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Lot 400

Large pine farmhouse dining table with painted base

Lot 43

3 boxes costume jewellery, dressing table set and bead bag.

Lot 106

A walnut table music stand with gothic arch decoration, height 32cm width 29cm.

Lot 138

A pair of Victorian gilt metal and embroidered table screens, with silk work and hand coloured decoration of a man and a woman, each with a young child, height 53cm.

Lot 220

An African wood carved circular folding table the top carved with animals, height 47cm diameter 62cm.

Lot 2917

An embroidered panel/table runner decorated with birds of paradise and harlequin tassels together with three embroidered cushions.

Lot 3004

A Late Victorian walnut marquetry and brass mounted shaped table, the inlaid central decoration of stained flowers within an oval kingwood crossbanded frame, with single frieze drawer on saber legs, height 73.5cm width 100cm depth 61.5cm.

Lot 3005

A Regency mahogany, inlaid and crossbanded sofa table, fitted with one real and one sham drawer to each side and raised on ebony strung end supports united by a turned stretcher with sabre legs on acanthas cast brass feet and castors, height 71.5cm, maximum width 150cm, depth72cm.

Lot 3007

A Victorian mahogany shop/folio drop leaf table with an arrangement double sided fitted drawers, height 74cm extended width 121cm depth 123cm.The table has general wear consummate with age and use, age crack to top approx 15cm, joints are solid and robust with no movement.

Lot 3026

A good early Victorian specimen wood parquetry inlaid occasional table, with hexagonal tilt-top on a spiral turned pillar and hexagonal inlaid base with carved paw feet, height 69 cm, width 46cm.There is a repair to two of the spiral pillars, small chips and small losses to veneers on the base, and slight lifting on both the base and top with signs on wear consummate with age and use. Extra images on David Lay website.

Lot 3034

A continental oak rectangular centre table on foliate scroll legs and cross frame stretcher, height 79.5cm width 164cm depth 78cm.

Lot 3042

A G Plan circular glass topped teak Astro coffee table, 1970s, diameter 84cm.

Lot 3046

A Laura Ashley mirroroed glass dressing table, fitted two drawers on ebonised legs, height 75.5cm, width 122cm, depth 43.5cm, together with a matching triple mirror and a pair of mirrored lamps and shades (4).The mirrored drawers are chipped in the corners, wear to the legs, joints are firm, no damage to the lamps or triple mirror.

Lot 3048

A Large pine topped kitchen or dining table, 20th century, raised on a painted underframe with square legs, height 77cm, width 213cm, depth 91cm.

Lot 3050

An unusual late 19th century oval mahogany and hardwood occasional table, with entwined snake to the pedestal and another, mounted to the circular base, height 75cm, width 55cm, depth 42cm.

Lot 3055

A twin flap table, possibly from a ship, the mahogany top raised on flattened sycamore supports and feet, formerly with brass quadrant adjuster, now adapted, height 74cm, width 183cm, maximum depth 98cm.Probably from the first quarter of the 20th century with later adjustments to the brass supports leaving holes in the sycamore legs, general wear consummate with age and use, the joints are firm. No evidence of worm.

Lot 3066

A circa 1960s Stateroom by Stonehill teak and glass teardrop table, length 131cm width 62cm height 41cm,General wear consummate with age, a little movement in joint, small gouges on inside of stretcher. Extra images on David Lay website.

Lot 3070

A William IV rosewood card table, with fold-over top on a lotus capped fluted pillar and quadruped base with volute scroll feet, height 75.5cm, width 91cm, depth 46cm (unopened).

Lot 3072

A continental oak carved centre table on reeded columns supports height 88cm width 114cm depth 56cm.

Lot 3077

A late Victorian stained, black painted and gilt small Sutherland gateleg table, height 56cm, width 54.5cm, depth 66cm, together with a a mahogany stool, with slung top (2).

Lot 3087

A 19th century mahogany fold over tea table with single drawer on tapering square legs, height 74cm width 92cm depth 44cm.

Lot 3099

A Regency mahogany drop leaf dining table, with turned and spiral fluted legs, height 72cm, width 54cm, depth 124cm.This is the centre section of a larger dining table.

Lot 3106

A 1920/30's oak draw leaf dining table and a set of four oak dining chairs.

Lot 3122

An early 19th century mahogany dressing table mirror, height 63cm, width 65cm, depth 23cm.

Lot 3129

A George III mahogany tripod table, the circular top on a turned stem and downswept supports, height 77cm, diameter 43.5cm.

Lot 3132

A Victorian walnut, inlaid and stained wood centre table, the top with perspective cube inlay, on turned legs, height 66cm, width 88.5cm, depth 42cm.

Lot 602

A teak slatted garden bench height 89cm width 160cm depth 66cm, together with a similar slatted garden table height 66cm width 119cm depth 71.5cm.

Lot 604

A Victorian cast iron garden table with white marble top, height 75cm width 92cm depth 53.5cm

Lot 605

Victorian circular cast iron table with gryphon supports diameter 51cm, together with two folding wrought iron chairs.The bolts have sheared off on the stretcher of two of the legs, the tabletop has bolts still attached but they are not long enough to hold the legs, it will not unfortunately be a simple job to repair. The chair has a loose slat but is present.

Lot 84

A Cornish serpentine lighthouse table lamp, the rocky base mounted with two painted seagull figures, height 36cm.Chips to top of the lighthouse

Lot 954

A Rare late Victorian Burtles, Tate & Co pink opalescent glass elephant table salt, marked Rd 64234, length 11.5cm.Lot 954There is a tiny slither from the underside of the front left foot, and a small chip to the back left foot. There are a couple of moulding flaws near the rim, please see extra images on the David Lay website.

Lot 977

A Lamorna pottery table lamp base, painted with fish, height 23cm, together with an ovoid vase, painted with scrolling foliage, height 21cm (2).Lot 977The lamp will require rewiring and possibly a new fitment. The base is drilled and slightly crazed, otherwise good.The vase has a firing fault on the underside.

Lot 982

A Tremaen pottery table lamp, moulded with a Cornish harbourside village scene to each side, with some coloured decoration, height 34cm.

Lot 313

Continental table centrepiece, porcelain fruit bowl, profusely decorated with flowers, berries, fruit and putti in relief, approx 30 cms in height.

Lot 351

Mahogany sewing table, approx 58 x 47 x 76 cms. 

Lot 360

Victorian rosewood card table, with decorative carving to the corners, approx 92 x 45 x 76 cms. The 45 cms measurement is 90 cms when opened to full capacity.  

Lot 367

Two Chinese rosewood occasional tables, approx 50 x 50 x 57 cms and 46 x 35 x 41 cms respectively, together with a rosewood glass occasional table, approx. 136 x 70 x 44cm.

Lot 369

19th century Irish tilt-top wine table, with marquetry and parquetry inlaid panel of flowers, with concentric circular brass inlay, with brass ribbon and bead frame, raised on a tripod base, approx 70 cms diameter.  

Lot 45

An interesting lot comprising ephemera and historical documents relating to Cape of Good Hope/South Africa including: 1810 Bill of Exchange for victualling HM Ship at Cape Town; 1840 insurance contract for Princess Charlotte ship's journey from London to Singapore and all ports and places at a beyond Cape of Good Hope; 2x1845 road rate reciepts and one of 1904; 1854 Bill of Lading for ship Sarah Johanna from London to Table Day with list on items to be transported; 1901 tiny map of post roads and railways; undated luggagetickets issued by Cape Government railways and Central South African Railways; and a 16th February 1901 mourning letter from Cape Government Railway to Heads of Department and Staff concerning the death of Queen Victoria on 22 January.

Lot 174

Chinese rosewood vanity table screen, inset with a bevelled glass mirror, fretwork frame heightened with mother of pearl inlay, approx 45 x 26 cms, supported on two swept feet. 

Lot 681

A pair of Victorian Irish table spoons crested fiddle pattern - Dublin 1856 by JI? Waterhouse - 143 g.

Lot 682

Two Georgian Irish crested table spoons - Dublin 1811 & 1813 by RS - 125 g.

Lot 764

A pair of William IV table spoons with rat tail bowls, Dublin 1835 by CC, 127g

Lot 765

Another Irish table spoon, fiddle pattern, Dublin 1836 by RG, 68g

Lot 901

A heart shaped Chester silver dressing table box with gilt interior - 3"" wide - 1896

Lot 938n

A Georgian Exeter bright cut table spoon - 1799 by R Ferris

Lot 938q

A pair of Exeter early Victorian table spoons fiddle pattern - 1841 by JAP - 140 g.

Lot 106

A PAIR OF CINNABAR LACQUER TABLE CABINETSQianlongThe cabinets each fitted with a large compartment opening to reveal a pair of small drawers, one cabinet with two doors finely carved with landscape scenes depicting a group of scholars gathered on a fenced terrace enjoying a dance performance, the other cabinet decorated with a group of dignitaries gazing at Court ladies in elegant pavilions overlooking luxurious gardens dotted with rocky mountains, wutong and pine trees, all on a intricate diaper ground, each door framed with key-fret and mounted with gilt-metal handles and hinges cast with scrollwork, all above a shallow drawer and raised on four gilt-metal feet. 46.9cm (18 1/2in) high (2).Footnotes:清乾隆 剔紅亭台人物圖小櫃一對Provenance: acquired in Shanghai by the father of the present owner in the 1930's, and thence by descent來源:二十世紀三十年代,由現藏家之父購自上海,並由後人保存迄今The present lot is remarkable for the superb quality of carving, rendering a complex design of Court figures in garden settings with meticulous attention to detail. The contrasting high and low relief through layers of rich cinnabar lacquer accentuate the three-dimensionality of the decoration, revealing the opulent taste of the Qianlong emperor and the zenith of lacquer carving achieved during his reign.Table cabinets of this type were made for display on a kang which served as a seat in the day and a bed at night. Compare with a related cinnabar lacquer cabinet, 18th century, carved with figures in landscape scenes, in the National Palace Museum, Taiwan, illustrated in Carving the Subtle Radiance of Colors. Treasured Lacquerware in the National Palace Museum, Taipei, 2008, no.172.For further information on this lot please visit Bonhams.com

Lot 111

A RARE REVERSE GLASS PAINTINGLate 18th century Gouache on glass, depicting various fish on a table, glazed and framed. The frame, 49cm (19 1/4in) wide x 43cm (17in) high.Footnotes:十八世紀晚期 外銷玻璃畫The present lot evokes the influence of 18th century French painter of still-life Jean Simeon Chardin (1699-1779), who is perhaps most well known for his painting 'The Ray', with various fish on a table. The present lot however, includes unusually a classical Chinese-style table, encapsulating the meeting between East and West. Compare with a related reverse glass painting of pheasants on a table, circa 1790, illustrated by T.Audric, Chinese Reverse Glass Painting 1720-1820: An Artistic Meeting Between China and the West, Bern, 2020, p.225, no.424.For further information on this lot please visit Bonhams.com

Lot 113

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

Lot 115

A VERY FINE ARCHAISTIC SPINACH-GREEN JADE INCENSE BURNER AND COVER, TULUQianlongFinely carved around the exterior with a decorative band of archaistic dragons with their bodies interlaced as if to form waves, the heads rising above the writhing bodies at regular intervals, all above a further band of taotie masks, flanked with a pair of animal-head handles suspending loose rings, the cover carved with a large coiling five-clawed dragon finial surrounded by four smaller chilong, the stone of deep green tone. 15.5cm (6 1/8in) wide (2).Footnotes:清乾隆 碧玉四柱式爐Provenance: James Basil Wilson and Julia Wilson, acquired prior to 1977, according to insurance valuation by William Clayton Ltd. and thence by descentIn 1945, James Basil Wilson returned from The Second World War having served with the Gurkhas. He married Julia Burke in 1949 and they moved to London. James started working for Iron and Steel Exporters and later that year, he was offered the chance to set up an office Hong Kong, so they moved there and set up home. The business was successful, they loved Hong Kong and they lived the life of ex-patriates to the full. They swam, played golf, made friends and indulged their passion for fast cars, competing in amateur road races. Julia claimed to have won at the first Macau Grand Prix. As well as enjoying the pastimes of the culture they brought with them, they developed an enduring love for China, Chinese people, Chinese food and Chinese art. With a growing family, they returned to England in 1957. They brought with them the pieces they had bought in Hong Kong and James made many trips to Hong Kong and continued to build their collection throughout the following decades mainly from dealers in London.來源:James Basil Wilson與Julia Wilson伉儷舊藏。據倫敦古董商William Clayton Ltd.開具的保險估值報告,於1977年以前入藏,並由後人保存迄今James Basil Wilson二戰期間曾於廓爾喀軍團服役,1945年返回英國。 1949年與Julia Burke結婚,婚後搬至倫敦,並開始為Iron and Steel Exporters效力,同年被委任籌備香港辦事處,遂移居香港。事業發展蒸蒸日上的同時,Wilson伉儷也充分享受著外派人士的理想生活;游泳、打高爾夫、結交朋友,沉迷賽車運動甚至參加業餘車手街道賽,Julia聲稱曾完賽首屆澳門格蘭披治大賽車。在保留西方生活方式的同時,Wilson伉儷也對中國及其民眾、美食和藝術產生了長久的熱情。 1957年,隨著家庭的不斷壯大,Wilson一家回到英國,並帶回了其在香港購置的藝術品。此後,James多次前往香港,並在接下來的幾十年中持續造訪倫敦的古董商,擴充藏品。The present incense burner and cover would have been part of a three-piece garniture comprising an incense burner, a vase and incense box, often known as the 'Three Accessories' or sanshi; see two examples of such sets in spinach-green jade in the Qing Court Collection, illustrated in Compendium of Collections in the Palace Museum: Jade 10 Qing Dynasty, Beijing, 2011, no.111; and another such set in the Musée des Arts Décoratifs, Paris, illustrated by Tsao Huei-chung, Jade: From Emperors to Art Deco, Paris, 2016, no.132. The sets were placed on a scholar's table in the Qing Court for burning incense.The form of this type of vessel is derived from the archaic bronze tradition. The Qing emperors proposed to 'restore ancient ways', referring to the view of ancient culture as having intrinsic qualities of sincerity, simplicity and happy exuberance. The Qianlong emperor, in particular, was fond of adapting archaic shapes into contemporary designs and instructed the Court to collect drawings of antiquities, such as the 'Catalogue of Xiqing Antiquities' Xi Qing Gu Jian, which were provided to the craftsmen for inspiration; 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.One such vessel is illustrated by Wang Tao, Chinese Bronzes from the Meiyintang Collection, London, 2009, no.127, where the author notes that the unusual form indicates a different function from other ritual food vessels, and speculates that it may have served as a pigment container. It is interesting to note that this type of vessel was also made from jade during the archaic periods of the late Shang to early Western Zhou: see an article by Prof. Ch'eng Te-k'un, 'The T'u-lu Colour-Container of the Shang-Chou Period' in the Bulletin of the Museum of Far Eastern Antiquities, 1965, vol.37, pp.239-50.Compare also a similar spinach-green jade tulu and cover in the Victoria and Albert Museum, London, illustrated by M.Wilson, Chinese Jades, London, 2004, pl.52.See a similar Imperial spinach-green jade tulu, 18th/19th century, which was sold at Sotheby's New York, 19 March 2007, lot 16.For further information on this lot please visit Bonhams.com

Lot 116

A FINE WHITE JADE 'WATER BUFFALO AND BOY' GROUPQianlongExquisitely carved in the round as a recumbent buffalo with its head turned to the left gazing at a boy playfully clambering up its back, the boy supporting himself with one hand holding a rope, the ridged horns delicately carved resting above the ears, the powerful body accentuated by a pronounced spine, the smoothly-polished stone of even white tone with a faint russet inclusion, wood stand. 8cm (3 1/8in) long (2).Footnotes:清乾隆 白玉雕童子牧牛Provenance: Christie's London, 4 April 1979, lot 64James Basil Wilson and Julia Wilson, and thence by descentIn 1945, James Basil Wilson returned from The Second World War having served with the Gurkhas. He married Julia Burke in 1949 and they moved to London. James started working for Iron and Steel Exporters and later that year, he was offered the chance to set up an office Hong Kong, so they moved there and set up home. The business was successful, they loved Hong Kong and they lived the life of ex-patriates to the full. They swam, played golf, made friends and indulged their passion for fast cars, competing in amateur road races. Julia claimed to have won at the first Macau Grand Prix. As well as enjoying the pastimes of the culture they brought with them, they developed an enduring love for China, Chinese people, Chinese food and Chinese art. With a growing family, they returned to England in 1957. They brought with them the pieces they had bought in Hong Kong and James made many trips to Hong Kong and continued to build their collection throughout the following decades mainly from dealers in London.來源:倫敦佳士得,1979年4月4日,拍品編號64James Basil Wilson與Julia Wilson伉儷舊藏,並由後人保存迄今James Basil Wilson二戰期間曾於廓爾喀軍團服役,1945年返回英國。 1949年與Julia Burke結婚,婚後搬至倫敦,並開始為Iron and Steel Exporters效力,同年被委任籌備香港辦事處,遂移居香港。事業發展蒸蒸日上的同時,Wilson伉儷也充分享受著外派人士的理想生活;游泳、打高爾夫、結交朋友,沉迷賽車運動甚至參加業餘車手街道賽,Julia聲稱曾完賽首屆澳門格蘭披治大賽車。在保留西方生活方式的同時,Wilson伉儷也對中國及其民眾、美食和藝術產生了長久的熱情。 1957年,隨著家庭的不斷壯大,Wilson一家回到英國,並帶回了其在香港購置的藝術品。此後,James多次前往香港,並在接下來的幾十年中持續造訪倫敦的古董商,擴充藏品。A favourite theme of the rural idyll depicted by Chinese painters such as Li Tang (1050-after 1130) shows a small boy either riding or leading a water buffalo. A painting by Li Tang, Herd Boy with Water Buffalo and Calf, in the National Palace Museum, Taipei is illustrated by A.B.Wicks, Children in Chinese Art, Honolulu, 2002, p.54, fig.2.6. This became a theme seen in small jade carvings of the Yuan, Ming and Qing dynasties. Two such carvings, where the boy either lies on or is beside the recumbent water buffalo which has a rope through its nostrils, are illustrated by J.C.Y.Watt, Chinese Jade from Han to Ch'ing, New York, 1980, p.66, nos.47 and 48. Compare with a similarly carved group in the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Jade 9, Beijing, 2011, p.145, no.135. Another 18th century example with the boy standing beside a recumbent water buffalo and holding one of its horns was included by The Metropolitan Museum of Art New York in the exhibition A Passion for Jade: The Heber Bishop Collection, New York, 2015, no.20, (acc.no.02.18.438)Another example of similar subject matter in the Beijing Art Museum, with a boy holding a flute, his hand on the horn of the water buffalo, is illustrated in Gems of Beijing Cultural Relics Series: Jades, Beijing, 2002, p.190, no.221. See also a white jade buffalo and boy, Qianlong, in the collection of Anthony K.W.Cheung, illustrated in Virtuous Treasures: Chinese Jade for the Scholars' Table, Hong Kong, 2007, pp.170-171, no.96.For further information on this lot please visit Bonhams.com

Lot 174

A DOUCAI BRUSHPOT, BITONGKangxiDelicately outlined in blue and enamelled with green rocks issuing a twisting grisaille branch of iron-red prunus supporting a perching bird, beside clumps of iron-red and yellow chrysanthemum flowers and bamboo sprays, the reverse with two further birds in flight above three scattered rocks. 14.3cm (5 5/8in) high.Footnotes:清康熙 鬥彩花鳥紋筆筒Provenance: a former Governor of Hong Kong in the late 19th century, and thence by descent來源:十九世紀晚期前香港總督藏品,並由後人保存迄今Brushpots were vital accessories for the scholar's table to hold his brushes. The present lot is finely decorated with birds and flowers; typical literati motifs and created for their market. The present design was probably copied from one of the illustrated woodblock printed books that proliferated at the time, such as the 'Manual of the Mustard Seed Garden' (芥子園畫傳), that catered for a new generation of literati wishing to cultivate themselves in the art of painting; see J.P.Park, Art by the Book: Painting Manuals and the Leisure Life in Late Ming China, Seattle and London, 2017.For further information on this lot please visit Bonhams.com

Lot 39

AN AGATE 'DOUBLE-BADGER' PENDANT18th/19th centuryCrisply carved in openwork as a pair of badgers, arranged head to tail, the outline conforming to the shape of the pebble, applied with a gold fitting, the stone of raspberry-red tone. 5.5cm (2 1/4in) long.Footnotes:十八/十九世紀 瑪瑙雕雙獾佩Provenance: a distinguished English private collection來源:英國顯赫私人收藏A related white jade 'double-badger' group formerly in the Tuyet Nguyet Collection, is illustrated by H.K.F.Hui and T.Y.Pang, Virtuous Treasures: Chinese Jades for the Scholar's Table, Hong Kong, 2007, no.103, where the author notes that 'two badgers' (Shuanghuan 雙獾), is a pun for 'conjugal joy'.See also a related white jade 'double badgers' carving, 18th/19th century, which was sold at Bonhams London, 10 November 2016, lot 59.For further information on this lot please visit Bonhams.com

Lot 41

A HUANGHUALI LOW TABLE, KANGLate Qing Dynasty/Republic PeriodThe rectangular panelled top set within a wide border above a recessed waist and a shaped apron, supported on four feet of square section terminating in angular scrolls and joined with four humpback stretchers. 122cm (48in) wide x 61cm (24in) deep x 46cm (18in) high.Footnotes:清晚期/民國 黃花梨炕桌Provenance: James Basil Wilson and Julia Wilson, and thence by descentIn 1945, James Basil Wilson returned from The Second World War having served with the Gurkhas. He married Julia Burke in 1949 and they moved to London. James started working for Iron and Steel Exporters and later that year, he was offered the chance to set up an office Hong Kong, so they moved there and set up home. The business was successful, they loved Hong Kong and they lived the life of ex-patriates to the full. They swam, played golf, made friends and indulged their passion for fast cars, competing in amateur road races. Julia claimed to have won at the first Macau Grand Prix. As well as enjoying the pastimes of the culture they brought with them, they developed an enduring love for China, Chinese people, Chinese food and Chinese art. With a growing family, they returned to England in 1957. They brought with them the pieces they had bought in Hong Kong and James made many trips to Hong Kong and continued to build their collection throughout the following decades mainly from dealers in London.來源:James Basil Wilson與Julia Wilson伉儷舊藏,並由後人保存迄今James Basil Wilson二戰期間曾於廓爾喀軍團服役,1945年返回英國。 1949年與Julia Burke結婚,婚後搬至倫敦,並開始為Iron and Steel Exporters效力,同年被委任籌備香港辦事處,遂移居香港。事業發展蒸蒸日上的同時,Wilson伉儷也充分享受著外派人士的理想生活;游泳、打高爾夫、結交朋友,沉迷賽車運動甚至參加業餘車手街道賽,Julia聲稱曾完賽首屆澳門格蘭披治大賽車。在保留西方生活方式的同時,Wilson伉儷也對中國及其民眾、美食和藝術產生了長久的熱情。 1957年,隨著家庭的不斷壯大,Wilson一家回到英國,並帶回了其在香港購置的藝術品。此後,James多次前往香港,並在接下來的幾十年中持續造訪倫敦的古董商,擴充藏品。See a related huanghuali low table, late Qing dynasty/Republic period, which was sold at Bonhams San Francisco, 26 June 2018, lot 187.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 47

A HUANGHUALI RECTANGULAR TABLEMid Qing DynastyThe top of standard mitre, mortise and tenon frame, floating-single panel construction resting on a recessed waist and shaped beaded-edge apron carved with stylised and interlocking floral scrolls and chilong, all supported on square section legs beaded to the inner edge, tenoned to the mitred frame and terminating in well-drawn hoof feet. 157.5cm (62in) wide x 51.6cm (20 1/3in) deep x 85cm (33 1/2in) high.Footnotes:清中期 黃花梨浮雕螭龍紋高束腰條桌See a related huanghuali side table, Ming dynasty, in the Qing Court Collection, but with stretchers, illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties, vol.I, Hong Kong, 2002, pl.95.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 53

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

Lot 59

A HUANGHUALI RECESSED-LEG ALTAR TABLE, PINGTOU'AN18th/19th centuryThe well-figured rectangular top above the sides carved with double-reed bands, the shaped apron with terminals shaped as archaistic designs enclosing a continuous scrolls of blossoming lotus issuing from curling tendrils, each pair of the double-reeded legs with an open panel at the side. 148.5cm (58 3/8in) wide x 47cm (18 1/2in) deep x 79cm (31in) high.Footnotes:十八/十九世紀 黃花梨浮雕纏枝花卉紋平頭案Provenance: an English private collection 來源:英國私人收藏The present table is notable for the attractive grain and rich-chocolate-brown colour of its prized huanghuali wood and the shaped spandrels which are joined in tongue-grooved fashion to the trestle legs, providing additional structural support.The present shape is probably derived from an earlier prototype with upturned flanges, popular in wealthy households during the Ming and Qing dynasty, demonstrating the high status of their owners. Recessed-leg tables with flanges are discussed in Wen Zhenheng's (1585-1645) influential Treatise on Superfluous Things (Zhang wu zhi), a 17th century guide to refined taste. In this work, Wen mentions that such tables were placed against a wall and underneath a painting, holding seasonal flowers, scholar's rocks or miniature tray-landscapes. Compare with a related huanghuali altar table, late 17th/ early 18th century, without foliate carving, in the Honolulu Academy of Arts, illustrated by R.H.Ellsworth, Chinese Hardwood Furniture in Hawaiian Collections, Honolulu, 1982, pl.29.A related huanghuali altar table, early Qing dynasty, was sold at Bonhams London, 14 May 2015, lot 268; another related huanghuali altar table displaying a plain apron, late Qing dynasty, was sold at Bonhams New York, 16 March 2015, lot 8079.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 68

AN EXCEPTIONALLY RARE YELLOW-GROUND SILK 'DRAGON' NOBLEWOMAN'S COURT ROBE, CHAOPAOQianlongThe remarkable robe made of fine brocade exquisitely worked in vibrant couched gold and multi-coloured threads with nine five-clawed dragons pursuing flaming pearls amidst wispy ruyi-form clouds, all on a yellow xiangse ground and above the lishui stripe interspersed with the terrestrial diagram, the collar flanked by raised shoulder seams similarly decorated with writhing dragons and ruyi clouds, lined in a rich coral-red silk brocade decorated with gold thread Shou medallions. 129.5cm (51in) long x 178cm (70in) wide.Footnotes:清乾隆 香色緞織彩雲金龍紋女朝袍Provenance: Sir William Edward Preston (1887-1932), and thence by descentFeatured on the BBC's 'Antiques Roadshow', 12 September 2021來源:William Edward Preston爵士(1887-1932)舊藏,並由後人保存迄今曾收錄於2021年9月12日,英國BBC《鑑寶路秀》節目Superbly woven with nine resplendent five-clawed dragons riding the heavens, finely worked in metallic gold thread amidst a profusion of five-coloured trailing clouds, the present robe is tailored from rare yellow-ground Imperial silk reserved for making chaopao, the most formal amongst all ceremonial Court robes worn by Imperial consorts.No other chaopao garments appears to be known outside public collections. Compare with a similar yellow-ground chaopao, mid-Qing dynasty, from the Qing Court Collection, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Costumes and Accessories of the Qing Court, Shanghai, 2005, no.63. The fact that chaopao robes for women appear to have survived in a small number compared to men's robes may be attributed to the fact that historically, women had fewer ceremonial duties than men and they were often excluded from important Court ceremonies. Yellow Court robes were typically worn during the performance of the most important state rituals, such as those performed at the Altar of Earth, and were also worn on the occasion of other ceremonies, such as the appointment of a new empress, the accession to the throne and the celebration of an Imperial birthday. A Court painting by Zhou Ben (active 1760s-1770s) depicts the eightieth birthday celebrations for the empress Dowager Chongqing, seated behind an altar table at the centre, wearing a yellow-ground chaopao, surrounded by other Imperial consorts and high-ranking officials in the Palace of Longevity and Health, which her son, the Qianlong emperor, had erected in her honour; see D.Yiyou and J.Stuart, Empresses of China's Forbidden City 1644-1912, Salem, MS, 2018, p.85, fig.7. For an extensive discussion about Qing state rituals, see J.Ryan, Dragon Emperor. Treasures from the Forbidden City, Beijing, 1988, pp.67-91. Chinese Court dress had long been regulated by sumptuary laws since the Zhou dynasty (1050-221 BC). Each succeeding Imperial dynasty issued its own set of regulations and rules regarding colours and designs of official costume. The Court attire employed by the Qing dynasty was highly complex and detailed. The right to wear a 'dragon' robe and its accessories was conferred by rank and entitlement. In 1748, the Qianlong emperor ordered a review of Court dress regulations to examine all previous Qing dress codes and developed a comprehensive strategy for the garments and ceremonial trappings of the Court. The 'Illustrated Regulations for the Ritual Paraphernalia of the Imperial Court', Huangchao liqi tushi 皇朝禮器圖式 completed in 1759, illustrated the strict codes of official dress which were categorised according to colour, symbolism and social status.The 'Regulations' brought the cosmic purpose of Imperial rule into sharp focus. The careful arrangement of sinuous dragons, writhing amid clouds and above the universal ocean washing against the earth mountain, quickly transcended the political and ethnic priorities of Imperial government to become universal symbols of the empire. In Han Chinese thought, the five-clawed dragon was the quintessential symbol of Imperial power, embodying royalty, dominion and expressing the visual metaphor of the good ruler who behaved wisely for the well-being of his subjects. Wearing robes decorated with dragons, therefore, facilitated the Qing foreign rulers' transformation of image in the eyes of the Han population from provincial tribal leaders to legitimate rulers of China.By the Qing dynasty, the use of yellow, traditionally associated with the Imperial family, became stricter than ever and a hierarchy of four different shades of yellow was instituted to differentiate rank within the various family members. Yellow silk, characterised by a slightly greenish tone, for example, was referred to in the 'Regulations' as 'incense colour' xiangse. This shade, displayed on the present robe, was reserved for use by the daughters of the emperor and other Imperial consorts ranking below the empress, the empress Dowager and Second and Third Degree Princesses; see M.Medley, The Illustrated Regulations for Ceremonial Paraphernalia of the Ch'ing Dynasty, London, 1982, and L.Wrigglesworth, Imperial Wardrobe, Berkeley, 2002, pp.14-30. See also the colour illustration of a yellow-ground chaopao, in the 'Imperial Regulations', illustrated by J.Vollmer and J.Simcox, Emblems of Empire: Selections from the Mactaggart Art Collection, Winnipeg Canada, 2009, p.12.Many commemorative portraits of empresses and Imperial Consorts, executed by Court painters during the early Qing period, depict Imperial consorts in a formal pose, seated on a throne and clad in a similar ceremonial garment as the present robe. Imbued with realism and ritual reverence, these paintings are precious testaments for studying complete ceremonial outfits worn at the time. See for example, the portrait of empress Xiaoxian (1712-1748), in the Palace Museum, Beijing, illustrated by L.Wrigglesworth, Imperial Wardrobe, Berkeley, 2002, p.171. Chaopao garments included winter and summer versions, and whilst the former types were normally lined with fur, the latter were lined with thinner materials and had all the exposed edges finished with brocade borders, just like the present robe. No ceremonial outfit was complete unless the chaopao was worn in conjunction with a full-length sleeveless 'dragon' vest, a wide pointed collar, a heavily-jewelled headdress, pearl earrings, at least three ceremonial necklaces and a long silk kerchief suspended from the chest; see J.Vollmer, Ruling from the Dragon Throne, Berkeley, 2002, pp.69-77.Compare with a related yellow-ground chaopao, mid-18th century, from Museum of Asian Art, Cologne, illustrated by J.Vollmer, Ruling from the Dragon Throne, Berkeley, 2002, p.73, fig.3.13.For further information on this lot please visit Bonhams.com

Lot 108

A modern Moorcroft table lamp and shade, 28cm high

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