A rare pale green and russet jade chilong-handled cupMing DynastyExpertly carved with deep rounded sides, supported on splayed foot, the sides with a pair of loop handles with entwining, writhing chilong, the exterior of the cup carved in low-relief with archaistic taotie masks beneath a band of raised studs interspersed with roundels, recessed base further carved with curling C-scrolls, the stone of pale green tone with light russet patches, huanghuali stand. 10.8cm (4 3/8in) wide (2).Footnotes:明 青白玉帶皮螭龍柄盃Provenance: a Swiss private collection來源：瑞士私人收藏The archaistic motif on the present lot reflects the scholarly trend of the 'search for evidence' (kaozheng 考證) movement beginning in the early 17th century. Although this movement originated in a renewed scholarly interest in ancient texts and inscriptions on archaic bronzes, as literati sought a more empirical approach to understanding their ancient heritage, it led to a greater fascination for decorative designs adopted from ancient bronzes too.Several jade cups with chilong handles and archaistic designs, Ming dynasty, are illustrated in the Compendium of Collections in the Palace Museum: Jade, 7, Beijing, 2011, nos.138, 148.This lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.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
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A rare pale green jade quatrelobed 'lotus' shaped brush washer17th centuryThe vessel delicately carved with four fleshy lobed petals with everted rim and pointed leaves, rising from four small shaped feet, the interior crisply carved with four sharp ridges designed to easily clean the brush, the transluscent stone of pale green tone with dark grey-brown striations, huanghuali stand. 12cm (4 3/4in) long (2).Footnotes:十七世紀 青白玉雕倭角海棠式洗Provenance: a Swiss private collection來源：瑞士私人收藏Brush washers were important accompaniments to any scholar's desk. They were used to not only clean the brush but to also add water to an inked brush for toning. The sharp edges in the interior of the brush washer was not merely decorative but also utilitarian in allowing the brush to be cleaned against raised ridge and also 'pointed'.This lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.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 pale green jade two-handled 'prunus' cupMing DynastySmoothly carved with deep rounded sides, supported on a short slightly tapered foot ring, each side with a high-relief carving of gnarled prunus branches each with a flowering blossom, the stone of pale green tone with brown-grey patches, huanghuali stand. 12cm (4 3/4in) wide (2).Footnotes:明 青白玉雕梅紋耳盃Provenance: a Swiss private collection來源：瑞士私人收藏See a related white jade cup with flower-shaped handles, Ming dynasty, illustrated in the Compendium of Collections in the Palace Museum: Jade, 7, Beijing, 2011, p.162, no.142. Compare with a similar pale green jade two handled 'prunus' cup, with chilong, Ming dynasty, which was sold at Bonhams Hong Kong, 28 May 2019, lot 15.This lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.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 very rare pale green jade Imperial-inscribed 'tea of three purities' tea bowl and coverQianlong four-character mark and of the periodThe translucent jade expertly carved with deep rounded sides to a flaring rim from a short straight foot, incised and gilt around the exterior with a poem composed by the Qianlong emperor that ends with a Bingyin cyclical date (corresponding to 1746) and followed by two seals, Qian and Long, all enclosed between two borders of ruyi-heads, the domed cover similarly incised with the same text, the semi-transparent stone with frost-like inclusions, zitan stand. 11.2cm (4 3/8in) diam. (3).Footnotes:清乾隆 御製青白玉刻「三清茶」詩蓋盌「乾隆年製」隸書刻款Provenance: a Swiss private collection來源：瑞士私人收藏It is rare to find inscribed jade tea bowls, as a number of these were usually made of porcelain, either decorated in underglaze blue or iron red. Compare with two porcelain bowls similarly decorated, the first in the collection of the National Palace Museum, Taipei, illustrated in Empty Vessels, Replenished Minds: The Culture, Practice and Art of Tea, Taipei, 2002, p.152, no.129; and another also in the National Palace Museum, Taipei, illustrated in Emperor Qianlong's Grand Cultural Enterprise, Taipei, 2002, p.51, no.I-40.The poem on the current bowl, Sanqing cha (三清茶), 'Tea of Three Purities', was composed by the Qianlong Emperor. It has been mentioned that the Qianlong emperor was an avid drinker of tea, and in the 11th year of his reign (1746) on his return from visiting Mount Wutai, Shanxi Province, his entourage sojourned to make tea using fallen snow. In the brew, as well as Longjing tea leaves, were the three additions of prunus, pine nut kernels and finger citrus. It was this concoction that inspired the emperor to compose the present poem 'Tea of Three Purities'.The poems on the cover and body are the same and were published in Yuzhishi chuji (Imperial Poems I) (1736-1747). Following the poem, the bowl and cover are inscribed Qianlong bingyin xiaochun yuti, 'inscribed in October of the Bingyin year of Qianlong' corresponding to 1746, following two seals, Qian long. The subject of the poem confirms that this bowl and cover was used specifically for drinking tea.Compare with a related white jade tea bowl and cover, Qianlong six-character seal mark and of the period, with the same poem, which was sold at Christie's Hong Kong, 26 November 2014, lot 2931.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 fine and rare pale green jade lotus and chilong water dropper18th centuryThe jade pebble expertly hollowed and carved as a fleshy, curling lotus leaf with finely incised veins and undulating rim, borne on a curving lotus stem acting as a handle, the side of the leaf with a clambering chilong peering inside, the stone of even pale-green tone, zitan wood stand. 10.7cm (4 1/8in) long. (2).Footnotes:十八世紀 青白玉雕蓮葉式水滴Provenance: a Swiss private collection來源：瑞士私人收藏Compare with two related white jade water droppers in the form of lotus leaves, in the Qing Court Collection, Qing dynasty, illustrated in Small Refined Articles of the Study: The Complete Collection of Treasures of the Palace Museum, Shenzhen, 2009, p.130, nos.101 and 102.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A very fine white jade incense-tool vaseQianlong Deftly carved rising from a short splayed foot to an ovoid body surmounted by a long tapering, cylindrical neck with galleried rim, the body exquisitely carved in low-relief around the exterior with archaistic designs of confronted stylised chilong, the stone of even pale white tone, wood stand. 11.2cm (4 1/2in) high (2).Footnotes:清乾隆 白玉雕仿古螭龍紋香插Provenance: a Swiss private collection來源：瑞士私人收藏Incense-tool vases would be used to contain implements such as metal chopsticks and spatula which would have been used to prepare incense on sand contained in an incense burner. In contrast to much Chinese jade carving in the 18th century, which was characterised by decorative high-relief carving, the Qianlong emperor commissioned a large number of jades which were inspired by the forms and designs of antiquity. Jade carvers were encouraged to move away from the 'new style' by studying archaic bronze vessels in the Qing Court Collection or in illustrated woodblock prints, and adapting them to the medium of jade. Inspired in its decoration by archaic bronzes, the present lot epitomises this trend. See for example, a related white jade incense tool vase with archaistic taotie pattern, but with a pair of handles, Qing dynasty, illustrated in the Compendium of Collections in the Palace Museum: Jade, 10, Beijing, 2011, p.149.Compare with a slightly larger (14.5cm high) white jade archaistic bottle vase, Qianlong, which was sold at Sotheby's Hong Kong, 8 April 2010, lot 1882.This lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.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 very pale green jade floral shaped cup-standQianlong Deftly carved as a large flower head with eight petals radiating from a central slightly raised centre with furled petals centred by a stamen, the petals with finely incised veins, the thin translucent stone of even pale green tone, hongmu stand. 15cm (5 7/8in) diam (2).Footnotes:清乾隆 青白玉雕疊瓣蓮花式盞托Provenance: a Swiss private collection來源：瑞士私人收藏The elegant curvilinear design of the petals as well as the skilful carving of the thin jade can be attributed to the influence of Mughal jades which were popular at court during the reign of the Qianlong emperor; see a Mughal jade floral tray, Qianlong, illustrated in Exquisite Beauty: Islamic Jades, Taipei, 2007, p.80, no.75.This lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.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 pair of white jade Mughal style 'chrysanthemum' dishesQianlong/JiaqingEach of oval form, crisply carved to the interiors with radiating chrysanthemum petals radiating outwards towards the rims, the exterior of one dish carved with finger citrons, the other carved with three of the bajixiang, the translucent stone of pale white tone, fitted box. Each 12cm (4 3/4in) long (3).Footnotes:清乾隆/嘉慶 痕都斯坦式白玉菊瓣盤一對Provenance: a Swiss private collection來源：瑞士私人收藏See a very similar white jade chrysanthemum petalled dish, carved with two peaches on the base, Qing dynasty, in the National Museum of History, Taipei, illustrated in The Jade-Carving Art in the Ch'ing Dynasty, Taipei, 1990, p.31.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
three archaistic jade cups16th/17th centuryComprising two archaistic two-handled cups, the first carved with a band of raised circular bosses on the body, both handles decorated with ruyi-head and geometric patterns, the stone of brownish-green tone with creamy white and russet flecks and inclusions, 13cm (5 3/4in) wide; the second decorated with a band of raised circular bosses below taotie masks and archaistic patterns, the handles carved on the flat tops with a taotie mask, the stone of a pale green tone with some russet veining, 12.7cm (5in) wide; the third vessel carved with two taotie masks below a key-fret border at the rim, separated by a handle issuing from a taotie mouth, 5.4cm (2 1/8in) diam. (3).Footnotes:十六/十七世紀 玉雕小盌一組三件Provenance: an important European private collection, and thence by descent來源：重要歐洲私人收藏，並由後人保存迄今For further information on this lot please visit Bonhams.com
A fine pale green and grey jade 'chilong' cupMing DynastyThe cup with deep rounded sides and key-fret border on the rim, rising from a short stepped foot, clambered up by three writhing archaistic chilong with bifurcated tails, their heads resting on the lip of the cup forming loop handles, the stone of pale green tone with greyish patches, wood stand and box. 11.6cm (4 5/8in) wide. (3).Footnotes:明 青玉雕螭龍柄盃Provenance: d'Arcy Arthur Baker-Carr (1908 - 1985), and thence by descent來源：d'Arcy Arthur Baker-Carr（1908 - 1985）舊藏，並由後人保存迄今See a similar jade cup with three chilong handles, Ming dynasty, illustrated in Zhongguo guojia bowuguancang wenwu yanjiu congshu: Yuqi juan, Shanghai, 2007 no.215. Another jade cup with three dragons, Ming dynasty, 16th/17th century, is in the Cleveland Museum of Art, illustrated by C.Y.Watt, Chinese Jades from Han to Ch'ing, New York, 1980, p.165, no.139. A related jade cup with chilong exhibited as no.326 in the exhibition Chinese Jade Throughout the Ages was lent by the Musée Guimet, no.MR 204-585. It is also interesting to note that a related jade cup with chilong found favour in the Islamic world and was presented by Shah Abbas I to the Ardebil Shrine in 1611, it is illustrated by S.Howard Hansford, Chinese Carved Jades, London 1968, pl.80B.Compare with a similar striated grey jade 'chilong' cup, Ming dynasty, which was sold at Bonhams London, 15 May 2014, lot 161.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 large green and russet jade 'boy' brush rest17th centuryThe figure of the boy crisply carved wearing loose flowing tunic and trousers, resting on his belly with his legs raised and arms outstretched as if in flight, the large head finely detailed with incised hair and almond-shaped eyes, the stone of even greyish-green tone with some russet inclusions. 17cm (6 3/4in) long.Footnotes:十七世紀 青白玉雕童子擺件Provenance: an English private collection, and thence by descent來源：英國私人收藏，並由後人保存迄今The Confucian doctrine of filial piety together with the cult of ancestor worship underscored the need for children, in particular boys, to continue the family line and make offerings to the ancestors in the afterlife. As such, the depiction of boys can be found in various media in Chinese art including painting, porcelain, lacquer and jade carvings. Compare with a related but larger jadeite pillow in the shape of an infant boy, 18th/19th century, in the Metropolitan Museum of Art, New York (acc.no.02.18.426)For further information on this lot please visit Bonhams.com
A fine white and grey jade carving of a boy on hobby-horse17th/18th century Deftly carved as a standing boy with finely incised patch of hair atop his pate, carrying a spray of lotus in his right hand extending over his back, his left hand holding the reins of a hobby-horse between his legs, the stone of pale white tone with a grey patch. 8.5cm (3 3/8in) high. Footnotes:十七/十八世紀 白玉雕騎竹馬童子擺件Provenance: Gerard Arnhold (1918-2010) Born in 1918 in Dresden, Germany, Gerard Arnhold was from a well-known family of Jewish philanthropists. His family left Germany in 1936, after the Nazis came to power and seized their assets. He served in the British Army during the Second World War, before starting a successful technology company in Brazil. He and his family supported rebuilding efforts in Germany and many charitable causes, always working anonymously. Arnhold was also a generous supporter of the Durham Oriental Museum for many years.來源：Gerard Arnhold（1918-2010年)Gerard Arnhold，1918年出生於德國德累斯頓的著名猶太慈善家族。 1936年，在納粹上台並沒收其家族財產後，全家離開德國。他曾於第二次世界大戰期間效力於英軍，之後在巴西成功創立了一家科技公司。二戰後，Gerard及其家人長期匿名支持德國重建工作及其他慈善事業，他也是達勒姆東方博物館的長期捐贈者。Images of boys playing with a hobby horse form part of the popular 'boys at play' and 'Hundred Boys' subjects that emerged during the Song dynasty. This theme is symbolic of the Confucian ideal for the education and advancement of many sons, a wish further emphasised by the lotus (lian 蓮) he carries which is a homophone of 'continuous' (lian 連) and creates the rebus 'May you continuously give birth to sons'. As the boy is depicted riding a hobby-horse, this conveys the further wish for it to come quickly as 'to be on top of a horse' (mashang 馬上) means 'immediately'.Compare with a similarly finely-carved figure, but holding a rattle instead of a lotus stem, in the Museum of East Asian Art, Bath, (museum no.BATEA 1218); and a related figure of a boy holding a lantern on a pole, from the collection of Florence and Herbert Irving and now in the Metropolitan Museum, New York (acc.no.2015.500.5.14).For further information on this lot please visit Bonhams.com
A magnificent large very pale green jade 'stag and young' groupQianlongSuperbly carved as a large reclining stag with its head held high and turned sharply towards a smaller deer, the stag with long antlers extending down its neck, its legs tucked beneath its body, both deer clasping a large, leafy sprig with five lingzhi fungus heads in their mouths, the stone of a very pale green-white tone with russet patches, with silver-inlaid wood stand. 19cm (7 1/2in) long. (2).Footnotes:清乾隆 青白玉雕雙鹿銜芝擺件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。This group is of unusually large size for an animal carving of this period. Skilfully modelled in the round, the sturdy animals effectively contrast with the finely carved branches of lingzhi fungus that scroll around the larger deer to create a sense of movement. The quality of the carving and polish is also of the highest standard. Compare also with a related pale green jade three ram group, Qing dynasty, and a pale green jade carving of a stag and doe with lingzhi fungus, Qing dynasty, in the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Jade, Qing Dynasty, vol.9, Beijing, 2010, pls.143 and 145. See also a related jade recumbent deer with lingzhi in its mouth, Qing dynasty 1700s, in the Cleveland Museum of Art (acc.no.1952.498).Deer have a number of auspicious meanings in Chinese culture. Shoulao, the Star God of Longevity, is usually depicted accompanied by a spotted deer, crane, peach and pine tree. Thus each of these, including the deer, has come to represent long life. Deer are also believed to be the only animals that can find the fungus of immortality. In addition, deer may represent Luxing, the God of Rank and Emolument. The Chinese word for deer (lu 鹿), sounds like the word for emolument or an official salary (lu 祿), thus deer are symbolic of the rank and wealth that are associated with such a salary. The word for deer is also a homophone for 'road' and for 'six'. Thus two deer suggest two auspicious phrases: Lulu shunli, 'May all roads be smooth', and Liuliu dashun, 'May everything be smooth sailing'.Compare with a smaller white jade group of stag and doe with lingzhi, 18th century, which was sold at Christie's Hong Kong, 01 June 2011, lot 3561.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 pale green jade 'dragon and young' groupQianlongDeftly carved and pierced as a large scaly dragon emerging from finely incised waves, a smaller dragon also emerging from the waves, gazing up at the larger, all amidst swirling clouds and a flaming pearl, the stone of even pale green tone, wood stand. 14cm (5 1/2in) wide. (2).Footnotes:清乾隆 青白玉雕蒼龍教子擺件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。The motif of an adult and young dragon seems to have been favoured by the Qianlong emperor and has been interpreted as conveying the message of the father teaching his son the ways of life, and within the Imperial family, that of the emperor giving lessons to the prince.For further information on this lot please visit Bonhams.com
A spinach-green jade incense burner and openwork coverQianlong/ JiaqingFinely carved supported on a short recessed foot, carved around the exterior with taotie masks reserved on a dense and intricately incised leiwen ground, rising to an elegantly waisted rim flanked by a pair of S-shaped handles handles, the domed cover finely pierced with dense lotus scrolls, and surmounted by a chilong finial, the stone of dark green tone with dark striations, wood stand. 21.6cm (8 1/2in) wide. (3).Footnotes:清乾隆/嘉慶 碧玉鏤雕饕餮紋香薰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。Inspired by the shape and decoration of archaic bronze gui food vessels of the Zhou dynasty, the present lot is a fine example of the stylistic developments during the 18th century inspired by the wishes of the Qianlong emperor. Aiming to 'restore the ancient ways', the emperor wished to reinstate the intrinsic qualities of simplicity, sincerity and happy exuberance of the ancient cultures. For this purpose, the emperor instructed the court to collect drawings of antiquities, such as the 'Catalogue of Xiqing Antiquities' (Xi Qing Gu Jian 西清古鑑), which served as sources of designs for the production of contemporary vessels. See Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.49-50. Compare with a related spinach-green jade tripod incense burner and cover, Qianlong, said to have come from the Summer Palace, Beijing, illustrated by S.C.Nott, Chinese Jade throughout the Ages, Rutland, 1971, pl.CXVIII; see also a related spinach-green jade incense burner and cover, Qianlong, illustrated by R.Keverne, ed., Jade, London, 1992, p.163, fig.89. A related spinach-green jade incense burner and cover, Qianlong, was sold at Bonhams London, 11 May 2017, lot 237.For further information on this lot please visit Bonhams.com
A superb pale green jade 'immortals' boulderQianlongSuperbly carved in high relief on one side with three bearded sages each carrying a peach, lingzhi fungus and lotus spray respectively, beneath a gnarled pine tree, a pavilion higher above in the distance, the reverse with a crane gazing down on a deer, all within a craggy grotto with further pine trees, the stone of very pale green tone with minor russet and cloudy inclusions, wood stand. 20cm (7 7/8in) high. (2).Footnotes:清乾隆 青白玉雕林中高士圖山子Provenance: Spink & Son, Ltd., London, 1980Florence and Herbert Irving (1920-2018; 1917-2016) collection, no.336Published and Illustrated: R.Keverne, ed., Jade, London, 1991, p.174, fig.117來源：1980年購自倫敦古董商Spink & Son, Ltd.佛羅倫斯·歐雲（1920-2018）與赫伯特·歐雲（1917-2016）伉儷舊藏，編號336出版著錄：R.Keverne，「Jade」，倫敦，1991年，頁174, 圖117Florence and Herbert Irving were avid collectors of Asian art for more than 50 years, and in 2015, they gave an extraordinary collection of more than 1,200 works of art to the Metropolitan Museum of Art in New York. In 1969, Herbert Irving co-founded the company Sysco. Through hard work and dedication, the company was listed in 1970 and by 2009, Sysco was ranked number 204 in the Fortune 500 companies based on sales. Subsequently, Sysco grew to become one of the world's leading food product distribution company with sales of up to US$58 billion. This exceptional success brought with it great wealth to Florence and Herbert Irving. Their collecting interests encompassed all of the major cultures of East and South Asia and virtually every medium explored by Asian artists and craftsmen over five millennia. Their support of the Metropolitan Museum of Art, New York was also recognised through the numerous galleries that bear their names, in addition to funding the Florence and Herbert Irving Asian Wing in its entirety.This finely-carved boulder is a superb example of the sensitivity of the 18th century carvers in their use of the natural form of the stone to portray a literati-style landscape scene. During the Qianlong reign, the emperor requested that jade mountains, as well as plaques and panels with scenes of mountainous landscapes, take their artistic influence from the work of famous painters. The personal interest of the emperor, as well as the increased availability of large pieces of Khotan jade after the pacification of the area in 1759, prompted a proliferation of production of jade boulders of varying sizes exquisitely carved with delicate mountain scenes resembling literati landscape paintings. Compare the present carving to a group of jade mountains carved with landscape motifs in the Qing Court Collection, illustrated in Jadeware (III), The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1996, nos.72-74.See also a similar but slightly smaller pale green jade boulder, Qianlong, which was sold at Christie's London, 10 November 2015, lot 55.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 yellow jade 'dragon' pendantMid Qing DynastyOf oval form, each side finely carved in low relief with a stylised archaistic dragon, the stone of even yellow tone, wood stand. 5.5cm (2 3/16in) long (2).Footnotes:明中期 黃玉龍紋佩Compare with a related white jade 'chilong' pendant, 18th century, which was sold at Christie's Hong Kong, 26 November 2014, lot 3154.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 pale green jade archaistic vase, huQianlongOf flattened baluster shape, the wide central register carved with ridges imitating Western Zhou dynasty archaic bronze decoration, between key-fret borders also around the rims, and waisted lower section and neck each similarly decorated in relief with a whirl medallion flanked by archaistic C scrolls, the neck flanked by a pair of zoomorphic handles suspending loose rings, all raised on a conforming shaped spreading foot, the stone of event pale green tone. 20cm (7 7/8in) high.Footnotes:清乾隆 青白玉雕仿古活環雙耳壺Provenance: a Spanish private collection, and thence by descent來源：西班牙私人收藏，並由後人保存迄今For further information on this lot please visit Bonhams.com
A rare pale green jade imperial-poem-inscribed double-sided panelQianlongThe rectangular plaque probably originally a leaf in a jade book, finely inscribed with seven Imperial poems in regular kaishu calligraphy, the stone of pale green stone with some cloudy inclusions, with a later finely-carved and pierced wood stand. The jade 15.5cm (6 1/8in) high. (2).Footnotes:清乾隆 青白玉雕御詩文硯屏Provenance: a European private collection, and thence by descent來源：歐洲私人收藏，並由後人保存迄今The seven poems inscribed on the jade screen come from the 'Twenty Imperial Poems on the Arrival of Winter' (Yuzhi sheng dong ershi shou 御製生冬二十首) which was composed by the Qianlong emperor. These set of poems were in fact part of a larger cycle of painting on the Four Seasons (Xingshu sishi shihe 行書四時詩合).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 pale green jade tripod incense burner and cover, dingQianlongSkilfully carved around the sides with archaistic motifs and taotie masks, flanked by a pair of auspicious bat handles, all supported on three short feet issuing from mythical beast-heads, the domed cover similarly decorated with taotie masks, surmounted by a circular dragon finial carved in openwork, the stone of pale green tone with milky inclusions. 21cm (8 1/4in) wide. (2).Footnotes:清乾隆 青白玉浮雕獸紋三足香薰Provenance: an English private collection來源：英國私人收藏This piece embodies the brilliant creativity of Qing craftsmen in its combination of contemporary and archaic motifs. Continuing the Song tradition of reinterpreting large archaic ritual bronzes into relatively small jade vessels, this incense burner is carved with the archaic taotie motif. In response to jade carving in the 18th century, characterised by decorative objects with ornate high-relief designs, the Qianlong emperor commissioned a large number of jades which were inspired by the forms and designs of antiquity. Jade carvers were encouraged to move away from the 'new style' by studying archaic bronze vessels in the Palace collection or in illustrated woodblock prints, and adapting them to the medium of jade. Inspired in both form and decoration by archaic bronze ding, this incense burner epitomises this trend.Compare with a related white jade incense burner and cover with archaistic taotie design, Qing dynasty, illustrated in the Compendium of Collections in the Palace Museum: Jade, 10, Beijing, 2011, p.135, no.98.For further information on this lot please visit Bonhams.com
A very pale green jade archaistic 'heavenly bird' vase and coverQianlongThe mythical bird exquisitely carved standing on pierced, angular scroll-work, with finely incised-plumage supporting a vase carved with archaistic taotie masks in low relief, the domed cover surmounted by a finial, the stone of pale green tone with some darker patches. 12.5cm (4 3/4in) high (2).Footnotes:清乾隆 青白玉雕天雞蓋尊The archaistic flying mythical creatures known as 'heavenly birds' or tianji and are commonly mistaken as phoenixes. The legend of tianji dates back to the Jin dynasty (AD 265–420) as recorded in Xuanzhongji or 'Records of Mysterious Phenomenons' by the Eastern Jin scholar and writer Guo Pu (AD 276-324). It is said that there lies a giant tree on Mount Taodu whereby the tree is so immense it shades an area of five thousand kilometres. The tianji is found perched on the tree while other birds mimic its singing. Another 4th-6th century record also mentions the tianji as a bird that could fly a thousand miles high and whose flapping wings would produce thunderous sounds when outstretched.See a related jade phoenix vase but without cover, 18th century, illustrated in Jade Chinois: Pierres D'Immortalité, Paris, 1997, p.188, no.123.Compare with a related pale green jade 'cockerel' vase and cover, 18th century, in the Metropolitan Museum of Art and formerly the collection of Florence and Herbert Irving, which was sold at Sotheby's New York, 10 September 2019, lot 18.For further information on this lot please visit Bonhams.com
An archaistic spinach-green jade 'dragon and phoenix' vase, zunQianlongCrisply carved as a standing mythical bird with the head facing forward slightly to the right, carrying a hollowed vase incised with C-scrolls between a pair of upswept wings, a scaly dragon curled around behind the phoenix and the vase, the stone of dark olive-green tone with black flecks, silver-wire inlaid wood stand.10.2cm (3 1/2in) high. (2).Footnotes:清乾隆 碧玉雕龍鳳尊Provenance: a European private collection, and thence by descent來源：歐洲私人收藏，並由後人保存迄今The combination of the dragon and phoenix is from Daoism, and represents sagacity, long life and benevolence. A related 'dragon and phoenix' vase group from the Harvard University Art Museum, is illustrated in Chinese Art in Overseas Collections, Jade I, Taipei, 1981, no.153.The shape of the vase in the present group is in imitation of archaic bronzes, and archaistic jade carvings of the Song dynasty. A related white jade example, in the form of an archaic bronze gu of diamond cross-section, 18th century, also detailed with a dragon on the side of the vase, is illustrated by R.Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, Hong Kong, 1996, p.188, no.144, and later sold at Christie's Hong Kong, 28 November 2006, lot 1385.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 fine pale green jade vase and cover18th/19th centuryCrisply carved in baluster form of square section, the body left plain to enhance the natural beauty of the smooth very pale green stone, a band of lappets at the shoulder beneath archaistic circular whorl patterns, the elegantly tapering neck flanked by a pair of archaistic beast-head handles, the cover surmounted by a square finial, wood stand and fitted box and cover. 20.2cm (8in) high. (4).Footnotes:十八/十九世紀 青白玉雕雙耳蓋瓶Provenance: Pierpaolo Pineschi (1925-2014), Italy, and thence by descentPierpaolo Pineschi (1925-2014) was one of the founders of the National Union of Italian Film Journalists. In 1950 he was appointed Head of Press and Promotion of Unitalia Film, promoting Italian cinema worldwide. It was in these circumstances that Pineschi worked with the entertainment mogul and philanthropist Sir Run Run Shaw (1907-2014). During Pineschi's visit to Asia, Sir Run Run Shaw introduced him to Chinese art and approved of his choice of the present jade vase.來源：意大利Pierpaolo Pineschi（1925-2014）舊藏，並由後人保存迄今Pierpaolo Pineschi（1925-2014）是意大利電影記者聯盟的創始人之一。 1950年，Pineschi被任命為Unitalia電影新聞和推廣部門負責人，在全球範圍內推廣意大利電影。由此，Pineschi開始與娛樂界大亨兼慈善家邵逸夫爵士（1907-2014）合作；在其訪問亞洲期間，邵逸夫爵士向他介紹了中國藝術，並促成了他選擇收藏本拍品。Qing dynasty carvers understood that their craft was still second to nature in beauty and so highlighted the natural beauty of the stone by leaving larges areas of the present lot unadorned, living up to the saying that jade is as pure as ice (yujie bingqing 玉潔冰清).Only the shoulder is carved in low-relief with an archaistic band of whorl patterns. The beast-head handles further allude to archaic bronzes from the Zhou dynasty from which many jades carvings were inspired. Compare the handles of the present lot with those on a white jade vase and over, Qianlong, illustrated in the Compendium of Collections of the Palace Museum: Jade, 10, Beijing, 2011, p.48, no.22.See also a related white jade vase and cover, Qianlong, smoothly carved with elephant-head handles, illustrated in The Splendour of Jade: The Songzhutang Collection of Jade, Hong Kong, 2011, p.165, no.135.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 large pale green and russet jade 'lotus' waterpot and cover18th centuryNaturalistically carved as a large well-hollowed lotus pod with fleshy seeds, the centre with circular cover, all borne on large curling stems issuing further smaller lotus pods and unfurling leaves and lotus flower, the stone of pale green tone with some russet and milky-white inclusions, wood stand.21cm (8 1/4in) wide (3).Footnotes:十八世紀 青玉雕蓮式水丞及蓋Provenance: an English private collection來源：英國私人收藏The fine craftsmanship of the present lot is particularly evident in the remarkable skill necessary to carve the delicate cover to fit the waterpot. Compare with a pale green jade lotus leaf washer, Qing dynasty, in the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Jade 10: Qing Dynasty, Beijing, 2011, no.195.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 pale green jade carving of lychee17th centuryFinely pierced and worked as two ripe fruits incised with a diamond pattern and star-pattern, borne on a gnarled leafy stem, the stone of greenish-yellow tone with some russet inclusions. 8.5cm (3 3/8in) long.Footnotes:十七世紀 青白玉雕荔枝把件Provenance: a French private collection來源：法國私人收藏Compare with a related jade ornament carving of lychees, Ming dynasty, illustrated in the Compendium of Collections in the Palace Museum: Jade, 6, Beijing, 2011, p.213, no.199. Motifs of lychee were very popular in the Ming dynasty as also exemplified by two jade boxes and covers decorated with lychees, Ming dynasty, illustrated in Compendium of Collections in the Palace Museum: Jade, 7, Beijing, 2011, pp.241-242, nos.229 and 230.For further information on this lot please visit Bonhams.com
A rare pale green jade 'Five Holy Mountains and four rivers' box and cover18th centuryThe straight sides carved with various craggy mountains surrounded by crashing waves beneath key-fret border, the flat cover carved in low-relief with five archaic characters representing the Five Holy Mountains, the underside of the cover carved with a further four characters wu yue si du, between writhing chilong, the stone of even pale green tone with milky white inclusions, huanghuali stand. 8.5cm (3 3/8in) wide (3).Footnotes:十八世紀 青白玉雕「五嶽四瀆」蓋盒Provenance: Lady Montague Burton, Harrogate, and thence by descent來源：英國哈羅蓋特Montague Burton夫人舊藏，並由後人保存迄今The underside of the cover is inscribed with the characters wu yue si du (五嶽四瀆), the Five Great Mountains and Four Rivers. The Sacred Mountains of China are divided into several groups. The Five Great Mountains (五嶽) refers to five of the most renowned mountains in Chinese history, and they were the subjects of Imperial pilgrimage by emperors throughout ages. They are associated with the supreme God of Heaven and the five main cosmic deities of Chinese traditional religion. According to Chinese mythology, the Five Great Mountains originated from the body of Pangu (盤古), the first being and the creator of the world. Because of its eastern location, Mount Tai is associated with the rising sun which signifies birth and renewal. Mount Tai is believed to have been formed out of Pangu's head. Mount Heng in Hunan is believed to be a remainder of Pangu's right arm, Mount Heng in Shanxi of his left arm, Mount Song of his belly, and Mount Hua of his feet.See a ceremonial jade tablet, gui, with similar characters of the Five Holy Mountains, with a wood base dated to the Qianlong reign, illustrated in the Compendium of Collections in the Palace Museum: Jade, 8, Beijing, 2011, p.30, no.7; and another gui ceremonial tablet with similar characters, p.33, no.10. The same characters of the 'Five Mountains' can also be seen carved on the panels of a zitan chair, Qing dynasty, illustrated in Zhongguo meishu quanji: Gongyi meishu bian, vol.11, Beijing, 1996, pl.184.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 yellow and russet jade bowlMid Qing DynastyDeftly carved rising from a short straight foot to a flaring rim, carved around the exterior in shallow relief with two blossoming classic lotus borne on meandering scrolls, the translucent stone of yellowish-green tone with russet-brown striations. 12cm (4 3/4in).Footnotes:清中期 黃玉帶皮飾蓮紋盌Provenance: a European private collection, and thence by descent來源：歐洲私人收藏，並由後人保存迄今Compare with a related pale green bowl with floral motifs carved around the exterior, 18th century, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol.III, London, 2016, p.796, pl.1856.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 pale green jade incised 'bajixiang' sceptre, ruyiQianlongElegantly carved and smoothly polished with a long, curving shaft, finely incised with the Eight Auspicious Emblems, bajixiang, the large lingzhi shaped terminal incised with a caparisoned elephant carrying a vase on its back with further auspicious symbols such as a chime, coral and ruyi sceptre, the stone of even pale-green tone, box. 43cm (17in) long. (2).Footnotes:清乾隆 青白玉雕太平有象八吉祥紋如意Provenance: Jessie May Stirling (d.2010), Edinburgh, and thence by descent. According to family history Jessie May Stirling inherited the ruyi sceptre from her father who was in China in the first half of the 20th century.來源：英國愛丁堡Jessie May Stirling女士（2010年歿）舊藏，並由後人保存迄今據家族記載，其父於二十世紀前半葉居於中國，後Stirling女士繼承了這柄如意Finely finished to a smooth and highly tactile polish, this piece is notable for the delicate decoration. Such restrained decoration draws attention to and enhances the quality and translucency of the stone. The present lot is rich in auspicious symbolism. The elephant together with the vase, for example, forms a rebus. The 'vase' (ping 瓶) which puns with 'peace' (ping 平), and elephant (xiang 象) which also means 'sign' or 'portent', forms a rebus for the phrase taiping youxiang (太平有象), meaning 'Where there is peace, there is a sign (or elephant)'. Furthermore, the shaft is decorated with the Eight Buddhist Emblems.See a related jade ruyi-sceptre, Yongzheng/Qianlong, but incised with dragons among clouds, illustrated by E.Rawski and J.Rawson, eds., China: The Three Emperors 1662-1795, London, 2005, p.369, no.282. Compare with a related pale green jade 'peach' ruyi-sceptre, 18th century, which was sold at Bonhams Hong Kong, 28 May 2019, lot 154.For further information on this lot please visit Bonhams.com
A small pale green jade carving of Buddha17th/18th centuryThe small pebble crisply carved as the Buddha seated in dhyanasana, both hands resting on his lap, clad in loose flowing robes with finely carved pleats, the face with serene expression between pendulous ears, the stone of even pale green tone. 5cm (2in) high.Footnotes:十七/十八世紀 青白玉雕釋迦牟尼坐像Provenance: Galerie Gerard Levy, Paris 來源：巴黎古董商Galerie Gerard LevyCarved jade figures of Buddha were made for the Qing Imperial court to be placed within precious pagodas or to be placed individually in shrines. Compare two related but larger spinach-green and pale green jade figures of seated Buddha, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (II), Beijing, 2008, nos.170-171. The small size of the present Buddha would therefore suggest that it would have been worshipped within a larger pagoda, related to those illustrated in The Complete Collection of Treasures of the Palace Museum: Treasures of Imperial Court, Beijing, 2004, nos.171-177. Compare also another larger white jade Buddha, Qing Dynasty, illustrated in Jade Blossom: Imperial Xiuneisi Jade Object and Ancient Jade Gems Collected by the Xu's of Cixi, Zhejiang, 2010, pp.282-283. See a related jade carving of the Maitreya Buddha, of similar height (5.5cm), in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (III), Hong Kong, 1996, p.128, no.107.Compare with a similar pale green jade carving of Buddha, 18th century, which was sold at Bonhams London, 7 September 2011, lot 240.For further information on this lot please visit Bonhams.com
A pale green and russet jade carving of a horseMing DynastyFinely carved in the form of a horse with its head lowered to drink from a swirling stream, the rounded body with well-defined ribs and delicately carved mane and long tail, the russet area cleverly used to denote the animal whilst the pale green stone used for the crested water, drilled through for suspension as a toggle. 5.2cm (2in) long.Footnotes:明 青白玉雕飲馬把件Provenance: an English private collection, and thence by descent來源：英國私人收藏，並由後人保存迄今For further information on this lot please visit Bonhams.com
A pale green and russet 'boys washing the elephant' groupQianlong Crisply carved as a wrinkled elephant standing four-square in a whirling pool of water with finely-incised eddy currents, its long trunk playing with the water, two boys with brushes sweeping the elephant, the stone with russet patches, wood stand. 7.5cm (3in) long. (2).Footnotes:清乾隆 青白玉帶皮童子掃象擺件Provenance: S.Marchant and Sons, London (label)A distinguished English private collection來源：倫敦古董商S.Marchant and Sons（標簽）英國顯赫私人收藏The subject matter of boys tending to an elephant forms many multiple layers of meaning and auspiciousness. The phrase 'ride an elephant' (qi xiang 騎象), has a similar pronunciation as ji xiang (吉祥), meaning good fortune. Furthermore, boys cleaning or 'washing the elephant' (sao xiang 掃象), forms a rebus for 'sweeping away the phenomena of the outside world', which are thought to be mere illusions. The pun is based on the fact that the pronunciation of 'elephant' and 'image' is the same in Chinese (xiang 象). Compare with a related carving of an elephant being groomed by two boys, illustrated in the Compendium of Collections in the Palace Museum: Jade, Beijing, 2011, no.136.See also a related white jade carving of an elephant and boys, 18th century, which was sold at Sotheby's London, 10 May 2017, 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
A Late 19th Century French Silver Gilt Paper Knife by Alphonse Giroux, Paris Retailed by Garrard & Co Ltd in the form of Joan of Arc standing with sword raised below a banner engraved with the Madonna on a Fleur- De-Lys background the tapering blood stone terminal with applied cartouche 24cm long
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