1725. Compare with two closely-related bowls, Yongzheng marks and period, the first decorated with a scholar and attendant by a riverbank gazing at geese, and the second with a scholar leaning on a pine tree, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, nos.155-156. See also a related polychrome enamelled bowl and cover, Yongzheng mark and period, enamelled with the Daoist Immortals Zhongli Quan seated near a pine tree and Zhang Guolao with his mule, in the Victoria and Albert Museum, London, acc.no.597&A-1907.The Tang poet Li Bai (701-762), or Li Taibai, has an almost divine status in Chinese culture, being considered one of the greatest poets in a five-thousand year classical tradition. In one hagiographic account, while Li Bai's mother was pregnant with him, she had a dream of a great white star falling from heaven. Indeed, he was within his own lifetime considered to be a banished Immortal, a myth he no doubt encouraged, explaining his courtesy name of 'Taibai' or 'Venus'. Apart from his literary brilliance, he was known as a tippler who eventually drowned after falling from his boat one night having become very drunk before trying to embrace the reflection of the moon in the Yangzi river. He is thus often depicted dozing beside a large vat of wine. Compare with a very similar famille verte cup, Kangxi/early Yongzheng, decorated with a continuous scene of a scholar seated on the bank of a river, which was sold at Christie's New York, 24 March 2011, lot 1723. See also a pair of related polychrome cups decorated with scholars, Yongzheng marks and period, which was sold at Bonhams London, 13 May 2010, lot 340.盃敞口，直壁，呈斗笠式，外壁以五彩繪通景人物圖。對盃小巧玲瓏，輕盈適手，筆法瀟灑，素雅清新，繪工細膩，極富文人氣息，應屬於康熙晚期至雍正早期，即約1720至1725年間製作之精品。北京故宮博物院藏兩件清雍正五彩人物圖小盃，其釉彩施用及繪畫風格均為類似，見《故宮博物院藏文物珍品大系：五彩·鬥彩》，香港，2007年，編號155及156；另對比英國維多利亞及阿爾伯特博物館藏一件清雍正五彩繪八仙人物蓋盌，其用彩及繪畫風格相類，館藏編號597&A-1907。器身所繪人物或為「飲中八仙」主題，其一手持酒盃、袒胸露腹者應為詩仙李白。李白字太白，號青蓮居士，是中國歷史上最偉大的浪漫主義詩人，以豪飲聞名，且文思敏捷，常以酒助詩興。據載，賀知章、李適之、李璡、崔宗之、蘇晉、李白、張旭、焦遂八人俱善飲，性情豪放曠達，被稱為「酒中八仙人」；杜甫曾作《飲中八仙歌》一詩，描寫他們無拘無束的灑脫性格。參考一例康熙晚期/雍正早期五彩人物圖笠式盃，外壁通景繪一高士倚坐岸邊，售於紐約佳士得，2011年3月24日，拍品編號1723。另見清雍正五彩「蒼松高仕」及「鷸蚌相爭」圖小盃兩件，售於倫敦邦瀚斯，2010年5月13日，拍品編號340，可資比對。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 VERY RARE IMPERIAL TWO-COLOUR CINNABAR-LACQUERED YIXING TEAPOT AND COVERQianlongThe purple clay teapot covered in red lacquer and finely carved with confronted phoenix amongst a profusion of leafy, flowering peony stems, reserved on a black floral diaper ground, the foot, rim and finial with bands of key-fret design, the spout and handle with ruyi motif borders, the domed cover similarly decorated and surmounted by a spherical finial. 18.3cm (7 1/4in) long. (2).Footnotes:清乾隆 御製紫砂胎剔紅鳳穿牡丹紋壺Provenance:Spink & Son Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 30 October 1919, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1919年10月30日購自上者，並由後人保存迄今The present lavishly carved two-colour cinnabar lacquer Yixing teapot and cover, was made for use at the Imperial Court. The design on each main side of a pair of phoenix flanking a blossoming tree peony, indicates it was likely made for use by the Empress or one of the Imperial consorts. Carved cinnabar lacquer teapots were first made during the late Ming dynasty; see from the Qing Court Collection, an ovoid octagonal 'dragon and phoenix' teapot and cover, Jiajing mark and period; a further development of combining carved lacquer on an Yixing body, can be seen in a rectangular teapot and cover, bearing the mark of Shi Dabin, late Ming dynasty, also from the Qing Court Collection, decorated with figures in landscape; see The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Yuan and Ming Dynasties, Hong Kong, 2006, nos.145 and 198.Embellished Yixing teapots continued during the Qing dynasty from the reign of the Kangxi Emperor, with the Imperial Ateliers also experimenting with other methods of decoration such as famille rose enamels. During the Yongzheng and Qianlong reigns, Yixing teapots were also decorated in gilt lacquer; for examples see Geng Baochang, The Complete Collection of Treasures of the Palace Museum: Purple Sandy Ware, Shanghai, 2008, nos.4, 25 and 26. A related carved cinnabar lacquer Yixing teapot and cover, Qianlong gilt seal mark and period, in the National Palace Museum, Taipei, is illustrated in Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2007, no.146. A further unmarked example, 18th century from the K.S.Lo Collection, in the Flagstaff House Museum of Tea Ware, Hong Kong, is illustrated in The Art of the Yixing Potter, Hong Kong, 1990, p.150, pl.35.The symbolism of the phoenix on the teapot, according to the 'Classic of Mountains and Seas' (Shanhai Jing), embodies benevolence, righteousness, propriety, wisdom, and sincerity: all attributes of which an Empress should possess. The subject also symbolises the wish for marital harmony by showing the phoenix as a pair. In addition to this, the peony is a symbol of wealth and prosperity and is sometimes known as the 'flower of riches and honour' (fugui hua). The ruyi lappets around the spout and handle represent the wish for long life.Compare with a related cinnabar lacquered Yixing teapot, Qianlong, which was sold at Sotheby's London, 11 May 2016, lot 78. See also a cinnabar lacquered Yixing teapot, Qianlong mark and period, which was sold at Christie's Hong Kong, 1 December 2010, lot 3097.壺紫砂胎，圓鼓腹，環柄，曲流，圈足。通體髹漆，深色錦地，壺身每側各有兩隻翔鳳飛舞於牡丹花叢之間，鳳鳥姿態靈活，牡丹枝葉婉轉，花形圓滿，整體雍容華貴，富麗堂皇。剔紅執壺最早見於明後期，可見清宮舊藏一例明嘉靖剔紅龍鳳紋八棱式執壺，底刻「大明嘉靖年制」楷書款，及一例明晚期「時大彬」款紫砂胎剔紅山水人物圖執壺，均收錄於《故宮博物院藏文物珍品全集：元明漆器》，香港，2006年，編號145與198。康熙時期大量湧現以宜興紫砂為胎，外施彩釉的紫砂壺；雍正時更以描金為飾，參見《故宮博物院藏文物珍品大系：紫砂器》，上海，2008年，編號4、25與26三例。台北國立故宮博物院館藏一例清乾隆宜興胎剔紅雜寶茶壺，收錄於《和光剔彩——故宮藏漆》，台北，2007，編號146。另見香港藝術館茶具文物館藏羅桂祥博士舊藏一例十八世紀執壺，收錄於《宜興陶藝》，香港，1990年，頁150，圖版35。鳳穿牡丹為中國傳統吉祥紋飾，鳳凰為鳥中之王，牡丹為花中之王，表明本例執壺或為皇后或宮中某位妃嬪所用。 《山海經》載，鳳凰羽毛的花紋形似「德」、「義」、「禮」、「仁」、「信」五個文字，象徵皇后五德兼備。倫敦蘇富比曾售一例清乾隆宜興紫砂胎剔紅八寶紋茶壺，2016年5月11日，拍品編號78，可為參考。另有一例清乾隆宜興紫砂剔紅蓮紋茶壼，售於香港佳士得，2010年12月1日，拍品編號3097ᦁ... For further information on this lot please visit Bonhams.com

A RARE PALE GREEN AND BLACK JADE 'LINGZHI' AUSPICIOUS EMBLEM17th centurySkillfully carved in openwork as an auspicious lingzhi fungus issuing four ruyi-heads with interlocking stems, the stone of pale grey-green tone with black and brown striations and cloudy inclusions, with hardwood stand. 18.5cm (7 1/4in) high. (2).Footnotes:十七世紀 青玉黑褐沁靈芝擺件Provenance:Spink & Son Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 31 July 1928, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1928年7月31日購自上者，並由後人保存迄今The present lot, symbolising the wish for longevity, was used as an auspicious symbol atop a vase as part of a five-piece garniture. See a pair of bronze and champlevé enamel gu vases with gilt-bronze lingzhi-shaped finials in the Pavilion of the Rain Flowers, Yuhua ge, in the Forbidden City, illustrated by E.Rawski and J.Rawson, eds., China: The Three Emperors 1662-1795, London, 2006, p.131; see also ornamental lingzhi finials atop a pair of cloisonné enamel vases, Kangxi marks and of the period, in the National Palace Museum, Taipei, illustrated in A Garland of Treasures: Masterpieces of Precious Crafts in the Museum Collection, Taipei, 2014, p.33, no.1.10.青玉琢制，呈靈芝形，象徵吉祥長壽，或作五供等佛前供器的頂飾之用。參考北京故宮雨花閣四樓供器中，一對鏨胎琺瑯花觚之上各飾一隻鎏金銅靈芝形飾件，圖見E.Rawski與J.Rawson編著，《China: The Three Emperors 1662-1795》，倫敦，2006年，頁131。另有台北國立故宮博物院館藏一組清康熙掐絲琺瑯冰梅紋五供，兩具小爐之上皆有靈芝形頂飾，圖見《集瓊藻: 院藏珍玩精華展》，台北，2014年，頁33，編號1.10。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 WHITE JADE CUP18th centuryThe undecorated vessel with tall sides rising from a short foot, the stone of attractive lustrous white tone, with reticulated zitan stand. 5.7cm (2 1/4in) high. (2).Footnotes:十八世紀 白玉盃Provenance: Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Well proportioned and smoothly polished to a lustrous sheen, white jade cups such as the present example highlight the flawless quality of translucent stone and the purity of the material. They allow the beholder to revel in the natural beauty of the stone and the elegant pure form of the cup.See a pair of similar white jade cups, Qianlong, in Manchester Art Gallery, acc.nos.1934.36-37. Compare also a related white jade wine cup, Qianlong mark and period, illustrated in Virtuous Treasures: Chinese Jades for the Scholar's Table, Hong Kong, 2008, p.76, no.26.Compare with a similar pair of white jade cups, of the same size and form, which was sold at Christie's New York, 17 March 2017, lot 1102.白玉整挖而成，直口直壁，至腹部下方處下斂至圈足。器身線型圓潤，光素無紋，彰顯玉材自身之清素雅緻。曼徹斯特美術館館藏相似乾隆白玉盃一對，藏品編號1934.36-37。另見一例清乾隆白玉盃，收錄於《閣有天珍：中國文房玉雕》，香港，2008年，頁76，編號26。紐約佳士得曾售一對白玉盃，2017年3月17日，拍品編號1102，形制大小皆似本例，可為比對。For further information on this lot please visit Bonhams.com

A VERY FINE AND RARE JADEITE RETICULATED THUMB RING19th centuryOf cylindrical form with the top rim of rounded slanted form and the lower rim bevelled, skillfully decorated in openwork with four medallions each enclosing a bat with a single auspicious fruit including finger citron, peach, pomegranate and gourd, each medallion flanked by a pair of confronted bats, all framed between key-fret bands, the lower rim with a geometric design, the attractive semi-translucent stone of apple-green and frost-white tones. 3.1cm (1 1/4in) diam.Footnotes:十九世紀 鏤雕福壽紋翡翠扳指Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Historically, archery was central to Chinese life, being used during hunting activities, battles and various sports. Thumb rings, such as the present lot, were used by archers as protection and to aid in releasing the bowstring. During the Qing dynasty, thumb rings were produced in various media and carved with a profusion of subjects ranging from poems, flowers, figures and landscape views. They were highly fashionable among the literati as symbols of culture and wealth.Jadeite rings carved in openwork are rare. A plain jadeite thumb ring, 18th/19th century, in the British Royal Collection, London, is illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen, vol.3, p.809, no.1881.A related plain jadeite archer's thumb ring, 18th/19th century, was sold at Christie's Hong Kong, 1 June 2011, lot 3896.中國使用弓箭的歷史十分悠久，自古以來，箭術即是戰爭、狩獵和運動中必不可少的部分。韘，即扳指，最早為騎射之具，於拉弓時佩戴，用來保護手指同時可減少手指的運動量，並且有助於準確釋放弓弦。及至明末，射箭術不再是一項必不可少的技能。清代的扳指則愈發少了功能性而重裝飾性，紋飾題材日益豐富，成為王公貴族和文人雅士把玩炫耀之物。鏤雕裝飾的翡翠扳指較為少見，參考英國皇家收藏信託所藏一例清乾隆翡翠扳指，收錄於J.Ayers著，《Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen》，卷三，頁809，編號1881。另見一例十八/十九世紀翡翠扳指，售於香港佳士得，2011年6月1日，拍品編號3896。For further information on this lot please visit Bonhams.com

AN EXCEPTIONALLY RARE IMPERIAL RED LACQUER INSCRIBED CHRYSANTHEMUM-SHAPED BOWL AND COVERQianlong seal marks and of the period, the inscription dated Spring 1776The wide elegant body supported on a spreading circular foot and curving upwards to a gently-flared rim, the domed cover with a circular knop, decorated overall with raised vertical petals, all lacquered in brilliant vermillion, the tip of the cover and the base of the bowl each with a gilt four-character Imperial zhuanshu seal mark, the central interior cartouches lacquered black and each gilt with a dated kaishu inscription. 10.6cm (4 1/8in) diam. (2).Footnotes:清乾隆四十一年 御製脫胎朱漆御題詩菊瓣式蓋盌 「乾隆年製」、「乾隆丙申春御題」篆書款Provenance:Spink & Son Ltd., London,Mrs E. A. Parry (1879-1977), London, acquired from the above on 30 June 1933, and thence by descentPublished, Illustrated and Exhibited: Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-1936, p.252, no.2957.來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry夫人（1879-1977）舊藏，於1933年6月30日購自上者，並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935-1936年，頁252，編號2957The present lot was exhibited in one of the most historic and prestigious exhibitions of Chinese art ever held. The exhibition's importance is reflected by its patrons who not only included King George V and Queen Mary, but also the President of the Chinese Republic. The committee of honour included luminaries such as Hu Shi and Cai Yuanpei; and the executive committee counted among its members renowned collectors and scholars such as R.L.Hobson, George Eumorfopoulos and Sir Percival David. With 3077 exhibits, it was not only one of the largest exhibitions of Chinese art, but many of the exhibits, including rare objects from the Palace Museum were seen in Europe for the first time. In this extraordinary exhibition, the present lot was amongst the very few Imperial Qianlong period lacquer wares chosen to be included, alongside a red lacquer 'chrysanthemum' dish, Qianlong mark and of the period, inscribed with an Imperial poem, lent by Sir Percival David, who was the Director of the Exhibition Committee.Compare with an identical lacquer chrysanthemum-shaped tea bowl and cover, also gilt decorated with two Qianlong seal marks and an inscribed Imperial poem, in the Qing Court Collection, illustrated in Lacquer Wares of the Qing Dynasty: The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2006, pp.215, no.164. See also another identical bowl in the Victoria and Albert Museum, London, gifted by Sir Harry Garner, illustrated by H.Garner, Chinese Lacquer, London-Boston, p.150, pl.97.The present bowl and cover were made by Imperial commission by artisans in Suzhou specialising in the 'hollow dry-lacquer' technique, with the inscriptions then carved in the Imperial Workshop in Beijing. With remarkably thin and delicate walls, the 'chrysanthemum' petals of the cover perfectly fit the fluted bowl, representing the highest quality of Qing Imperial lacquer craftsmanship. The interior of the bowl and the cover both have a gilt inscription of a poem by the Qianlong Emperor, dated 1776 which compares the vessel to a chrysanthemum flower. The poems may be translated as follows: 'It is made in the form of a fragrant chrysanthemum,And yet it is even more delicate,Drinking tea from it may be likened to sipping dew,from a newly plucked blossom.Imperially inscribed in the Spring of the Bingshen year of the Qianlong reign'.The Qianlong Emperor's poem likens drinking tea from this cup to drinking dew from a chrysanthemum: a fairy-like experience reserved for poets, Immortals and sages. The chrysanthemum was long associated with the poet Tao Yuanming (365-427) who lived during the turbulent transition between the Jin and Liu Song dynasties. To escape the political turmoil, he retired in midlife to a small estate to live out his days in rustic obscurity, drinking wine and writing poetry. Private and quiet as his life was, Tao's reputation grew steadily after his death, particularly for his associations with chrysanthemums, which he grew in a small patch by the eastern fence of his retirement estate; see S.Nelson, 'Revisiting the Eastern Fence: Tao Qian's Chrysanthemums', The Art Bulletin, 2001, vol.83, no.3, pp.437-460. The chrysanthemum, an autumnal flower, together with Tao's poetry of retirement, came to encapsulate the eremitic ideal of the scholar returning to nature for quiet contemplation. Over time, the chrysanthemum, together with the bamboo, orchid and prunus was regarded as one of the 'Four Gentlemanly Flowers': flowers that represented Confucian ideals to be emulated by true gentlemen. As such, the chrysanthemum flower provided much inspiration to artists and craftsmen from as early as the Song dynasty. Bowls and vessels decorated with chrysanthemum motifs were traditional gifts bestowed at Imperial celebrations, particularly during the Double Ninth festival (occurring on the ninth day of the ninth month) or Double Yang festival, where it was customary to climb a high mountain, drink chrysanthemum liquor and wear chrysanthemum flowers. Chrysanthemums were considered to have cleansing qualities and were used in medicine to cure illness and thus were also emblematic of longevity and fertility, because of the multitude of their petals. Chrysanthemums appear to have been popular motifs decorating vessels produced during the reign of the Qianlong Emperor, and because of the flowers' association with longevity, it is possible that the Emperor took an increasing interest in the motif as he approached retirement. See also a red lacquer chrysanthemum-shaped box and cover, Qianlong seal mark and of the period, with gilt poetic inscription, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, Shanghai, 2006, p.216, no.165.The Qianlong Emperor's enthusiasm for the chrysanthemum motif may also have been inspired by a powerful predecessor of his, the Yongle Emperor. On a red lacquer 'chrysanthemum' dish, Qianlong mark and of the period, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen, London, 2016, vol.III, p.848, no.1954, there is a poem dated 1774, the title of which is 'In praise of a chrysanthemum dish made in imitation of the vermillion lacquer of the reign of the Yongle Emperor' (Yong fang Yongle zhuqi juhua pan). The Ming dynasty Yongle Emperor (1403-1424) was one of the most energetic and powerful rulers in Chinese history. Under his vibrant reign, numerous technical heights were reached in the production of porcelain and lacquer. Not to be outdone, the Qianlong Emperor also may have felt that he wished to appropriate the chrysanthemum form of lacquerware for himself, as both a homage to former glorious Emperors and also as a subtle expression of his own stature. Compare with an identical cinnabar lacquer 'chrysanthemum' bowl and cover, Qianlong seal mark and of the period, which was sold at Bonhams Hong Kong, 24 November 2013, lot 342.本拍品曾借展... For further information on this lot please visit Bonhams.com

A RARE PAIR OF CINNABAR LACQUER CARVED BOAT-SHAPED DISHESQianlongEach decorated to the interior with a dense profusion of leafy flowering stems bearing peaches, the interior bases with wan-diaper decoration within key-fret borders, the exteriors with fine diaper designs, black lacquer bases. Each 22cm (8 5/8in) long. (2).Footnotes:清乾隆 剔紅桃紋茶船一對Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The present lot is very rare and few lacquer examples of boat-shaped dishes appear to have been published. See one carved cinnabar lacquer boat-shaped dish, Qing dynasty, illustrated in Ceng zai Cao jia: Cao Qiyong fufu juan zeng Zhongguo gudai qiqi, Hangzhou, 2014, no.88. The boat or sampan-shaped tray or dish, however, can also be seen in porcelain from the Qianlong reign. See a famille rose boat-shaped dish, Qianlong seal mark and of the period, illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.262. See a similar single cinnabar lacquer tray, 18th century, which was sold at Christie's London, 13 May 2011, lot 1300.茶船，由盞托演變而來，因其形似舟而得名。傳世並經出版的剔紅茶船數量有限，可對比一例清剔紅茶船，收錄於《曾在曹家——曹其鏞夫婦捐贈中國古代漆器》，杭州，2014年，編號88。瓷製茶船更為多見，如一例清乾隆湖綠地粉彩描金萬福寶磬紋茶船，「大清乾隆年制」款，詳見南京博物院編著徐湖平主編，《中國清代官窯瓷器》，上海，2003年，頁262。倫敦佳士得曾於2011年5月13日售出一例十八世紀剔紅暗八仙紋茶船，拍品編號1300，可資比對。For further information on this lot please visit Bonhams.com

A RARE LARGE INSCRIBED SOAPSTONE 'ODE TO THE RED CLIFFS' SEALSigned Lu Yuan Lin Ji and Ji Ren, Qing DynastySkillfully carved in the form of a mountain, decorated in low relief with a continuous scene depicting an idyllic mountainscape with Su Shi, another scholar and a boatman travelling on a sampan floating on calm waters, crossing tree-strewn riverbanks dotted with dwellings and intricate foliage, all below an extract from the poem 'Former Ode on the Red Cliffs' by Su Shi, signed Ji Ren, the reverse inscribed with an extract from the 'Second Ode to the Red Cliffs' by Su Shi, signed Lu Yuan Lin Ji between further pavilions, pawlonia trees and bamboo stalks, the base with a twelve-character inscription. 11.2cm (4 1/2in) high.Footnotes:清 壽山石浮雕「赤壁賦」印章「吉人」、「鹿原林佶」刻款Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The remarkable skill of the carver is demonstrated through his success in transcribing a landscape image, likely derived from a painting or woodblock, onto a three-dimensional object by working through the uneven surface of the stone to create a continuous, three-dimensional canvas for the relief decoration.The inscriptions on the front and reverse of the seal are carved, respectively, with the First and Second Odes to the Red Cliffs by Su Shi (1037-1102 AD), a famous poet and calligrapher of the Song dynasty. The First Ode to the Red Cliffs may be translated as: 'A cool breeze was wafting, too gentle to ripple the water. Raising my cup, I toasted my friends and chanted the stanza on the gentle and graceful orb from the verse about the bright moon. Jiren'. The Second Ode to the Red Cliffs may be translated as: 'The flowing river gurgled between cliffs that rose to a height of a thousand feet. The moon looked small over the lofty mountains. As the river fell low, the rocks came into view. It was only a few months since I last visited and now the mountains and the river were hardly recognisable! Luyuan Lin Ji'. The inscription on the base of the seal, 'wu wei qi suo bu wei, wu yu qi suo bu yu', is a famous quotation by Confucian philosopher Mencius and could be translated as:'Let a man not do what his own sense of righteousness tells him not to do, and let him not desire what his sense of righteousness tells him not to desire.'Mountainous landscape scenes carved with scholars and sages were popular during the 18th century, reflecting the ideal peaceful retirement of the literati class or a momentary escape from the quotidian world of mundane affairs to idealised pursuits taken between official posts: a dreamlike desire perhaps even more remote from the lifelong service of the Emperor. Compare with a related but smaller (6.5cm high) tianhuang seal, mid Qing dynasty, depicting the scene Qiujian daidu ('Waiting for the ferry on an autumn river'), in the collection of the Palace Museum, Beijing, published on the Museum's website: http://www.dpm.org.cn/collection/seal/228550.html; and another small (4.8cm high) tianhuang seal, Qing dynasty, decorated with scenes of the Red Cliffs, illustrated in The Complete Collection of Treasures of the Palace Museum: Small Refined Articles of the Study, Shanghai, 2009, no.249.Lin Ji (circa 1660-1720) is also known by his style name Ji Ren and sobriquets Lu Yuan and Ziwei Neishi. He was awarded the Jinshi degree in 1713 for his services at Court. He was a noted poet and calligrapher, specialising in xiaokai (small regular script), seal and cleric scripts. He had a substantial collection of rare and fine books in his library the 'Puxuezhai'.Compare with a related soapstone 'boulder' seal, Republic period, decorated with a mountainous landscape, which was sold at Bonhams London, 10 November 2011, lot 385. See also a related tianhuang boulder decorated with a riverscape and a sampan, which was sold at Christie's Hong Kong, 29 May 2019, lot 3001.壽山大料為材，隨形，薄意。以蘇軾赤壁夜遊為題材，浮雕成通景山水人物。正面刻東坡與友人泛舟江上，巨石插立江中，茂密虯松批於崖上，遠處高山重迭，雲煙縹緲。石壁上以楷書陰刻蘇軾《赤壁賦》之詞句，「清風徐來，水波不興，舉酒屬客，誦明月之詩，歌窈窕之章」，落款「吉人」。背面依皮色巧雕幾桿修竹，一輪明月懸於空中，巨石上同樣陰刻楷書「江流有聲，斷岸千尺。山高月小，水落石出。曾日月之幾何，而江山不可複識矣」，出自《後赤壁賦》，落款「鹿原林佶」。印文篆體，朱文，右上起順讀「無為其所不為，無欲其所不欲」，語出《孟子》。蘇軾於元豐五年秋遊赤壁，作《赤壁賦》，三個月後再遊赤壁，又作《後赤壁賦》，成為古典文學史上的千古名篇，其超然物外，曠達恢弘的人生態度更是歷代文人的精神像徵。後世以夜遊赤壁為題的書畫作品不勝枚舉，並逐漸脫離原始文本之意義，成為文人遊趣的圖式來源。北京故宮館藏一例清中期田黃石淺浮雕「秋江待渡」章，雕飾風格可為比對，見於故宮博物院官方網站http://www.dpm.org.cn/collection/seal/228550.html。另有一例清田黃石雕赤壁圖章，收錄於《故宮博物院藏文物珍品大系：文... For further information on this lot please visit Bonhams.com

AN EXCEPTIONALLY RARE AND IMPORTANT IMPERIAL BEIJING ENAMEL MELON-SHAPED TEAPOT AND COVERQianlong blue enamel four-character mark and of the periodThe elegant lobed panels each exquisitely enamelled with various scenes of mountainous or lakeside landscapes and flowers with butterflies and insects, all on a dappled light-blue ground, separated by pink bands of floral scrolls and between ruyi-shaped borders at the foot and shoulder, set with a gilt-bronze handle issuing at each end from a dragon head, the curved gilt-bronze spout also issuing from a dragon head, the domed and lobed cover decorated with further floral motifs and fishermen and sages within mountainous landscapes, separated by scrolling acanthus leaves, reserved on a rich yellow ground, surmounted by a gilt-bronze finial, the mark on the base surrounded by a painted mythical beast, with a zitan stand. 15cm (5 7/8in) long. (3).

A FINE AND RARE CLOISONNÉ ENAMEL SCREEN AND STANDThe screen first half 17th century, the hardwood frame and stand 18th/19th centuryThe rectangular screen brightly enamelled with a scene of three sages beneath a rocky cliff rising to the wispy clouds and gnarled pine tree, all beside billowing green waves with white foam, with further blue mountains in the distance, all beneath a turquoise blue sky, set within a carved and pierced hardwood frame and stand. Overall 49.4cm (19 3/8in) high x 48.5cm (19 1/8in) wide. (2).Footnotes:十七世紀上半葉 銅胎掐絲琺瑯高士圖插屏 鑲十八/十九世紀硬木邊框Provenance:Spink & Son Ltd., London,E. A. Parry (1879-1946), London, acquired from the above on 31 December 1923, and thence by descentPublished, Illustrated and Exhibited: Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-1936, p.169, no.2002.來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1923年12月31日購自上者，並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935-1936年，頁169，編號2002This rare screen was included in the International Exhibition of Chinese Art held at the Royal Academy of Arts, Burlington House, London, in 1935-1936. This seminal exhibition had the patronage of their Majesties King George V and Queen Mary, and the President of the Chinese Republic. It included over 3,000 objects. These were loaned by the Chinese Government, including pieces shown for the first time outside China, objects from the collection of Sir Percival David, which were exhibited for the first time in public, pieces from the British Royal Collection, and from many important museums including the British Museum, V&A, the Louvre, Guimet, Cernuschi, Topkapi Saray, the Metropolitan Museum of Art, Cleveland, Kansas City, Cologne, Dresden, and from notable private collectors including HRH Crown Prince of Sweden, Alan Barlow, R.C. Bruce, Buchanan-Jardine, Mr & Mrs Alfred Clark, Dr Leonard Gow, C.T. Loo, Carl Kempe, H.J. Oppenheim, Oscar Raphael, F. Schiller, Mr & Mrs Walter Sedgwick, A. Stoclet , S.D. Winkworth and Prof. W. Perceval Yetts - the roll call of the greatest collectors of Chinese art in the west in the 20th century. E.A. Parry loaned 6 pieces to the Exhibition, demonstrating the superb quality of the Collection and the high esteem in which it was held by the exhibition committee, which was directed by Sir Percival David. These pieces were admired to this date in the Parry family homes and this is the first time since the 1935-1936 Exhibition that they are seen in public once again. The enamel decoration on the present lot is exceptional for the high quality of its execution with subtle application of mixed tones of translucent enamels over opaque ones, notably in the depiction of water and rocks, simulating painting.Compare the treatment of the sky and figures with that on a cloisonné enamel incense burner, Ming dynasty, 17th century, in the Musée des Arts Décoratifs, Paris, illustrated by B.Quette, ed., Cloisonné: Chinese Enamels from the Yuan, Ming and Qing Dynasties,New York, 2011, p.308, no.160, which was exhibited in 1935-1936 in the Royal Academy Exhibition alongside the present lot. See also a related cloisonné enamel panel with a scene of the lonely angler Jiang Ziya in a rugged mountainscape by water, first half 17th century, illustrated by A.Lutz, and H.Brinker, Chinese Cloisonné: The Pierre Uldry Collection, London, 1989, no.150.本拍品曾借展1935至1936年於倫敦皇家藝術學院伯靈頓宮舉辦的中國藝術國際展覽會。這一史無前例的展覽得到了中英政府及雙方人士的大力支持，由雙方元首擔任名譽主持人，英王喬治五世和瑪麗王后為監理。展品共計三千餘件，中國政府應邀出借包括故宮文物在內的近千件藏品，也是藏品首次在中國境外展出；展覽還包括了英國皇室的中國文物收藏，以及來自世界各地重要博物館（如大英博物館、維多利亞和阿爾伯特博物館、盧浮宮、吉美博物館、賽努奇博物館、託卡比皇宮博物館、大都會藝術博物館、克利夫蘭藝術博物館、堪薩斯城納爾遜-阿特金斯藝術博物館、科隆博物館、德累斯頓博物館等）與著名私人藏家（如瑞典王儲、Alan Barlow爵士、R.C. Bruce、Buchanan-Jardine男爵、克拉克伉儷（Mr & Mrs Alfred Clark）、Leonard Gow博士、盧芹齋、卡爾·坎普（Carl Kempe）、H.J. Oppenheim、Oscar Raphael, F. Schiller、Walter Sedgwick伉儷、A. Stoclet、S.D. Winkworth、W. Perceval Yetts教授等）的公私收藏精品，名單幾乎囊括了二十世紀西方世界最為重要的中國藝術收藏家。 E.A. Parry向本次展覽出借了六件藏品，這也顯示了其收藏品味之卓越及展覽籌備委員會對其之激賞。展覽結束後，Parry氏藏品淡出公眾視野，僅供家族成員賞玩；本次拍賣是1936年以來本品首次出現在ࠤ... 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 William IV period silk Hackney Coach & Cabriolet square scarf, 90cm wide, embroidered initials EL to one corner, having lists of locations and fares for carriages of the period, some staining, not dated, but similar example survives in the Museum of London

A rare and interesting late Victorian Arts & Crafts silver plated book covering, 24,5cm high, ornate raised designs of angels in the Art Nouvea taste, binding damaged and back cover loose, the Album page is marked, "The Cover whih enloses these pages was designed and modelled by Miss. M. Lillian Simpson, on a commision from the Council of the Art of London...", dated 1896, the covers and spine impressed Art Union of London 1st January 1896