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Lot 174
Vinyl - Seven The Rolling Stones LPs, 1 x picture disc, self titled 457050 French Pressing EP and a 10" sealed white vinyl the Unreleased Chess Sessions 0602 of 1000, the picture disc is the Kennedy airport interviews 1965, LPs feature Slow Rollers, Some Girls, Still Life, Tattoo You etc sleeves and vinyl vg overall
Lot 252
A cloisonné-enamel large rounded rectangular trayBy Namikawa Sosuke (1847-1910), Meiji era (1868-1912), late 1880s-1890sWorked entirely in musen (wireless) enamels with a linear design of bearded purple irises on a graduated pale grey ground within a shakudo rim, the reverse worked in gilt wire enamel with numerous densely patterned cherry blossoms in pale brown on a dark plum-coloured ground; signed in silver wire with a single character Sakigake (the seal of Namikawa Sosuke). 28.8cm x 28.8cm (11¼in x 11¼in).Footnotes:Provenance: An English private collection, probably acquired by George Tolman Haycraft (1854-1938) in the early twentieth century, thence by descent.One of the greatest craft entrepreneurs of the later Meiji era, Namikawa Sosuke was until recently best known in Japan for a set of 32 decorative panels commissioned for Tokyo's Akasaka Rikyu Palace, completed in 1909. These date from the last years of his very productive life, nearly three decades after he began to experiment with the technique known as musen shippo (wireless enamelling), his most enduring contribution to an art form that developed at extraordinary speed in Japan between the mid-nineteenth century and the early years of the twentieth century. In Chinese cloisonné enamelling, the wires separating the different areas of fused and polished enamels that made up a design also served to hold the enamels in place during the firing process, and the individual areas of colour were relatively small. Sosuke, followed shortly after by his rivals, managed to improve the chemistry of the enamels so that they adhered more securely to the metal bases of his wares, allowing him to introduce large areas of colour into his designs, although it is thought that wires between different colours still had to be painstakingly applied and removed at each stage of manufacture. Thanks to these and other technical breakthroughs, later Meiji-era enamellers were often able to emulate the effects of brush painting on paper or silk. In recognition of his achievements, in 1896 Sosuke was appointed to the order of Teishitsu Gigeiin (Artist-Craftsman to the Imperial Household).For further information on this lot please visit Bonhams.com
Lot 33
A Dingyao moulded 'Buddhist lion' dishJin DynastyThe shallow body finely moulded to the interior with a central medallion enclosing a striding Buddhist lion reaching towards a bunch of lotus, encircled by a fluted border at the rim, covered inside and out with a creamy-white glaze, all supported on a short straight foot, the rim bound in copper.13cm (5 1/8 in) diam.Footnotes:金 定窯印花獅子蓮紋盤Provenance: John Sparks Ltd., LondonBluett & Sons, London, acquired from the above on 26 April 1946 for £15Rolf, Lord Cunliffe (1899-1963), Honorary Keeper of the Far Eastern Collections at the Fitzwilliam Museum, Cambridge, acquired from the above on 30 April 1946 for £20 (collection, no.TT11)Sotheby's London, 20 May 1952, lot 41Robert Stanley Hope Smith (1910-1979), collection no.S4, and thence by descent來源：倫敦古董商John Sparks Ltd.倫敦古董商Bluett & Sons，於1946年4月26日以15英鎊購自John Sparks Ltd.Cunliffe勳爵舊藏，藏品編號TT11，於1946年4月30日以20英鎊購自Bluett & Sons倫敦蘇富比，1952年5月20日，拍品編號41Robert Stanley Hope Smith（1910-1979）舊藏，藏品編號S4，並由後人保存迄今Rolf, Lord Cunliffe began collecting Chinese art when he was an RAF officer, stationed in London towards the end of World War II. Over the next 20 years, he acquired over five hundred Chinese ceramics, jades and bronzes; buying judiciously but regularly from the best dealers in Chinese art dotted around Mayfair and St James. galleries like Bluett's, Spark's and Spink's. At his London flat in the heart of Mayfair, across the street from the famous Dutch dealer in Chinese art Peter Boode, he squeezed his growing collection into steel filing cabinets inconspicuously tucked away in his bathroom! Visiting collectors like the King of Sweden would spend happy hours sitting on the edge of the bath, discussing the finer points of a jade rhyton or a Junyao bowl.We would like to thank Lord Cunliffe and Dominic Jellinek for the provenance information.Compare with a related but larger (17.5cm) moulded Dingyao dish with a design of lions, Jin dynasty, in the National Palace Museum, Taipei, illustrated in Decorated Porcelains of Dingzhou: White Ding Wares from the Collection of the National Palace Museum, Taipei, 2014, no.II-118.See also a similar Dingyao moulded Buddhist lion dish, Jin dynasty, which was sold at Sotheby's Hong Kong, 5 April 2017, lot 3203.The Robert Stanley Hope Smith CollectionRobert Stanley Hope Smith, known to friends and family as Stanley, was born on 13th December 1910 in Horton, Bradford. During the 2nd world war he served with his local Home Guard Regiment. He was a solicitor and partner at Browning Oliver and Smith in Bradford and was known to have worked closely with the refugee Polish community which settled there in the late 1940s and early 50s, helping them establish a future within the city that still prospered with a textile industry.He married Joan Shelton, a schoolteacher, on 4th September 1946, bought a small semi-detached house, Colwyn, Park Mount Avenue in Baildon and had one son, John.According to his diary he began collecting 'Famille Rose' and 'Famille Verte' pieces in 1946 from local auction houses, shops and privately in Harrogate, Leeds and Bradford. His wife Joan also shared his passion and they made further purchases on weekend trips to country houses and antique fairs.He made his first Sotheby's purchase via absentee bid on 2nd October 1950 and on the 15th December the same year was elected a member of the Oriental Ceramic Society. In 1959 Frank Davis, another north of England OCS member, wrote to say that he would surely be welcomed by the 'learned lot' in London but it is unlikely Stanley ever made it there because of the disability that made travel difficult.Over the following decades he was delighted to acquire pieces from well-known collections formed by Lord Cunliffe, Montague Meyer, Leonard Gow, along with OCS exhibition pieces. What may have not been key pieces for them became the core of his collection.Stanley and Joan lived an unassuming life, intellectually stimulated by eclectic subscriptions to periodicals. He played the organ at church services in Baildon, watched his son play rugby for his school and county, and on summer afternoons tended his allotment. They loved the Yorkshire Dales, visiting country houses, occasionally staying in hotels in the Lake District. On Sundays they drove a specially adapted Jaguar across the Yorkshire moors.Members of their family were the few fortunate enough to see the porcelain collection displayed in the back room of Colwyn on a dresser alongside the piano and harpsichord. They assumed that Stanley collected even broken pieces of Chinese pottery because they were all that he could afford, unaware that Kintsugi was key to his passion, for he had suffered from polio as a child and walked with a cane.Stanley died in November 1979. Joan remained a member of the Oriental Ceramic Society for the rest of her life. In later years her grandchildren remember her reading to them in front of an open fire from auction catalogues, OCB periodicals and Oriental art study books, teaching them about the Chinese dynasties and their dates while referring to the pieces still on display in the back room where they had remained undisturbed for the previous 45 years. She died in 2000 and the collection was subsequently put into storage. The family has decided that the time has come for others to enjoy and admire the collection and hope that it will bring as much pleasure as it did for Stanley and Joan.For further information on this lot please visit Bonhams.com
Lot 34
A Junyao purple-splashed dishYuan DynastyThe shallow dish covered in a thick glaze of lavender-blue, darkening at the everted rim to a mushroom hue, the interior highlighted with three purple splashes, all supported on a short foot.21.4cm (8 7/8in) diam.Footnotes:元 鈞窯天青釉紫斑盤Provenance: George de Menasce (1890-1967) collection, no.276 (label) Robert Stanley Hope Smith (1910-1979), acquired in 1951, collection no.S3, and thence by descent來源：George de Menasce（1890-1967）舊藏，藏品編號276（標籤）Robert Stanley Hope Smith（1910-1979）舊藏，購於1951年，藏品編號S3，並由後人保存迄今The family of Georges Ferdinand Joseph Behar, Baron, was ennobled by the Austrian emperor after the Congress of Vienna and they were prominent in Egypt from at least the 19th century. He was born in Liverpool, where the family had cotton interests. George de Menasce collected in many areas, and particularly Chinese porcelain. He was a member of the Oriental Ceramic Society from 1948 and served on the Council.The Robert Stanley Hope Smith CollectionRobert Stanley Hope Smith, known to friends and family as Stanley, was born on 13th December 1910 in Horton, Bradford. During the 2nd world war he served with his local Home Guard Regiment. He was a solicitor and partner at Browning Oliver and Smith in Bradford and was known to have worked closely with the refugee Polish community which settled there in the late 1940s and early 50s, helping them establish a future within the city that still prospered with a textile industry.He married Joan Shelton, a schoolteacher, on 4th September 1946, bought a small semi-detached house, Colwyn, Park Mount Avenue in Baildon and had one son, John.According to his diary he began collecting 'Famille Rose' and 'Famille Verte' pieces in 1946 from local auction houses, shops and privately in Harrogate, Leeds and Bradford. His wife Joan also shared his passion and they made further purchases on weekend trips to country houses and antique fairs.He made his first Sotheby's purchase via absentee bid on 2nd October 1950 and on the 15th December the same year was elected a member of the Oriental Ceramic Society. In 1959 Frank Davis, another north of England OCS member, wrote to say that he would surely be welcomed by the 'learned lot' in London but it is unlikely Stanley ever made it there because of the disability that made travel difficult.Over the following decades he was delighted to acquire pieces from well-known collections formed by Lord Cunliffe, Montague Meyer, Leonard Gow, along with OCS exhibition pieces. What may have not been key pieces for them became the core of his collection.Stanley and Joan lived an unassuming life, intellectually stimulated by eclectic subscriptions to periodicals. He played the organ at church services in Baildon, watched his son play rugby for his school and county, and on summer afternoons tended his allotment. They loved the Yorkshire Dales, visiting country houses, occasionally staying in hotels in the Lake District. On Sundays they drove a specially adapted Jaguar across the Yorkshire moors.Members of their family were the few fortunate enough to see the porcelain collection displayed in the back room of Colwyn on a dresser alongside the piano and harpsichord. They assumed that Stanley collected even broken pieces of Chinese pottery because they were all that he could afford, unaware that Kintsugi was key to his passion, for he had suffered from polio as a child and walked with a cane.Stanley died in November 1979. Joan remained a member of the Oriental Ceramic Society for the rest of her life. In later years her grandchildren remember her reading to them in front of an open fire from auction catalogues, OCB periodicals and Oriental art study books, teaching them about the Chinese dynasties and their dates while referring to the pieces still on display in the back room where they had remained undisturbed for the previous 45 years. She died in 2000 and the collection was subsequently put into storage. The family has decided that the time has come for others to enjoy and admire the collection and hope that it will bring as much pleasure as it did for Stanley and Joan.For further information on this lot please visit Bonhams.com
Lot 35
A rare green enamelled incised 'dragon' dishHongzhi six-character mark, 17th centuryEnamelled and incised in the interior with a writhing five-clawed dragon, the exterior with a further two striding green dragons. 18cm (7 1/8in) diam.Footnotes:十七世紀 綠彩刻龍紋盤青花「大明弘治年製」楷書款Provenance: Montague L. Meyer collection, no.352 (label)Sotheby's London, 10 July 1951, lot 109Robert Stanley Hope Smith (1910-1979), collection no.V16, and thence by descent來源：英國Montague L. Meyer舊藏，藏品編號352（標籤）倫敦蘇富比，1951年7月10日，拍品編號109Robert Stanley Hope Smith舊藏（1910-1979），藏品編號V16，並由後人保存迄今A similar dish from the Hongzhi period of the same size and shape but with the dragon surrounded by waves, deeply incised and covered with a pale-green enamel, is illustrated by R.Krahl, Chinese Ceramics from the Meiyintang Collection, vol.2, London, 1994, pl.693. See also a Hongzhi dish in the National Palace Museum, Taipei, published in Minji meihin zuroku, vol.II, Tokyo, 1977, pl.82, also with the dragon-and-cloud design.A similar green dragon dish with Hongzhi mark, Kangxi period, was sold at Sotheby's Paris, 11 June 2009, lot 169.The Robert Stanley Hope Smith CollectionRobert Stanley Hope Smith, known to friends and family as Stanley, was born on 13th December 1910 in Horton, Bradford. During the 2nd world war he served with his local Home Guard Regiment. He was a solicitor and partner at Browning Oliver and Smith in Bradford and was known to have worked closely with the refugee Polish community which settled there in the late 1940s and early 50s, helping them establish a future within the city that still prospered with a textile industry.He married Joan Shelton, a schoolteacher, on 4th September 1946, bought a small semi-detached house, Colwyn, Park Mount Avenue in Baildon and had one son, John.According to his diary he began collecting 'Famille Rose' and 'Famille Verte' pieces in 1946 from local auction houses, shops and privately in Harrogate, Leeds and Bradford. His wife Joan also shared his passion and they made further purchases on weekend trips to country houses and antique fairs.He made his first Sotheby's purchase via absentee bid on 2nd October 1950 and on the 15th December the same year was elected a member of the Oriental Ceramic Society. In 1959 Frank Davis, another north of England OCS member, wrote to say that he would surely be welcomed by the 'learned lot' in London but it is unlikely Stanley ever made it there because of the disability that made travel difficult.Over the following decades he was delighted to acquire pieces from well-known collections formed by Lord Cunliffe, Montague Meyer, Leonard Gow, along with OCS exhibition pieces. What may have not been key pieces for them became the core of his collection.Stanley and Joan lived an unassuming life, intellectually stimulated by eclectic subscriptions to periodicals. He played the organ at church services in Baildon, watched his son play rugby for his school and county, and on summer afternoons tended his allotment. They loved the Yorkshire Dales, visiting country houses, occasionally staying in hotels in the Lake District. On Sundays they drove a specially adapted Jaguar across the Yorkshire moors.Members of their family were the few fortunate enough to see the porcelain collection displayed in the back room of Colwyn on a dresser alongside the piano and harpsichord. They assumed that Stanley collected even broken pieces of Chinese pottery because they were all that he could afford, unaware that Kintsugi was key to his passion, for he had suffered from polio as a child and walked with a cane.Stanley died in November 1979. Joan remained a member of the Oriental Ceramic Society for the rest of her life. In later years her grandchildren remember her reading to them in front of an open fire from auction catalogues, OCB periodicals and Oriental art study books, teaching them about the Chinese dynasties and their dates while referring to the pieces still on display in the back room where they had remained undisturbed for the previous 45 years. She died in 2000 and the collection was subsequently put into storage. The family has decided that the time has come for others to enjoy and admire the collection and hope that it will bring as much pleasure as it did for Stanley and Joan.For further information on this lot please visit Bonhams.com
Lot 36
A famille verte square vaseShunzhi/early KangxiThe stoutly potted body with tapered rectangular sides supporting a waisted cylindrical neck and everted rim, each side painted in bright enamels with legendary figures from history and folklore including generals, scholars and emperors, the neck with florets and lozenges. 35.5cm (14in) high. Footnotes:清順治/康熙早期 五彩人物故事圖方瓶Provenance: Robert Stanley Hope Smith (1910-1979), and thence by descent來源：Robert Stanley Hope Smith（1910-1979）舊藏，並由後人保存迄今The scenes depicted on the vase probably refer to scenes in the Ming dynasty historical novel Romance of the Three Kingdoms, attributed to Luo Guanzhong. Their martial exploits were spread by professional storytellers as well as in operas and woodblock-printed novels. The prints from these books in turn were the major source of inspiration for the painters who decorated the present lot. Compare with a similar famille verte square baluster vase with very similar scenes, 1650-1670, in the Victoria and Albert Museum, London (acc.no.CIRC.384-1931).The Robert Stanley Hope Smith CollectionRobert Stanley Hope Smith, known to friends and family as Stanley, was born on 13th December 1910 in Horton, Bradford. During the 2nd world war he served with his local Home Guard Regiment. He was a solicitor and partner at Browning Oliver and Smith in Bradford and was known to have worked closely with the refugee Polish community which settled there in the late 1940s and early 50s, helping them establish a future within the city that still prospered with a textile industry.He married Joan Shelton, a schoolteacher, on 4th September 1946, bought a small semi-detached house, Colwyn, Park Mount Avenue in Baildon and had one son, John.According to his diary he began collecting 'Famille Rose' and 'Famille Verte' pieces in 1946 from local auction houses, shops and privately in Harrogate, Leeds and Bradford. His wife Joan also shared his passion and they made further purchases on weekend trips to country houses and antique fairs.He made his first Sotheby's purchase via absentee bid on 2nd October 1950 and on the 15th December the same year was elected a member of the Oriental Ceramic Society. In 1959 Frank Davis, another north of England OCS member, wrote to say that he would surely be welcomed by the 'learned lot' in London but it is unlikely Stanley ever made it there because of the disability that made travel difficult.Over the following decades he was delighted to acquire pieces from well-known collections formed by Lord Cunliffe, Montague Meyer, Leonard Gow, along with OCS exhibition pieces. What may have not been key pieces for them became the core of his collection.Stanley and Joan lived an unassuming life, intellectually stimulated by eclectic subscriptions to periodicals. He played the organ at church services in Baildon, watched his son play rugby for his school and county, and on summer afternoons tended his allotment. They loved the Yorkshire Dales, visiting country houses, occasionally staying in hotels in the Lake District. On Sundays they drove a specially adapted Jaguar across the Yorkshire moors.Members of their family were the few fortunate enough to see the porcelain collection displayed in the back room of Colwyn on a dresser alongside the piano and harpsichord. They assumed that Stanley collected even broken pieces of Chinese pottery because they were all that he could afford, unaware that Kintsugi was key to his passion, for he had suffered from polio as a child and walked with a cane.Stanley died in November 1979. Joan remained a member of the Oriental Ceramic Society for the rest of her life. In later years her grandchildren remember her reading to them in front of an open fire from auction catalogues, OCB periodicals and Oriental art study books, teaching them about the Chinese dynasties and their dates while referring to the pieces still on display in the back room where they had remained undisturbed for the previous 45 years. She died in 2000 and the collection was subsequently put into storage. The family has decided that the time has come for others to enjoy and admire the collection and hope that it will bring as much pleasure as it did for Stanley and Joan.For further information on this lot please visit Bonhams.com
Lot 37
A very rare famille rose 'butterflies and peonies' dishYongzheng six-character mark and of the periodThe dish finely potted with gently curving sides rising from a short inward-tapering foot to a slightly everted rim, delicately enamelled with two butterflies fluttering in mid-air beneath a branch of flowering peony blossoms. 20cm (7 7/8in) diam.Footnotes:清雍正 粉彩過枝花蝶紋盤青花「大清雍正年製」楷書款Provenance: Bluett & Sons, London (label), circa 1924 - 1930Sotheby's London, 24 July 1951, lot 161Robert Stanley Hope Smith collection (1910-1979), collection no.R32, and thence by descentWe would like to thank Dominic Jellinek for providing further information on the Bluett's provenance.來源：約1924至1930年間，購自倫敦古董商Bluett & Sons（標籤）倫敦蘇富比，1951年7月24日，拍品編號161Robert Stanley Hope Smith（1910-1979）舊藏，藏品編號R32，並由後人保存迄今The blossoming peony branches on the outside extend over the rim of the dish continuing well into the interior. This decorative pattern, known as 'guozhi 過枝' (overextended branches), is a homophone of the phrase 'guozhi 國治', meaning prolonged peace under good government. It was first developed towards the end of the Ming dynasty, and later became popular during the Yongzheng reign. It was especially favoured at court which is shown in Imperial examples such as a larger dish (29.5cm) with peach flower design in the Baur Collection, illustrated by J.Ayers, The Baur Collection, vol.IV, Geneva, 1974, A589; and a charger (50.1cm) in the Palace Museum, Beijing, illustrated in Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, p.67.See a closely related dish with butterflies and peonies design, Yongzheng six-character mark and period, which was sold at Christie's London, 7 November 2017, lot 275.The Robert Stanley Hope Smith CollectionRobert Stanley Hope Smith, known to friends and family as Stanley, was born on 13th December 1910 in Horton, Bradford. During the 2nd world war he served with his local Home Guard Regiment. He was a solicitor and partner at Browning Oliver and Smith in Bradford and was known to have worked closely with the refugee Polish community which settled there in the late 1940s and early 50s, helping them establish a future within the city that still prospered with a textile industry.He married Joan Shelton, a schoolteacher, on 4th September 1946, bought a small semi-detached house, Colwyn, Park Mount Avenue in Baildon and had one son, John.According to his diary he began collecting 'Famille Rose' and 'Famille Verte' pieces in 1946 from local auction houses, shops and privately in Harrogate, Leeds and Bradford. His wife Joan also shared his passion and they made further purchases on weekend trips to country houses and antique fairs.He made his first Sotheby's purchase via absentee bid on 2nd October 1950 and on the 15th December the same year was elected a member of the Oriental Ceramic Society. In 1959 Frank Davis, another north of England OCS member, wrote to say that he would surely be welcomed by the 'learned lot' in London but it is unlikely Stanley ever made it there because of the disability that made travel difficult.Over the following decades he was delighted to acquire pieces from well-known collections formed by Lord Cunliffe, Montague Meyer, Leonard Gow, along with OCS exhibition pieces. What may have not been key pieces for them became the core of his collection.Stanley and Joan lived an unassuming life, intellectually stimulated by eclectic subscriptions to periodicals. He played the organ at church services in Baildon, watched his son play rugby for his school and county, and on summer afternoons tended his allotment. They loved the Yorkshire Dales, visiting country houses, occasionally staying in hotels in the Lake District. On Sundays they drove a specially adapted Jaguar across the Yorkshire moors.Members of their family were the few fortunate enough to see the porcelain collection displayed in the back room of Colwyn on a dresser alongside the piano and harpsichord. They assumed that Stanley collected even broken pieces of Chinese pottery because they were all that he could afford, unaware that Kintsugi was key to his passion, for he had suffered from polio as a child and walked with a cane.Stanley died in November 1979. Joan remained a member of the Oriental Ceramic Society for the rest of her life. In later years her grandchildren remember her reading to them in front of an open fire from auction catalogues, OCB periodicals and Oriental art study books, teaching them about the Chinese dynasties and their dates while referring to the pieces still on display in the back room where they had remained undisturbed for the previous 45 years. She died in 2000 and the collection was subsequently put into storage. The family has decided that the time has come for others to enjoy and admire the collection and hope that it will bring as much pleasure as it did for Stanley and Joan.For further information on this lot please visit Bonhams.com
Lot 38
A rare famille rose 'floral sprays' dishYongzheng six-character mark and of the period, the enamels probably later addedThinly potted with gently curving sides rising from slightly tapered foot, enamelled possibly later with a peony spray in the well, with four sprigs of lotus, magnolia, chrysanthemums and prunus around the cavetto. 19cm (7 1/2in) diam. Footnotes:清雍正，粉彩或為更晚 粉彩花卉紋盤青花「大清雍正年製」楷書款Provenance: Sotheby's London, 28 April 1953, lot 61Robert Stanley Hope Smith (1910-1979), collection no.R34, and thence by descent來源：倫敦蘇富比，1953年4月28日，拍品編號61Robert Stanley Hope Smith（1910-1979）舊藏，藏品編號R34，並由後人保存迄今Compare with a Yongzheng dish relatedly decorated with a peony spray in the centre, surrounded by three various floral sprigs, in the Victoria and Albert Museum, London, no.589-1907.A related dish from the Yongzheng period of smaller size, the centre with two butterflies, was sold at Sotheby's Hong Kong, 8 October 2014, lot 3642.The Robert Stanley Hope Smith CollectionRobert Stanley Hope Smith, known to friends and family as Stanley, was born on 13th December 1910 in Horton, Bradford. During the 2nd world war he served with his local Home Guard Regiment. He was a solicitor and partner at Browning Oliver and Smith in Bradford and was known to have worked closely with the refugee Polish community which settled there in the late 1940s and early 50s, helping them establish a future within the city that still prospered with a textile industry.He married Joan Shelton, a schoolteacher, on 4th September 1946, bought a small semi-detached house, Colwyn, Park Mount Avenue in Baildon and had one son, John.According to his diary he began collecting 'Famille Rose' and 'Famille Verte' pieces in 1946 from local auction houses, shops and privately in Harrogate, Leeds and Bradford. His wife Joan also shared his passion and they made further purchases on weekend trips to country houses and antique fairs.He made his first Sotheby's purchase via absentee bid on 2nd October 1950 and on the 15th December the same year was elected a member of the Oriental Ceramic Society. In 1959 Frank Davis, another north of England OCS member, wrote to say that he would surely be welcomed by the 'learned lot' in London but it is unlikely Stanley ever made it there because of the disability that made travel difficult.Over the following decades he was delighted to acquire pieces from well-known collections formed by Lord Cunliffe, Montague Meyer, Leonard Gow, along with OCS exhibition pieces. What may have not been key pieces for them became the core of his collection.Stanley and Joan lived an unassuming life, intellectually stimulated by eclectic subscriptions to periodicals. He played the organ at church services in Baildon, watched his son play rugby for his school and county, and on summer afternoons tended his allotment. They loved the Yorkshire Dales, visiting country houses, occasionally staying in hotels in the Lake District. On Sundays they drove a specially adapted Jaguar across the Yorkshire moors.Members of their family were the few fortunate enough to see the porcelain collection displayed in the back room of Colwyn on a dresser alongside the piano and harpsichord. They assumed that Stanley collected even broken pieces of Chinese pottery because they were all that he could afford, unaware that Kintsugi was key to his passion, for he had suffered from polio as a child and walked with a cane.Stanley died in November 1979. Joan remained a member of the Oriental Ceramic Society for the rest of her life. In later years her grandchildren remember her reading to them in front of an open fire from auction catalogues, OCB periodicals and Oriental art study books, teaching them about the Chinese dynasties and their dates while referring to the pieces still on display in the back room where they had remained undisturbed for the previous 45 years. She died in 2000 and the collection was subsequently put into storage. The family has decided that the time has come for others to enjoy and admire the collection and hope that it will bring as much pleasure as it did for Stanley and Joan.For further information on this lot please visit Bonhams.com
Lot 39
A pair of famille rose 'ladies' dishesYongzhengEach potted with shallow rounded sides rising to an everted rim, the interior finely painted with a seated lavishly dressed lady painting a leaf by a table, her attendant holding a floral fan to her side, a group of lingzhi stems, fly whisk and incense burner resting on the gilt stand behind them, one dish with brush, ingot and ruyi-sceptre maker's mark. Each 19.7cm (7 3/4in) diam. (2).Footnotes:清雍正 粉彩仕女圖折沿盤一對其一 青花「筆錠如意」花押款Provenance: Leonard Gow (1859-1936), Glasgow, no.411Sotheby's London, 15 December 1950, lot 47Robert Stanley Hope Smith (1910-1979), collection no.R31, and thence by descentPublished: R.L.Hobson, Catalogue of the Leonard Gow Collection of Chinese Porcelain, London, 1931, p.101Exhibited: Glasgow Art Galleries & Museums, Reg.No.E6-'36rs and E6-'36rt (labels)來源：英國格拉斯哥Leonard Gow（1859-1936）舊藏，藏品編號411倫敦蘇富比，1950年12月15日，拍品編號47Robert Stanley Hope Smith（1910-1979）舊藏，藏品編號R31，並由後人保存迄今出版：R.L.Hobson，「Catalogue of the Leonard Gow Collection of Chinese Porcelain」，倫敦，1931年，頁101展覽：格拉斯哥美術館及博物館，編號E6-'36rs及E6-'36rt（標籤）Leonard Gow (1859-1936), born in Glasgow, Scotland, was the son of a shipping magnate also called Leonard Gow (1824-1910), who established the Glen Line to trade between London, Singapore, China and Japan. Leonard junior eventually became the senior partner in the shipping company Gow, Harrison & Co., a director of Burmah Oil, and chairman of several other companies. A noted philanthropist, Gow established in 1919 a lectureship in the Medical Diseases in Infancy and Childhood at Glasgow University, where he had studied moral philosophy. Glasgow University presented Gow with an honorary doctorate degree in law in 1934. Gow built one of the finest collections of Qing ceramics in the early years of the 20th century, which gained international recognition through a series of ten articles by R.L.Hobson in The Burlington Magazine and through Hobson's catalogue, which Gow published privately in a limited edition of 300 copies in 1931. Part of his collection was exhibited in the Glasgow Art Gallery.One dish has an underglaze-blue mark of a brush (bi), an ingot (ding) and a ruyi-sceptre, tied with ribbons, forming the rebus bi ding ruyi signifying 'may all certainly be as you wish'.Compare with a slightly smaller dish (17.1cm) in the Palace Museum collection, Beijing, illustrated in Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, p.74. See two other dishes in the Victoria and Albert Museum, London, nos.640-1907 and 649-1907.Compare with a very similar famille rose 'ladies' dish, Yongzheng, which was sold at Sotheby's London, 17 November 2017, lot 213.The Robert Stanley Hope Smith CollectionRobert Stanley Hope Smith, known to friends and family as Stanley, was born on 13th December 1910 in Horton, Bradford. During the 2nd world war he served with his local Home Guard Regiment. He was a solicitor and partner at Browning Oliver and Smith in Bradford and was known to have worked closely with the refugee Polish community which settled there in the late 1940s and early 50s, helping them establish a future within the city that still prospered with a textile industry.He married Joan Shelton, a schoolteacher, on 4th September 1946, bought a small semi-detached house, Colwyn, Park Mount Avenue in Baildon and had one son, John.According to his diary he began collecting 'Famille Rose' and 'Famille Verte' pieces in 1946 from local auction houses, shops and privately in Harrogate, Leeds and Bradford. His wife Joan also shared his passion and they made further purchases on weekend trips to country houses and antique fairs.He made his first Sotheby's purchase via absentee bid on 2nd October 1950 and on the 15th December the same year was elected a member of the Oriental Ceramic Society. In 1959 Frank Davis, another north of England OCS member, wrote to say that he would surely be welcomed by the 'learned lot' in London but it is unlikely Stanley ever made it there because of the disability that made travel difficult.Over the following decades he was delighted to acquire pieces from well-known collections formed by Lord Cunliffe, Montague Meyer, Leonard Gow, along with OCS exhibition pieces. What may have not been key pieces for them became the core of his collection.Stanley and Joan lived an unassuming life, intellectually stimulated by eclectic subscriptions to periodicals. He played the organ at church services in Baildon, watched his son play rugby for his school and county, and on summer afternoons tended his allotment. They loved the Yorkshire Dales, visiting country houses, occasionally staying in hotels in the Lake District. On Sundays they drove a specially adapted Jaguar across the Yorkshire moors.Members of their family were the few fortunate enough to see the porcelain collection displayed in the back room of Colwyn on a dresser alongside the piano and harpsichord. They assumed that Stanley collected even broken pieces of Chinese pottery because they were all that he could afford, unaware that Kintsugi was key to his passion, for he had suffered from polio as a child and walked with a cane.Stanley died in November 1979. Joan remained a member of the Oriental Ceramic Society for the rest of her life. In later years her grandchildren remember her reading to them in front of an open fire from auction catalogues, OCS periodicals and Oriental art study books, teaching them about the Chinese dynasties and their dates while referring to the pieces still on display in the back room where they had remained undisturbed for the previous 45 years. She died in 2000 and the collection was subsequently put into storage. The family has decided that the time has come for others to enjoy and admire the collection and hope that it will bring as much pleasure as it did for Stanley and Joan.For further information on this lot please visit Bonhams.com
Lot 63
A large famille verte 'dragon boat' rouleau vase19th centuryThe cylindrical body beneath a straight neck and everted rim, finely decorated around the exterior with a continuous scene of court ladies tugging a large dragon-boat carrying the Sui emperor Yang along a canal by a large palace with further ladies gazing from the window, the shoulder with floral scroll, the neck with various auspicious objects and Immortals. 79.5cm (31 3/8in) high.Footnotes:十九世紀 五彩龍舟出行圖大棒槌瓶Emperor Yang (AD569-618) of the short-lived Sui dynasty (AD581-618), is perhaps best known for having reunited China through military might and completing the extraordinary engineering feat of the Grand Canal. This canal, which still exists to this day, connected the Huai river in the north with the Qiantang river in the south and greatly helped economic growth and prosperity. Apart from his military and engineering achievements, Emperor Yang is infamous for his extravagant behaviour. According to some records, when the canal was completed in AD609, Emperor Yang floated 65 miles on the canal in a large, expensive dragon boat pulled by hundreds of his most beautiful palace ladies and followed by a flotilla containing musicians and entertainers. It was said that along the shore, sounds of merriment could be heard for a hundred miles. See Y.Ma and J.Lau, Traditional Chinese Stories: Themes and Variations, Boston, 1986, p.313. See also V.Xiong, Emperor Yang of the Sui Dynasty: His Life, Times, and Legacy, New York, 2012, pp.75-94.For further information on this lot please visit Bonhams.com
Lot 101
A very rare large court painting of ladies playing chessYongzheng/QianlongInk and pigment on silk depicting two Court ladies playing weiqi within a bamboo grove, each of the ladies with finely arched eyebrows and delicately painted strands of hair under ornate headdresses, clad in elegant loose flowing robes with exquisitely detailed hems, the black and gilt weiqi boxes and covers decorated with dense foliate scroll, the top right with a large apocryphal seal 'Jing ji shan zhuang' seal, glazed and framed. Including the frame: 155cm (61in) wide x 99cm (39in) high.Footnotes:清雍正/乾隆 宮廷繪畫 仕女對弈圖 絹本設色 鏡框裝裱Provenance: a distinguished Italian private collection formed circa 1930s-1940s, and thence by descentThe important Italian collector lived and worked in Shanghai between 1932 and 1936, as representative of his Italian company and in 1937, following the Sino-Japanese war, he was transferred to Dalian in Southern Manchuria. After a brief period spent in Italy in 1938, he returned to Shanghai where he lived between 1941 and 1946 and formed the vast majority of his collection of Chinese Art.來源：意大利顯赫私人收藏，約二十世紀三十至四十年代入藏，並由後人保存迄今該重要意大利收藏家曾於1932至1936年作為某意大利公司代表在上海工作生活，1937年日本侵華戰爭爆發後遷往大連，1938年在意大利短暫停留後又回到上海，此番在上海居住的1941至1946年間，他獲得了其絕大部分中國藝術品收藏。The most notable feature of the present lot is the remarkable similarity of the faces of the ladies with those in Yongzheng's famous Screen of Twelve Beauties in the Palace Museum, Beijing. Compare the faces and hems of the ladies with those in the Twelve Beauties at Leisure Painted for Prince Yinzhen, the Future Yongzheng Emperor (hereafter abbreviated as Screen of Twelve Beauties), by anonymous court artists in the Late Kangxi period, illustrated in China: the Three Emperors 1662-1795, London, 2005, pp.258-259, no.173. The uncanny similarity of the faces painted in realistic style with neat outlines and generous colour, follows the custom of depicting ladies of the Court as women of elegance and natural grace, and strongly points to the courtly origin of this painting. The present lot closely follows the composition of another Imperial painted album, the Yue man qing you tu (月曼清遊圖) by Chen Mei 陳枚 (active in the early Qianlong reign), in the Palace Museum, Beijing. Painted in 1738, the album depicts the life of concubines over twelve months. One of the album leaves shows ladies playing chess in the exact same posture and position as the present lot, but within an interior. Therefore, one can see that the depiction of court ladies followed set models and precedents by court masters, which the present lot also follows. By examining further the Screen of Twelve Beauties, we may understand too the background of the present lot. While the Yongzheng emperor was still a prince, he commissioned the set of paintings of twelve beauties for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An Imperial garden to the northwest of Beijing, the Summer Palace, was presented to the young prince in 1709 by his father, the Kangxi emperor. However, an item found in the archives of the Imperial Household Department notes that in the eighth lunar month of 1732, ten years into Yongzheng's reign as emperor, the twelve paintings were removed from the screen and individually stored.Like the Screen of the Twelve Beauties, the present painting was also probably part of a larger screen or wall painting meant to decorate a palace. The apocryphal seal in the top right of the painting Jing ji shan zhuang (靜寄山莊), refers to an Imperial retreat in Panshan near Tianjin. Although the seal is apocryphal, it could refer to the original location where the present lot was from. Furthermore, like the Screen of the Twelve Beauties, the present lot was also at some point detached from a wall or screen and later cut into a more convenient and smaller section and re-mounted onto a different background. The format of the present lot is in keeping with 19th century practices of display; see for example J.Cahill, Pictures for Use and Pleasure: Vernacular Painting in High Qing China, 2010. The artist of this painting as well as the Screen of Twelve Beauties portrayed the imagined beauties enjoying traditional Han Chinese leisure activities such as playing chess or weiqi, sampling tea, watching butterflies, and reading, as well as showing them in quiet reflection. This view reflects the late Imperial Chinese model of femininity, where women could engage in the traditionally male 'Four Arts of the Scholar' (playing the guqin, calligraphy, painting, and chess) whilst still being refined, delicate and attractively feminine. See S.McCausland and Lizhong Ling, Telling Images of China: Narrative and Figure Paintings 15th-20th Century from the Shanghai Museum, London, 2010, pp.65-7. The Manchu rulers, seeking to define themselves as the proper heirs to the throne of China, could not have missed the support of female intellectuality that many found even within the conservative Confucian tradition. It would be tempting to suggest that the artist of the present lot also showcased the most popular costumes and hairstyles of Qing court women. However, it interesting to note that these ladies are dressed in the styles of the flourishing Chinese cultural centre of the Yangzi delta region, at a time when there were repeated Imperial efforts to block the growing Manchu tendency to take on Han Chinese folkways. The Qianlong emperor, like his predecessors an author of repeated prohibitions against Manchu adoption of Han dress - wrote that its appearance in one rendition of women attending the emperor was not to be taken seriously, dismissing it as 'painterly playfulness' (丹青遊戲); see J.Larsen, 'Women of the Imperial Household: Views of the Emperor's Consorts and their Female Attendants' in Proceedings of the Denver Museum of Natural History, no.15, November 1, 1998, p.24. One can surmise that the present lot and paintings like it, such as the Screen of Twelve Beauties and Yue man qing you tu, were following artistic conventions of the court rather than depicting the actual leisure garments of palace women. Indeed, one can argue that the present lot encapsulates a fantasy. Wu Hung presents evidence associating these paintings of imagined court ladies in Han dress with the feminised and sexualised landscape of China, now intimately known by the Manchu conquerors; see Wu Hung, 'Beyond Stereotypes: The Twelve Beauties in Qing Court Art and the Dream of the Red Chamber' in Ming and Qing Women and Literature, Stanf... 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
Lot 397
H CARR (BRITISH, LATE 19TH/EARLY 20TH CENTURY); two oils on canvas, still life studies of flowers and fruit respectively, both signed and dated 1914, 44 x 75cm, both framed (2).Additional InformationBoth items have surface scuffs, scrapes, scratches, and small paint losses. The floral example with visible loss to upper left, and is loose to the frame, only part still attached to the frame with sellotape. Frames very worn, scuffs, scrapes, scratches, chips and losses.
Lot 370
JEAN FLETCHER; oil on board, 'Rose Composition', floral still life, signed with monogram lower right, details to label verso, 60 x 44.8cm, framed. (D)Additional InformationWear, scuffs and scratches to frameThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 171
Two 18th century Chinese porcelain octagonal plates, one example painted with a variant of the Willow pattern, diameter 22cm, and a late 19th/early 20th century Chinese Imari bowl, diameter 28cm (3).Additional InformationEach blue and white plate with chipping to the edges, the example of the still life scene with fine hair line crack, one example has been drilled to support a wall hanger, chipping to the edges. The Imari example has general wear and rubbing to the gilding, minor nibbling to the edges.
Lot 187
An impressive life-size plaster model of Germanicus, or Marcus Claudius Marcellus as Hermes Logios, after the Antique, probably early 19th century, modelled nude and standing contrapposto, the right arm raised, and the left supporting a drape, on an integral rectangular socle, approximately 195cm high, the base 73 x 52cm The present plaster is modelled on the marble statue thought to represent Marcellus the Younger (circa 42 -23BC), nephew of Emperor Augustus and a prominent member of the Julio-Claudian dynasty that ruled Rome from 27BC until 68AD. The marble original was unearthed during the 17th century, resided at one point in the collection of King Louis XIV, and is now in the collection of the Louvre. It is thought to have been sculpted several years after Marcellus' death, and presents him as an idealised youth and in the guise of 'Hermes Logios', the god of eloquence, perhaps alluding to the subject's oratory skills and statesmanship. The sculpture is also often referred to as Germanicus, a Roman general and member of the Claudian dynasty.Plaster casts after Antique monuments really rose in popularity during the 18th and 19th centuries, occupying prominent positions in Neoclassical interiors and serving as valuable teaching aids at art academies across Europe. The art collection of the University of Edinburgh for example still holds a cast after the statue that was acquired during the late 19th or 20th century, though the closest comparable example is the model in the Museum of the Academy of Fine Arts, Krakow. This incredibly similar example is known to have been acquired by the Academy in Vienna in 1826, firmly establishing the date of manufacture of that model in the earlier part of the 19th century. A cast of the same subject is also known to have been presented to the Royal Academy by the Prince Regent in 1816, and it is possible that this lot dates from a similar period. Further reading: Haskell and Penny, Taste and the Antique, Yale University Press, 1981, pp. 219-20, no. 42Condition Report: The lot bears the usual minor marks, knocks and scuffs overall consistent with age and use.There are some losses to the painted surface, particularly to the upper back.There are also chips and losses to the plaster, especially the rectangular base (front and rear left corner, left and right sides) and to the exposed edges of the suspended drapery. There are casting joins visible in places, a result of manufacture. Possible restoration to lower portion of the tree trunk, possibly the lower portion of the hand, raised right wrist, and sections of paint may have been refreshed. It is possible that the plaster is more broadly 19th century in make.Minor losses to paint on plinth.Condition Report Disclaimer
Lot 215
Louis Bosschaerts (Dutch, early 20thC). Still life of flowers in a vase with books, oil on canvas, signed, 48cm high, 56cm wide., still life of Chrysanthemums in a jug and cherries, oil on canvas, signed, 39cm high, 49.5cm wide., sand dunes, oil on canvas, signed, 31.5cm high, 41.5cm wide. (3)
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