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Lot 138
An antique 1st - 4th Century BC very early glass teardrop shaped lingum / lingam stone or glass ingot of pointed form with rounded end base. Likely a Thai example. Previously from an old Tokyo collection the property of a Japanese Gentleman since the late 2000s. Bought by current owner from Timeline Auctions in September 2019. Measures approx; 18cm.
Lot 591
An antique early 19th Century French topographical scenic dinner service / dessert set / collection of plates each featuring a view of France including Imperial Palace of Versailles, Tour De Broughton, Le Gland et la Citrouille, and more. Various makers present including Stone Coquerel Et Le Gros Paris and other similar. Comprises three larger plates & 12 standard plates. Largest measures; 25cm.
Lot 773
Egyptian Artifacts - A collection of three figurines comprising a likely 19th Century carved wooden figure of a striding serving girl, 20th century stone figurine of a cubed Amun priest Hor and a early 20th Century basalt black stone Harpocrates figure modelled striding. Largest measures approx; 30cm tall.
Lot 46
A LARGE CARNELIAN AGATE 'SANDUO' VASE19th century Naturalistically carved using the milky-white portion of the stone as two curved hollowed tree trunks forming the vase with incised knotted tree bark, issuing a gnarled bough bearing large and small finger citrons beside, the vermilion-red part of the stone skilfully fashioned into fruiting branches of pomegranate and peach on the exterior forming the sanduo (Three Abundances), all beside an auspicious phoenix, with green-stained carved bone and wood stand. 19cm (7 1/2in) wide. (2).Footnotes:十九世紀 南紅瑪瑙「三多」花插The Buddha's Hand citron, which can be interchangeable with other citrons, together with the peach and pomegranate, are known collectively as 'The Three Abundances' (sanduo 三多), which express the wish for abundant blessings, long life, and many sons. Vases with this motif were often enjoyed at the Imperial Court and made of various other materials, see for example a related vase of similar design but made of beeswax, Qing dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum: Small Refined Articles of the Study, Shenzhen, 2009, no.331; carnelian agate vases but of fish design are also illustrated in Ibid., no.334.See a related carnelian agate 'sanduo' vase, 18th century, which was sold at Sotheby's Hong Kong, 30 November 2017, lot 362.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 47
A PALE GREEN JADE 'LINGZHI' RUYI SCEPTRE18th/19th centuryNaturalistically carved as a long gnarled branch entwined with bamboo and willow, and a further five ruyi heads, the large head with an auspicious bat, the stone of pale green tone with some russet highlights and mottled patches. 35cm (13 3/4in) long.Footnotes:十八/十九世紀 青白玉雕靈芝紋如意The sceptre conveyed wishes of longevity as symbolised by its shape in the form of a lingzhi fungus, the mythical plant of Immortality thought to grow on the legendary islands of Penglai, and in the meaning of ruyi 'as you wish'. The sceptre would have thus been an appropriate present on the event of a birthday and in the beginning of a New Year.Compare with a related jade ruyi sceptre, Qing dynasty, illustrated in the Compendium of Collections in the Palace Museum: Jade, 8, Beijing, 2011, no.72.See a related white jade 'lingzhi' ruyi-sceptre, 19th century, which was sold at Christie's London, 13 May 2014, lot 231.For further information on this lot please visit Bonhams.com
Lot 48
A FINE PALE GREEN AND RUSSET JADE CARVING OF A MYTHICAL BEAST17th century The recumbent beast deftly carved in the round, the head with protruding eyes beneath curling brows and a single horn extending down the knobbly back, turning sharply to the right, the dynamic body accentuated with carved rib cage, and bifurcated tail tucked between its hind legs and curling round its right haunch, the stone of attractive honey-amber tone with pale green underbelly. 5.7cm (2 1/4in) long.Footnotes:十七世紀 玉雕瑞獸把件For further information on this lot please visit Bonhams.com
Lot 49
A RARE VERY PALE GREEN JADE 'BAJIXIANG' 'MARRIAGE' BOWLQianlongCrisply carved around the exterior with the 'Eight Buddhist Emblems' amidst scrolling lotus, flanked by a pair of butterfly handles each suspending a loose ring, the interior worked in medium relief with a nine-headed lingzhi fungus and nandina, all raised on four ruyi-feet, the stone of pale greyish-green tone. 25cm (9 3/4in) wide.Footnotes:清乾隆 青玉雕八吉祥紋雙蝶耳活環洗Provenance: a Scottish private collection來源：蘇格蘭私人收藏This very fine jade bowl with its superbly-carved butterfly handles belongs to the category of 'marriage' bowls alternatively carved with butterfly, bat or dragon handles, popular in the Qing dynasty Imperial court. The two butterfly handles suspending loose rings in mirror image symbolise 'Joyful encounter' (Xi xiangfeng 喜相逢), and by extension marital happiness. For a related example of the use of butterfly handles see a white jade censer and cover with four butterfly handles suspending loose rings, illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (II), Beijing, 2008, pl.27. See also a related white jade 'marriage' bowl, Qianlong, illustrated in The Woolf Collection of Chinese Jade, London, 2013, no.71; and a similar jade 'marriage' bowl, Qianlong, illustrated by R.Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, Hong Kong, 1996, no.88, which was later sold at Christie's Hong Kong, 27 November 2007, lot 1503.See also the related pale green jade 'marriage' bowl, 18th century, which was sold at Bonhams London, 17 May 2012, lot 40.For further information on this lot please visit Bonhams.com
Lot 51
A LARGE JADE CARVING OF A RECUMBENT HORSE19th centuryThe animal skilfully carved recumbent with its legs tucked under its body, turning its head sharply to gently rest on its rounded back, its hind hooves tucked beneath its body, the bushy tail and mane finely detailed with incisions, the tail rendered swept to the side, the stone of pale green colour with beige and cloudy inclusions, wood stand.23cm (9in) long. (2).Footnotes:十九世紀 玉雕臥馬Provenance: Erwin Scharf (1904-1978), and thence by descentErwin Scharf (1904-1978) emigrated from Germany to Britain in the 1930s to escape Nazi persecution of the Jews. He graduated from the University of Leipzig with a doctorate in law but never practiced, rather going into the family business of manufacturing sound reproducing components. His brother, Dr Alfred Scharf was an art historian and it was he who encouraged Erwin's interest in art. 來源：Erwin Scharf（1904-1978）舊藏，並由後人保存迄今Erwin Scharf（1904-1978），二十世紀三十年代，為逃避納粹對猶太人的迫害，自德國移民英國。 Erwin畢業於萊比錫大學並獲法學博士學位，後加入製造聲音再現裝置的家族企業。其兄Alfred Scharf博士是一名藝術史學家，激發了Erwin對藝術的興趣。A larger horse fashioned from a mottled jade and carved in a similar style, Qing dynasty, from the collection of Sir John Woolf, was illustrated in The Woolf Collection of Chinese Jade, London, 2013, no.102, together with a pair of larger pale green examples, Qianlong, no.101; another jade horse, 17th/18th century, in the British Museum is illustrated by J.Rawson, Chinese Jade: From the Neolithic to the Qing, London, 1995, pl.26:20.Compare with a related jade carving of a recumbent horse, 18th century, which was sold at Christie's London, 14 May 2019.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 52
A LARGE PALE GREEN AND GREY JADE CARVING OF A WATER BUFFALO17th/18th centuryThe recumbent beast naturalistically modelled with its forelegs and hind legs tucked under the powerful body accentuated by a pronounced spine, the tail flicked to the left side and head turned to gaze amenably at the viewer, the gracefully-curved horns flanking the flat forehead, the stone of pale-green tone with dark-grey patches, wood stand. 19cm (7 1/2in) long. (2).Footnotes:十七/十八世紀 青白玉帶皮臥牛Provenance: Erwin Scharf (1904-1978), and thence by descentErwin Scharf (1904-1978) emigrated from Germany to Britain in the 1930s to escape Nazi persecution of the Jews. He graduated from the University of Leipzig with a doctorate in law but never practised, instead going into the family business manufacturing sound-reproducing components. His brother Dr Alfred Scharf was an art historian and it was he who encouraged Erwin's interest in art. 來源：Erwin Scharf（1904-1978）舊藏，並由後人保存迄今Erwin Scharf（1904-1978），二十世紀三十年代，為逃避納粹對猶太人的迫害，自德國移民英國。 Erwin畢業於萊比錫大學並獲法學博士學位，後加入製造聲音再現裝置的家族企業。其兄Alfred Scharf博士是一名藝術史學家，激發了Erwin對藝術的興趣。Buffalos were emblematic of agriculture. As such, in Imperial China, where agriculture was considered by Confucian governments to be the main source of tax revenue, the buffalo - used for ploughing - became a symbol of prosperity and hard work. Emperors frequently likened themselves to farmers ploughing the fields with an ox or buffalo under their reins. See for example, the Yongzheng emperor depicted as a famer in Pictures of Tiling and Weaving Portraying Yinzhen, Kangxi period, in the Palace Museum, Beijing (acc.no.Gu6634-8). Buffalos were also employed in literati paintings, to evoke a bucolic, idealised existence in the countryside. This fitted in with the Confucian ideal of a world in peace and harmony with peasants - the second highest in the Confucian social hierarchy after scholars - contributing to the wealth of the empire. The buffalo in turn, fed into a more mythical or spiritual side, recalling both Buddhist and Daoist preoccupation with simplicity, retreat, and the subjugation of the ego. The philosopher Laozi, is frequently painted and depicted in sculpture riding atop a buffalo. Another aspect of the buffalo is its guardian function, stemming from the legend of the Emperor Yu of the Xia dynasty casting an iron ox to subdue floods. This interpretation was most notably represented in the huge bronze ox commissioned by the Qianlong emperor in 1755 and placed gazing out over the Kunming Lake at the Summer Palace. Depicted in jade rather than bronze, with an eternally placid yet watchful expression, the present lot surely also observes and protects its owner. See a related jade buffalo, Qing dynasty, illustrated in Jade: Ch'ing Dynasty Treasures, Taipei, 1997, no.151. A larger, green jade buffalo, Qianlong, is also illustrated in The Woolf Collection of Chinese Jade, London, 2003, no.99.Compare with a slightly smaller mottled dark green and grey jade buffalo, 17th century, which was sold at Christie's New York, 21 March 2019, lot 1172. See also another celadon and grey jade buffalo, 17th/18th century, which was sold at Christie's London, 8 November 2016, lot 4.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 27
A RARE IMPERIAL PALE GREEN JADE FIGURE OF AMITAYUS17th/18th centuryThe deity finely cast seated in vajrasana, the face with serene expression and downcast eyes, surmounted by pleated hair arranged in a high chignon and topped with a lotus and pointed finial, all around a foliate tiara, the figure wearing a shawl over his shoulder ending in flowing ribbons, bedecked with elaborate jewellery above a thin dhoti loosely gathered over his legs, the stone of even pale green tone flecked with small beige and icy inclusions, hongmu stand. 19cm (7 1/2in) high. (2).Footnotes:十七/十八世紀 御製青白玉雕無量壽佛像Provenance: a distinguished English private collection來源：英國傑出私人收藏Amitayus is one of the most popular meditational deities in Vajravana Buddhism where he is highly revered for his longevity attributes, pure perception and awareness of the emptiness of phenomena. According to the 'Larger Sūtra of Immeasurable Life', compiled during the 1st or 2nd century AD, the infinite merits possessed by the deity resulted from the performance of good deeds in his past lives as a bodhisattva named Dharmakara. Having attained Enlightenment, the deity resided in the wondrous realm of Sukhavati.While there are extant examples of jade carvings of Buddha, figures of Amitayus are much rarer. For related jade figures of Buddha, Qing dynasty, in the Qing Court Collection, see the Compendium of Collections in the Palace Museum: Jade 8 Qing Dynasty, Beijing, 2011, nos.234-238 and 264-265.See two related pale green jade figures of Buddha, dated 18th century and 18th/19th century, which were sold at Bonhams London, 8 November 2012, lot 3, and 14 May 2015, lot 115.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 42
A RARE LANGYAO 'OLIVE-STONE' VASEEarly 18th centuryRising from an inward-sloping foot to an oviform body tapering to a waisted neck with flared mouth rim, the rich raspberry-red glaze applied evenly, stopping neatly at the white-glazed rim and above the foot ring, the interior glazed white. 28.3cm (11 1/8in) high. Footnotes:十八世紀早期 郎窯紅釉橄欖瓶The shape of the present vase is rare. The elegantly-potted baluster shape appears to have been an innovation of the Yongzheng reign. Compare, for example, the shape of a blue and white vase, Yongzheng mark and period, illustrated in The Complete Collection of the Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red, Hong Kong, 2010, vol.3, no.85. See also a related yellow-ground green and aubergine enamelled vase, Qianlong seal mark and period, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Miscellaneous Enamelled Porcelains, Plain Tricoloured Porcelains, Shanghai, 2009, no.132.Copper-red glazes, which had not been revisited since the Ming dynasty, were not only successfully fired but technically improved during the Kangxi period renowned for its langyao and 'peach bloom' group. These may have been produced under the supervision of Zang Yingxuan and Lang Tingji, who demonstrated a commitment to precision and technological innovation, which would determine the subsequent history of Qing Imperial porcelain production; see J.Hay, 'The Diachronics of Early Qing Visual and Material Culture', in The Qing Formation in World Historical Time, Cambridge, 2004, p.318.Compare with a similar red-glazed vase, 18th century, which was sold at Christie's Hong Kong, 28 May 2014, lot 3441.For further information on this lot please visit Bonhams.com
Lot 1837
Swan, Douglas. Stone Walk in an Angus Landscape. Air Forms. Bleistift und Aquarell auf Karton. Unter den beiden Zeichnungen in Bleistift betitelt. Rechts unten signiert und datiert. 1978. Blattgröße: 52 x 52 cm.Schöne Arbeit des US-Amerikanischen Künstlers Douglas Litterick Swan (1930-2000), der seit 1970 in Bonn arbeitete und lebte. - Unterer Rand links mit schmalem Wasserrand, sonst sehr gut erhalten. - Provenienz: Privatsammlung Rheinland.
Lot 155
A Cloisonné-enamel ribbed slender vaseBy the workshop of Hayashi Kodenji (1831-1915) of Nagoya, Meiji era (1868-1912), late 19th/early 20th centuryFinely worked in gold and silver wire on a dark blue ground with a family of ducks swimming in a lake surrounded by a profusion of flowering blooms of maple, chrysanthemums, irises, kohone (Nuphar japonica) and other aquatic plants in multi-coloured enamels growing around a stone lantern, the neck with white chrysanthemums interwoven among tasselled brocade floral pendants, the foot with a band of repeated lappets, applied with a gilt rims, the base stamped with the lozenge mark of Hayashi Kodenji and signed Aichi Hayashi saku; with a custom-made, velvet storage box. 19.7cm (7¾in) high. (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 279
Kawase Hasui (1883-1957)Showa era (1926-1989), dated 1933An oban tate-e print, titled along the upper right margin Matsushima Zaimokuto (Zaimoku Island in Matsushima), depicting a sailing boat in front of the unusually shaped stone arch at Zaimoku Island, the boat and rock reflected in the calm sea, dated Showa hachinen gogatsu saku (Work of May, Showa 8 [1933]), published by Watanabe Shozaburo, with a 6mm round Watanabe seal at the bottom left corner; signed Hasui with Kawase seal. 38.6cm x 26.4cm (15 3/16in x 10 3/8in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 44
A wood tonkotsu (tobacco box)Edo period (1615-1868), first half of the 19th centuryThe tonkotsu in the form of a skull, the mandible of exaggerated form, concealing the lower row of teeth and extending halfway up the sides of the skull, unsigned; with a peach stone ojime carved with a landscape, unsigned. 5cm x 5.9cm x 7.2cm (2in x 2 5/16in x 2 7/8in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 71
A gold-lacquer and roiro (black-lacquer) suzuribako (box for writing utensils)Meiji era (1868-1912), late 19th/early 20th centuryThe rounded rectangular suzuribako with a kabusebuta (overhanging lid) decorated in gold and slight silver takamaki-e, gold togidashi maki-e and kirikane with cranes in flight over large pine trees and plum branches, two minogame (bushy-tailed turtles) crawling toward a meandering stream and Mount Fuji looming in the distance, the sides scattered with plum blossoms, the inside of the lid embellished in rich nashiji decorated with a pair of minogame crawling toward young pine shrubs, the inside of the box executed in nashiji with a removable frame fitted with a suzuri (ink-grinding stone), two unrelated ink-sticks and an oval silvered-metal suiteki (water dropper) carved with a crane in flight among pine; unsigned. 3.5cm x 22.7cm x 18.2cm (1¼in x 8 5/8in x 7 1/8in). (7).For further information on this lot please visit Bonhams.com
Lot 20
A RARE GREENSTONE-INSET HUANGHUALI SQUARE INCENSE STAND, changfangxiangji17th/18th centuryThe top of standard mitre, mortise and tenon construction with a flush, tongue-and-grooved, single board, the green floating panel supported by dovetailed transverse braces, the tenons exposed on the short sides of the frame, the edge moulding gently downward and inward and ending in a beaded edge, the waist and the apron ending in a wide band with a concave surface, all mortised and tenoned into the legs tenoning to the mitred frame and terminating in well-shaped hoof feet, with a mitred frame at the base. 82cm (32 2/8in) high x 55cm (21 5/8in) wide x 55cm (21 5/8in) deep.Footnotes:十七/十八世紀 黃花梨嵌石面帶托泥方形四足香几Provenance: Nagel, Salzburg, 9 December 2016, lot 23An important European private collection來源：薩爾斯堡納高拍賣行，2016年12月9日，拍品編號23歐洲重要私人收藏Known as xiangji, incense stands count amongst the rarest types of furniture originating during the Ming dynasty. They were made square, rectangular, octagonal, lobed and even circular. Their function was for displaying a rock sculpture, fragrant bonsai (miniature plant), a flower vase or an incense burner, as recorded by Gao Lian in 'Eight Discourses on the Art of Living' Zunsheng Ba Jian, compiled in 1591. They were also placed outdoors for worship, as can be seen in woodblock illustrations in Ming books.The present example, decorated only with subtle beading, has gently spreading legs ending in exquisitely-shaped hoof feet, which rest on floor-level stretchers, and has an inset greenstone panel. As it was difficult to create a tenon with the top frame, the stone edges were wedged and inserted into the custom-made grooves on the interior of the top frame.The use of stone panels in furniture manufacture has a long history in China. It was highly suitable to hold incense burners, in case burning embers fell on its top. Song dynasty scholars Mi Fu (1051-1107), Su Shi (1037-1101) and Ouyang Xiu (1007-1072) were great admirers of stones, which were considered natural representations of landscapes and nature itself. The present greenstone is composed primarily of hydrated magnesium silicates. As its surface simulated snakeskin, serpentine stone was also known as 'snake-pattern stone'.A huanghuali incense stand, late 16th/early 18th century, inset with a serpentine panel, is illustrated by Chu Pak-Lau, Classical Chinese Huanghuali Furniture, Hong Kong, 2016, p.287, no.74. Compare also the shape of the present stand with a huanghuali and burlwood incense stand, late Ming dynasty, which was sold at Sotheby's Hong Kong, 14 August 2015, lot 1.几面標準榫卯攢邊框裝綠石面心，邊抹冰盤沿自中上部內縮至底壓窄平線，高束腰嵌裝有浮雕海棠紋的絛環板，四足側腳顯著，足端挖成棱角犀利的馬蹄，直落在托泥之上。香几常出現於明代書畫及版畫中，但傳世品極少。形制有方形、長方形、八角形、圓形或各式花葉形。高濂在其於萬曆十九年初刊的《遵生八牋》中述及香几尺寸多樣，或陳設奇石，或置香櫞盤，或置香爐香盒、焚香插花，或置清雅玩具、佛像佛龕等，用途不一。中國古典家具以石為裝飾，由來已久，這與歷代文人賞石愛石的文化傳統有著密切的淵源，尤以宋代為甚。宋徽宗舉「花石綱」，成為全國最大的藏石家，達官貴族、紳商士子爭相效尤；米芾、蘇軾和歐陽修等文壇名士都是賞石大家，認為石材的天然紋理可與經典的山水畫作相媲美。宋代之後的畫作中，經常能看到鑲文石板的家具，明代之後益發流行。本例香几面心所鑲綠石，主要成分為水合矽酸鎂，因紋理形似蛇皮，亦稱蛇紋石。以石板做面心，使得掉落的香灰無損於几案表面，分外適合焚香祭拜。參考一件十六世紀晚期至十八世紀早期黃花梨嵌石香几，收錄於劉柱柏著，《晏如居藏明式黃花梨家具》，香港，2016年，頁287，編號74。另見一件攻玉山房舊藏明晚期黃花梨四足癭木面帶托泥長方香几，形制可與本例比較，售於香港蘇富比，2015年8月14日，拍品編號1。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
Lot 51
A SPINACH-GREEN JADE BRUSHPOT, BITONGMid Qing DynastyOf cylindrical form inset with a circular base, the lustrous stone of rich spinach-green tone with dark and white speckles. 17cm (6 6/8in) high.Footnotes:清中期 碧玉筆筒Provenance: Grace Wu Bruce, Hong Kong, no.AJ 171 (label) An important European private collection來源：香港古董商嘉木堂，編號AJ 171（標籤）歐洲重要私人收藏The vibrant green colour of the present brushpot evokes vegetation and infuses the composition with a feeling of peace and tranquillity. Jade brushpots were precious objects placed on the desk of scholars and high-ranking officials.The term bitong was first used in the Maoshi caomu niaoshou chongyu shu, a 3rd-century commentary on the Shijing, a Confucian classic by Lu Ji, who lived in the Wu Kingdom during the Three Kingdoms period. At this time, the bitong consisted of 'a brush case made of two bamboo segments attached together and containing a pair of brushes'. The Chuanxin shiyong fang, a recipe book compiled in 1180, mentions the use of bitong as a tool to feed liquid medicine, and the Zhixu zazu, another Song dynasty text, mentions that '(Wang) Xianzhi owned a bitong named qiuzhong ('fur cup') made of spotted bamboo'. Yang believes that both were brush cases rather than brushpots; see Yang Zhishui and Guo Xuelei, 'Bitong shitong, xiangtong', in Shoucangjia, 2006: vol.3.The relatively ample supply of raw nephrite jade, after the Qianlong emperor invaded Khotan and captured the nephrite jade sources, meant that the Court's demand for jade desk items could be fully satisfied. The jade brushpots produced at the time include those made from spinach-green, pale green, Khotan-green, and yellow jade, as well as examples made from other semi-precious stones.碧玉琢製而成，取材大度，質地堅潤，色澤莊重古樸，紋路清晰自然，包漿淳樸溫和，渾然大氣。筆筒是我國傳統文房用具之一，在各類筆筒中，材料價值最高的當屬玉質筆筒。筆筒的製作需要玉料相對較大，且不能有大的綹裂和太多雜質。因為材料珍貴，玉質筆筒較竹木或瓷筆筒等少的多，多見於皇室貴冑之家。「筆筒」一詞最早出現在《毛詩草木鳥獸蟲魚疏》，這一三國吳人陸璣為《詩經》中提到的動植物進行註解的著作之中。據揚之水考證，彼時所稱之「筆筒」，應指收筆所用的筆套，類秦漢時期常見的兩根竹管連在一起而在其中置放一對毛筆的雙連式筒套，亦有單管之製。這一形制的筆筒流行時間很久，宋醫方著作《傳信適用方》記載了服藥時「用筆筒灌在喉中」，此處筆筒亦應指筆套。宋代《致虛雜俎》記載「（王）獻之有斑竹筆筒名裘鐘」，則為筆罩或曰筆帽之屬。而作為插筆之用的筆筒，或受竹刻製品之影響，流行於明清之際，沿用至今。見揚之水與郭學雷著，〈筆筒、詩筒、香筒〉，收錄於《收藏家》，2006年第3期。十八世紀後期，乾隆皇帝為捍衛西北邊防，平定回部，新疆正式歸入清中央政府的直接管轄之下，優質的白玉及碧玉玉料源源不斷貢入宮廷。本例製作之時，玉料豐富，品種激增，同期可見碧玉、青白玉、和闐白玉、黃玉等所製筆筒。For further information on this lot please visit Bonhams.com
Lot 58
A RARE PAIR OF HUANGHUALI MARBLE-INSET HIGH-BACK ARMCHAIRS, GUANMAOYI17th/18th centuryEach chair with a flat crestrail supported on a slightly-curving backsplat set with an attractive and variegated round marble panel suggestive of a landscape scene, between backwards-curving rear posts continuing through the seat to form the rear legs, the rectangular frame enclosing a mat seat above plain aprons and spandrels, the whole raised on legs of square section, joined by stepped stretchers on the sides and a foot rest at front. 102cm (40 1/8in) high x 55cm (21 5/8in) wide x 44cm (17 2/8in) deep. (2).Footnotes:十七/十八世紀 黃花梨嵌大理石四出頭官帽椅成對Provenance: an important European private collection來源：歐洲重要私人收藏Huanghuali yokeback armchairs such as the present examples are notable for their simplicity and harmonious form. Their name 'official hat-shaped chairs' derives from the resemblance of their crestrail to the winged hat that was part of the formal attire of Ming officials. Guanmaoyi chairs were regarded as high-status chairs and retained a connotation of authority associated with the elite gentry in Chinese society. According to the 'Classic of Lu Ban' Lu Ban jing, a 15th century carpenter's manual, the joinery of yokeback chairs was the quintessential achievement of Chinese furniture construction; see C.Clunas, Chinese Furniture, London, 1988, p.20.Guanmaoyi chairs inset with marble panels on the splat are unusual. Decorative stone panels were incorporated into furniture design from at least the Han period. Decorative stone panels were highly regarded by the literati for their abstract imagery and complex patterns which often evoked dramatic misty ink landscapes. These panels were often set into tables, display stands or screens. The most attractive panels were reserved for larger furniture, such as wall panels and the railings surrounding large daybeds. The presence of beautifully variegated stone-inset furniture was a signifier of refined taste and wealth, as Wen Zhenheng advocated in his 'Treatise on Superfluous Things' Zhang Wu Zhi, a Ming dynasty work on taste and interior design; see W.S.Lee, Status of the Materials Used in Suzhou Gardens in the Late Ming Dynasty, Honolulu, 2006, p.70. A related yokeback armchair, 17th century, from the Tseng Riddell collection, is illustrated in the National Palace Museum, Splendor of Style: Classical Furniture from the Ming and Qing Dynasties, Taipei, 1999, p.83. Compare with a related pair of huanghuali Dali-marble-inset armchairs, guanmaoyi, 17th-18th century, which was sold at Christie's Hong Kong, 30 May 2018, lot 3017.通身以方材製作，搭腦平直，靠背板上端微微後彎，嵌圓形理石板。後腿上截與靠背板彎出相同弧度，出榫納入搭腦，下穿過椅盤成為腿足。平直的扶手作肩接入後腿上截，另一端與另木安裝的鵝脖相連，聯幫棍省略不用。籐編座面，椅盤下四面光素短牙板。腿間施方材步步高趕棖，前棖下施牙條。官帽椅以理石鑲嵌為飾者，頗為稀有。自漢代始，石材就被用於裝飾傢具；黑白紋路的大理石，如水墨山水，尤為文人墨客所珍尚。文震亨所著《長物誌》「大理石」條中稱，「白若玉、黑若墨為貴...... 但得舊石，天成山水雲煙，如米家山，此為無上佳品」；「椅」條中又稱，「烏木鑲大理石者，最稱貴重」。參考W.S.Lee著，《Status of the Materials Used in Suzhou Gardens in the Late Ming Dynasty》，檀香山，2006年，頁70。對比一具Tseng Riddell收藏十七世紀官帽椅，收錄於《風華再現：明清家具收藏展》，台北，國立歷史博物館，1999年，頁83。另見一對十七至十八世紀黃花梨嵌理石官帽椅，售於香港佳士得，2018年5月30日，拍品編號3017。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
Lot 6
A RARE PALE GREEN AND RUSSET JADE 'MYTHICAL BIRD' SCROLL WEIGHTTianji Wenbao incised four-character mark, 18th centuryThe domed weight finely carved as a mythical bird with a single crest and pointed beak, on a circular base with its wings outstretched as if ready for flight, the slightly-flared wings flanking a bulbous body, the long tail feathers elegantly curled in various directions, all meticulously incised with well-defined feathers suggesting vivid movement, the base incised with a four-character 'Tianji Wenbao' mark within a dense ground of C-scrolls, the smoothly-polished stone of pale-green tone with beige and russet inclusions. 6.1cm (2 3/8in) diam. Footnotes:十八世紀 朱雀玉鎮「天雞文寶」刻款Provenance: an important European private collection來源：歐洲重要私人收藏The present lot is an outstanding example inspired by an earlier design dating to the Han dynasty. This rhythmically-carved bird is remarkable for its intricate relief decoration in various depths, displaying exceptional technique in carving the naturalistic and three-dimensional rendering of the jade bird. During the Han dynasty, weights of similar shape to the present example were made of precious materials such as jade or gilt-bronze and likely made for use by high-ranking members of society. In this context, these weights were usually produced in sets of four, each in the shape of a human figure or a mythical animal or bird representing one of the four Directions of the Universe. The Red Bird depicted on the present lot represented South and would have been used in conjunction with the White Tiger symbolising West, the Green Dragon of the East and the Black Tortoise of the North. Sitting at the centre of a cosmic diagram signified being the pivot and recipient of all the forces of the universe, symbolic of the Chinese emperors. The present lot is closely related to a line drawing of a bronze weight in the shape of a mythical bird, Han dynasty, published in the 'Catalogue of Ancient Ritual Bronzes' Xiqing Gujian Xiqing gujian, vol.38, p.46. This collection of drawings served as a source of inspiration for the production of contemporary objects, underscoring the emperor's wish to reinstate what he believed to be the intrinsic qualities of simplicity, sincerity and happy exuberance found in the ancient past; 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 inscription incised on the underside of the present lot, Tianji Wenbao, reflects the 18th century trend of paying homage to the historical past, as it literally translates as 'Mythical Bird Cultural Treasure'. A gilt-bronze weight similarly shaped as a mythical bird curling above a circular base is in the National Palace Museum, Taipei, acc.no. 000333N. Compare with a related exceptionally rare jade mythical-bird scroll weight, Han dynasty, illustrated by T.Fok, The Splendour of Jade: The Songzhutang Collection of Jade, Hong Kong, 2011, pl.74, which was later sold at Bonhams Hong Kong, 30 May 2017, lot 54.青玉圓雕一朱雀鳥呈振翅待飛姿勢，留皮巧雕出雀鳥頭部及羽翼。雀鳥眼眶以陰刻方式表現，鳥喙短銳而渾圓有力，頭上有一撮羽冠向後垂在頸上。羽翼微張，以陰線勾勒出波摺層次。兩側浮雕腿足，憨態可掬。底部陰刻流動雲紋，中央刻「天雞文寶」篆書款。本例形制源於漢朝席鎮。桌椅普遍使用之前，人們席地而坐，室內所設床榻也需鋪席。席鎮遂用於席的四隅以避免起身落座時折卷席角。皇室貴冑常用材料貴重的銅鎮、玉鎮，且造型豐富，以人物和動物形最為多見，通常以一組四件使用。此朱雀玉鎮應為一組四件中的一件。朱雀是中國傳統文化中的「四靈」之一，和青龍、白虎、玄武共同表示四方，即左青龍（東）、右白虎（西）、前朱雀（南）、後玄武（北）。能以四像神獸形的席鎮置於四隅，寓意著席鎮主人位於東南西北四方的中央，暗示著使用者舉足輕重的地位。宋代以後，席鎮原始的功能逐漸消失，文人常取獸形鎮以為鎮紙之用。此玉鎮之造型與乾隆時期《西清古鑑》卷三十八「書鎮」中一漢鳩鎮的線描圖相似。《西清古鑑》是乾隆十四年下旨編制收錄清代宮廷所藏古代青銅器的大型譜錄。乾隆皇帝好古敏求，崇尚慕古之風，認為古物樸素、精純、高雅、有意涵，曾交《考古圖》、《西清古鑑》等予玉工作為製作新製玉器時造型、紋飾的藍本。詳見張麗端著，《宮廷之雅：清代仿古及畫意玉器特展圖錄》，台北，1997年，頁49-50。本玉鎮之原型有兩例可資參考，台北國立故宮博物ƀ... For further information on this lot please visit Bonhams.com
Lot 145
An early 19th century Spode New Stone service, circa 1813-1820 and onwards, iron red pattern number 2038, painters' marks, impressed marks and printed marks to some pieces, decorated with flowering branches in the Kakiemon style, within flower-panelled iron red and gilt scroll borders, comprising: 15 soup bowls, 24cms, 8 side plates, 20.2cms, 2 square dishes, 1 low tazza, 49 plates, 24cms, Tureen, cover and stand, Pair octagonal stands, Large octagonal meat dish, 47cms, Large meat dish with gravy well, 52cms, green printed mark (quantity) Provenance: The Collection of Countess Veronica Munster Condition Report: Damages throughout- most if not all have suffered from handling, cleaning and use with rubbing and wear to gilding and painted decoration. 15 soup bowls, 24cms (5 damaged) 8 side plates, 20.2cms (1 damaged- but most with oven baked colour damage) 2 square dishes (both broken) 1 low tazza (foot broken) 49 plates, 24cms (37 damaged) Tureen, cover and stand (stand and cover damaged) Pair octagonal stands (both damaged) Large octagonal meat dish, 47cms Large meat dish with gravy well, 52cms, green printed mark Condition Report Disclaimer
Lot 23
Y Assorted works of art to include two 19th century bone apple corers, larger 14cms long; late 19th century ivory spinning top, possibly whale ivory, numbered 1-8, 8cms long; two miser's purses, Dresden painted porcelain scent bottle, 6cms high and another unmarked porcelain scent bottle; assorted polished stone and other items (quantity) Provenance: Berwick House, Shropshire Condition Report: All will benefit from a clean typical wear from handling, corers with discolouration and shrinkage cracks, spinning top- finial with loss- hole bored to stem, second scent bottle rubbed, miser purses with rusting to metalwork Condition Report Disclaimer
Lot 11
Three various rings comprising unmarked yellow metal signet ring, size K, and two yellow metal rings, each set amethyst-coloured stone, one stamped 9ct, the other 9ct and Sil, sizes L and K respectively, 6.3g gross approx (3) Condition: General condition consistent with age and use. **Silver, Gold and Jewellery - The presence of manufacture or assay marks indicating purity are taken to be accurate but no guarantee is implied or given. Weights are taken via our electronic scales as a guide - but we are selling objects, not quantities - and so these are provided for reference only and do not form part of the bidding contract. Precious stones may have been tested via a GemTrue or Presidium tester but, unless specifically stated, no further laboratory reports or certification accompany the item or should be inferred. Corundum family stones (sapphire-ruby), emerald and other coloured gemstones can be natural or artificial, treated or untreated, and we do not offer any warranties as to the origin or treatment of such stones sold at auction. Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Lot 13
Yellow metal, platinum and three-stone diamond ring, shank stamped 18ct & Pt, size M, 2g gross approx Condition: General wear to platinum claws. **Silver, Gold and Jewellery - The presence of manufacture or assay marks indicating purity are taken to be accurate but no guarantee is implied or given. Weights are taken via our electronic scales as a guide - but we are selling objects, not quantities - and so these are provided for reference only and do not form part of the bidding contract. Precious stones may have been tested via a GemTrue or Presidium tester but, unless specifically stated, no further laboratory reports or certification accompany the item or should be inferred. Corundum family stones (sapphire-ruby), emerald and other coloured gemstones can be natural or artificial, treated or untreated, and we do not offer any warranties as to the origin or treatment of such stones sold at auction. Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Lot 225
Vegetable ivory' dog whistle, having red stone set eyes, 5cm, together with a horn whistle, 7cm Condition: Mouthpiece would appear to be a replacement, both would benefit from a clean, not tested. Please check the extra images provided prior to bidding which may show some condition issues. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Lot 29
18ct gold, platinum and solitaire diamond pendant, the stone approx 4.9mm diameter x 3mm deep, with 18ct gold filed-curb link fine chain, 1.8g gross approx Condition: General condition consistent with age and use. **Silver, Gold and Jewellery - The presence of manufacture or assay marks indicating purity are taken to be accurate but no guarantee is implied or given. Weights are taken via our electronic scales as a guide - but we are selling objects, not quantities - and so these are provided for reference only and do not form part of the bidding contract. Precious stones may have been tested via a GemTrue or Presidium tester but, unless specifically stated, no further laboratory reports or certification accompany the item or should be inferred. Corundum family stones (sapphire-ruby), emerald and other coloured gemstones can be natural or artificial, treated or untreated, and we do not offer any warranties as to the origin or treatment of such stones sold at auction. Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
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