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Lot 77
19TH CENTURY BOHEMIAN RUBY GLASS VASE AND COVER,possibly moser, enamelled with scrolling foliage and fleur de lis, 40cm highOne handle has come off, the top of the lid has broken off, gilt rubbing off the top some minor chips and scratches to the glass, no other visible damage to the lot, images of damage uploaded to the website.
Lot 302
AN IMPORTANT AND EXCEPTIONALLY RARE IMPERIAL TIANQI AND QIANGJIN LACQUER RECTANGULAR TABLE, PINGTOU'ANChongzhen incised eight-character mark, cyclically dated to the Gengchen year, corresponding to 1640 and of the periodThe large table intricately incised and coloured in varying shades of red, green and burnt amber shading to black, all picked out with traces of gold filling the incisions, the long rectangular top with a pair of confronted sinuous five-clawed dragons riding the heavens above crashing waves, contesting a treasure vase supported on a cluster of cruciform clouds, issuing precious jewels, 'Auspicious Emblems' and Wan symbols fluctuating above a pair of flaming pearls amidst vaporous clouds, all on a dense diaper ground, the curving edge, apron, spandrels and double stretchers with further clusters of cruciform clouds, the straight legs with floral scrolls. 81.9cm (32 2/8in) high x 189.5cm (74 1/2in) wide x 47.5cm (18 1/2in) deep.Footnotes:明崇禎，一六四〇年 填漆戧金龍紋平頭案「大明崇禎庚辰年製」楷書刻款Provenance: Sotheby's New York, 19 March 2013, lot 491來源：蘇富比紐約，2013年3月19日，拍品491Impressive in size and lavishly decorated with polychrome qiangjin and tianqi lacquer designs, the present table displays a remarkable degree of labour, which together with the presence of five-clawed dragons conveying an extraordinary sense of dynamism and power, demonstrates it was made for use in the Imperial Court.It is extremely rare to find lacquer pieces with a Chongzhen reign mark and of the period. The present lot is even rarer not just for the Imperial reign mark, but the unusual combination of two imposing five-clawed dragons with Buddhist symbols. A similar depiction of dragons displaying a spotted mane, combined with elaborate Buddhist iconography such as on the present example, is on a Chongzhen-marked qiangjin lacquer Luohan bed luohanchuang 羅漢床 decorated with clouds and dragons, in the Qing Court Collection, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties (I), Shanghai, 2002, pl.8. A further rare example of Chongzhen-marked furniture pieces is an Imperial tianqi and qiangjin lacquer incense stand, illustrated by Lee Yu-kuan, Oriental Lacquer Art, Tokyo, 1972, p.323; and another tianqi and qiangjin lacquer incense stand, similarly inscribed and dated as the one mentioned above, formerly in the Kaisendo Museum, which was sold at Christie's Hong Kong, 31 May 2017, lot 3227. Each of these pieces is a rare extant example of the lavish Imperial setting during the late Ming period.Polychrome lacquer became popular in the late Ming dynasty, either brush painted or gold-engraved and coloured in the more onerous qianjin and tianqi technique as displayed on the present table. The qiangjin (incised lines filled with gold) technique was developed as early as the Warring Sates period. The history of tianqi however, a subtype of the caiqi technique of colour lacquering, can be traced back to as early as the Shang and Zhou dynasties. When combined together, the gold lines and polychrome lacquer created a rather colourful and dazzling effect. A number of furniture pieces such as tables, stools, incense stands were made during the Jiajing and Wanli periods, testifying to the Court's great interest in lacquered furniture at this time. The Ming dynasty is regarded as the zenith of Chinese furniture making. One of its main achievements was the craftsman's thorough understanding of the natural strength and weaknesses of all types of wood. Complex joinery was used to piece furniture together without the use of glue or nails. As seen from the present table, the elegant form belies its strength, complexity and tenon structure which has allowed it to survive for over four centuries. Furniture from this period closely followed earlier prototypes manufactured from as early as the Song period and forms did not change significantly for hundreds of years; see Wang Shixiang, 'Development of Furniture Design and Construction from the Song and the Ming', Chinese Furniture. Selected Articles from Orientations 1984-1999, Hong Kong, 1999, p.42.Recessed-leg tables were historically referred to as 'character one' tables (yi zi zhuo shi), as the single horizontal stroke of the Chinese character for the numeral 'one' (yi 一) resembles their linear form. This design appears to have derived from standard wood building construction employed from as early as the Han dynasty. This particular design with side stretchers is known from as early as the Song dynasty (960-1279), when tables with bridle and tenon joints, a continuous apron with small spandrels, and double stretchers at the sides were produced. See for instance, the two recessed-leg tables depicted in 'Country Boys Playing in Class', a painting attributed to the Song period, illustrated by Wang Shixiang, 'Development of Furniture Design and Construction from the Song to the Ming', Chinese Furniture: Selected Articles from Orientations 1984-1999, Hong Kong, 1999, p.55, pl.35. Because of their light and simple form, recessed-leg tables could be easily moved from one location to another. They were usually placed against the wall in the main hall of the family compound where important visitors were received and family ceremonies took place; hence these tables became representative of their owner's status and level of refinement and functioned as surfaces on which to display cherished antiquities, artefacts, scroll paintings, to practice calligraphy and painting, and even play the qin; see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, pp.224-238.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 6055
Circular saucer dish with commemorative inscription and marked 'Sterling Silver' D12cm, silver oval teapot stand Birmingham 1911, miniature silver wager cup Birmingham 1906 Maker Levi & Salaman, two small silver challenge cups, three silver trumpet shape vases, white metal vase etc weighable silver approx 10oz
Lot 101
A RARE ARCHAIC BRONZE GOURD-SHAPED VASE AND COVER, HUEastern Zhou DynastyThe bulbous flask-shaped body supported on a simulated rope-twist foot, rising to a straight neck slightly curved on one side, intricately cast with two registers around the body and another below the mouth rim decorated with the 'coiling snake' panhui motifs, set on one side with a bar handle in the form of a snake attached to the body with two rope-twist rings and with a loose interlinked chain secured to the tail of the bird-shaped cover, the cover naturalistically cast as a bird with well detailed wing feathers bordered with archaistic scrolls, the sharp beak opening to form the aperture of the vessel, the bird grasping two serpents in its claws. 33cm (13in) high. (2).Footnotes:東周 蟠虺紋匏壺Provenance: Mark Dineley (1901-1975)Peter Dineley (1938-2018), and thence by descent來源：Mark Dineley（1901-1975年）舊藏Peter Dineley（1938-2018年）舊藏，並由後人保存迄今Mark Dineley and his son Peter Cleverly Dineley collected antique arms and armour, Chinese, Tibetan and Nepalese art amongst other interests. The collections were displayed in the former family home, Aubrey House, located in Holland Park, London - a stately 18th century house. The house came into the Dineley family when it was acquired in 1873 by William Cleverly Alexander (1840-1916) from whom Mark and Peter were descended. W.C. Alexander was a banker and a great connoisseur and patron of the artist James McNeill Whistler, as well as a renowned collector of Chinese ceramics, jade and Japanese art, much of which is now in the British Museum, London, including the celebrated Northern Song Alexander bowl. He was amongst the lenders to exhibitions held at the Burlington Fine Arts Club in 1895, 1896 and 1910 and to the City of Manchester Art Gallery's Exhibition of Chinese Applied Art in 1913, and to exhibitions held at the Victoria and Albert Museum, London. In May 1931 his collection of Chinese ceramics, including 355 lots, was sold over two days and Sir Percival David acquired a significant part, now in the British Museum.Gourd-shaped vessels resembling this vessel have been excavated in Henan, Shanxi and Shaanxi Provinces, which were among the territories ruled by the Jin and Wei. Such vessels were used for containing wine and it is notable that the design is rare compared with more common wine-vessel forms such as gu. Excavations in early Warring States tombs have only revealed one such vessel within a large burial, suggesting that such vessels reflected the noble status of the deceased.Compare with a similar gourd-shaped vessel and cover, Warring States, decorated with three registers of panhui motifs around the body, in the National Palace Museum, Taipei, (acc.no.GuTong000024N000000000); and another excavated in 1988 at Jinshen village, Taiyuan, Shanxi Province, now in the Shanxi Museum, see Zhongguo meishu fenlei quanji. Zhongguo qingtong tongqi quanji 8. Dongzhou 2, Beijing, 1995, pp.73-74, nos.81-83. See also other similar excavated examples in the Shaanxi Museum of History and the Sackler Gallery of Art illustrated in ibid., pp.75-76, nos.84-85. For an example of this rare type in the Arthur Sackler collection, see Jenny So, Eastern Zhou Ritual Bronzes in the Arthur M. Sackler Collection, Washington D.C., 1995, pp.236-239, no.39. The author suggests that this type of vessel was a 'short-lived type which appeared toward the end of the eighth century BC and disappeared by the early fifth century BC, and illustrates a closely related example formerly in the collection of Mrs. Otto H. Kahn, now in the Metropolitan Museum of Art, New York (acc.no.1949.135.9), illustrated ibid., p.238, fig.39.1.Following the trend for archaism in the 18th century, and especially during the reign of the Qianlong Emperor, vessels such as the present lot became the model for other gourd-shaped vessels in various other media such as jade and cloisonné enamel. See for example, a cloisonné enamel vase of similar form to the present lot, Qianlong, in the Asian Art Museum, San Francisco (acc.no.B6OP286).For further information on this lot please visit Bonhams.com
Lot 116
A VERY RARE CLOISONNÉ ENAMEL AND GILT-BRONZE TRIPOD INCENSE BURNER, DING15th centuryThe robustly cast body of globular form supported on three short legs, exterior brightly enamelled in yellow, white, red, and dark blue with large lotus blossoms in two registers amidst leafy scrolls, repeated along the neck, the gilt-bronze rim applied with a pair of flaring upright handles with similar design, all reserved on a turquoise ground. 21.5cm (8 7/16cm) high.Footnotes:十五世紀 銅胎掐絲琺瑯西番蓮紋三足香爐The present lot is extremely rare, particularly for its shape and early date. It is also notable for its solid casting and sophisticated lotus design. With the tall flaring neck and globular body, in some respects it is similar to a zhadou. However, the rounded base means that it had to be supported on three feet rather than a circular foot ring typical of zhadou. The stylised elephantine feet are also unusual. Compare with a cloisonné enamel incense burner with related feet, mid Ming dynasty, in the Qing Court Collection, illustrated in The Compendium of Collections of the Palace Museum: Enamels, 1, Beijing, 2011, p.157, no.72. Compare the lotus designs on the present lot to those on three cloisonné enamel incense burners with interlocking lotus designs, early Ming dynasty, in the Qing Court Collection, and illustrated in Compendium of Collections in the Palace Museum: Enamels, 1, Beijing, 2011, pp.92-93, nos.25-27; and also a cloisonné enamel incense burner with lion handles, and related lotus design, early Ming dynasty, illustrated in ibid., no.36. Compare also the lotus with that on a cloisonné enamel vase, Jingtai mark and of the period, in the British Museum, London, illustrated by R.Soame Jenyns and W.Watson, Chinese Art: Gold, Silver, Later Bronzes, Cloisonné, Cantonese Enamel, Lacquer, Furniture, Wood, Oxford, 1980, no.73.Compare also the S-shape handles with those on a cloisonné enamel incense burner, Yuan/early Ming dynasty, illustrated by B.Quette, Cloisonné: Chinese Enamels from the Yuan, Ming and Qing Dynasties, London and New York, 2011, p.229, no.11, where the author notes that 'the shape of the handles is characteristic of the early Ming dynasties'.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 122
A RARE AND LARGE CLOISONNÉ ENAMEL AND GILT-BRONZE 'ELEPHANT' TRIPOD INCENSE BURNER AND COVER, DINGQianlongModelled with deep rounded sides supported on three 'elephant-head' feet, each with a pair of protruding tusks and bejewelled harness, flanked at the shoulders with another pair of 'elephant-head' handles, the body decorated with six lotus blossoms amidst dense foliate scrolls below a ruyi-head and key-fret border, enamelled with vivid red, green, yellow, white, blue, pink and purple on a turquoise ground, the pierced cover with three ruyi-shaped panels decorated with bats and longevity symbols, surrounded by intricately cast gilt openwork with further scrolling lotuses, surmounted by a superbly cast recumbent elephant richly adorned across the body with bejewelled harness and beaded garlands, the saddle with a miniature cloisonné enamel offering bowl with ornately decorated gilt-bronze cover. 42.0cm (16 9/16in) high. (2).Footnotes:清乾隆 銅胎掐絲琺瑯西番蓮紋象耳三足薰爐Provenance: Sir Robert Grenville Harvey (1856-1931) 2nd Baronet, and Lady Emily Blanche Harvey (1872-1935), Langley Park, Buckinghamshire, and thence by descent來源：英格蘭白金漢郡蘭利莊園Robert Grenville Harvey二代從男爵（1856-1931）與Emily Blanche Harvey爵士夫人（1872-1935）伉儷舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing this lot in situ. Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.The present lot can be seen in a family photo of Langley Park. The estate which was acquired in 1788 by Robert Bateson Harvey remained in the ownership of the family until 1945.This 'elephant' incense burner exhibits the outstanding quality of enamelling and casting at the highest level, which is characteristic of cloisonné enamel vessels made in the Palace workshops. The exceptional result was due to the technical virtuosity achieved at the cloisonné enamel ateliers during the Qianlong reign; exceptionally demonstrated in the superb jewelled elephant feet and the tour-de-force of the recumbent elephant on top of the vessel, carrying a vase laden with a cornucopia of auspicious representations.Elephants figure prominently in the present lot and lend the incense burner with much auspicious symbolism. The elephant is one of the 'Seven Royal Treasures' associated with sage kings and the Buddha himself. Moreover, the combination of an elephant xiang (象) and a vase ping (瓶), as can be seen on the finial of the present lot, forms a rebus for 'peaceful times', taiping youxiang (太平有象). See also the powerful symbolism demonstrated in a detail from the Imperial Court painting 'Ten Thousand Envoys Come to Pay Tribute', 1761, showing a tribute of an elephant carrying a vase, illustrated by C.Ho and B.Bronson, Splendors of China's Forbidden City: The Glorious Reign of the Emperor Qianlong, London, 2004, pl.82. It is most likely that the present incense burner would have formed part of a pair, which would have been placed in one of the Qing Palace halls; see for example the set of four large incense burners in the Qing Court Collection with tripod elephant-head feet, in situ at the Palace Of Heavenly Purity, Qianqinggong (乾清宮), illustrated in Classics of the Forbidden City: Imperial Furniture of Ming & Qing Dynasties, Beijing, 2008, no.363.Compare with a similar cloisonné enamel tripod incense burner, Qianlong, illustrated in The Prime Cultural Relics Collected by Shenyang Imperial Palace Musem: The Enamel Volume, Shenyang, 2007, pp.100-101, no.IV-9; see also a related cloisonné enamel square incense burner and cover, Qianlong, in the Lady Lever Art Gallery, Liverpool, illustrated by B.Quette, ed., Cloisonné: Chinese Enamels from the Yuan, Ming and Qing Dynasties, New York, 2011, p.190, fig.10.5.See a similar cloisonné enamel 'elephant' tripod incense burner, Qianlong, which was sold at Sotheby's Hong Kong, 9 October 2007, lot 1308.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 126
A PAIR OF CLOISONNÉ AND CHAMPLEVÉ ENAMEL CAPARISONED ELEPHANTS AND VASESMid Qing DynastyEach cast standing foursquare the heads with almond eyes swaying slightly to the sides, the trunks curled between long tusks, the striated cream body caparisoned with a saddle rug decorated with ruyi-clouds supporting a baluster vase. Each 26cm (10 1/2in) high. (2).Footnotes:清中期 掐絲及鏨胎琺瑯「太平有象」一對Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot 122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.Models of elephants were very popular in Imperial China and made from various media to adorn halls and throne rooms throughout the Imperial palaces. They are associated with strength, wisdom and long-life and are also significant animals within the Buddhist religion. A prominent member of the Buddhist pantheon, Samantabhadra (Puxian), is frequently shown seated on an elephant. They are considered guardians of honour and were symbols of peace and good harvests. The elephant in China is also one of the seven Buddhist Sacred Treasures and symbolises peace. The combination of a vase ping 瓶), punning with 'peace' ping 平), and elephant xiang 象, homophone with the word for '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)'. See a related example of a gilt-bronze and cloisonné enamel elephant, 18th century, illustrated in the Compendium Collection of the Palace Museum: Enamelled wares, Beijing, 2010, vol.4, pls.84 and 85. See also a pair of similar cloisonné elephants, 18th century, from the Shenyang Palace Museum, illustrated by R.L.Thorp, Son of Heaven: Imperial Arts of China, Seattle, 1988, p.97.The present pair is particularly sumptuous in utilising both cloisonné and champlevé enamel techniques, in the naturalistic folds of of the skin denoted by the rounded gilt-bronze wires, the detailed enamelled caparison and the finely chased flower-heads adorning it. Above all, the pair is surmounted by opulent richly gilt vases finely decorated with archaistic taotie masks and champlevé lotus blossoms and lappets, making the present pair a rare example of its type.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 135
A RARE CLOISONNÉ ENAMEL 'DA JI' DOUBLE GOURD VASEQianlongElegantly modelled with a large globular lower bulb with four stepped cartouches containing the characters Ji, supporting a slightly smaller upper bulb with a further four stepped cartouches containing the characters da, rising to a waisted neck with a narrow mouth, entirely decorated around the body in vibrant tones of yellow, blue, red and white enamel with geometric diamond-patterns, the foot and central waist with bands of floral scrolls, the mouth with pendant plantain leaves. 28.7cm (11 1/4in) high. Footnotes:清乾隆 銅胎掐絲琺瑯「大吉」葫蘆瓶Provenance: Roger Keverne Ltd., LondonPublished, Illustrated and Exhibited: R.Keverne, Summer Exhibition, 2010, London, p.94, no.69.來源：倫敦古董商Roger Keverne Ltd.展覽著錄：R.Keverne著，《夏季展覽》，倫敦，2010年，頁94，編號69See an identical cloisonné enamel double gourd vase, Qianlong, likely the pair to the present lot, in the Metropolitan Museum of Art, New York, illustrated by B, Quette, Cloisonné: Chinese Enamels from the Yuan, Ming, and Qing Dynasties, New York and Paris, p.274, no.99, where the author notes that the geometric pattern is rare on cloisonné enamel but more often found on piecework textiles 'intended for use in Tibetan Buddhist rituals, notably to cover cymbals or for placement under ritual objects'. The pattern derives from Ming dynasty textiles; see He Li and M.Knight, Power and Glory: Court Arts of China's Ming Dynasty, San Francisco, 2016, no.44.The characters Da Ji express the wish for good fortune and are frequently used to decorate vessels of double-gourd shape. The bottle gourd itself is associated with the Eight Daoist Immortals, particularly with Li Tieguai who used the gourd as a container for medicine. Daoist fairies are also often depicted with double gourds from which fly five red bats – representing the Five Blessings. Double gourds are also symbolic of prosperity and abundance, and in particular, an abundance of male children, which is further reinforced by the characters, da ji, meaning 'highly auspicious', in enamel. As a specific rebus, because they are born from leafy tendrils, the phrase for bottle gourds on a vine is huluman, while the combination of vines with tendrils reads as mandai: these two phrases together suggest the rebus hulu wandai 'May you have numerous descendants'.For further information on this lot please visit Bonhams.com
Lot 145
A RARE LARGE BLUE AND WHITE 'HUNDRED' DEER JARWanliSturdily potted with tapering sides rising to gently curving shoulders surmounted by a short waisted neck, painted around the body with a continuous scene of numerous deer amidst a rocky landscape dotted with trees and wispy clouds, all between a floral and butterfly border at the mouth rim and lappets at the foot. 55cm (21 1/2in) high.Footnotes:明萬曆 青花百鹿紋大罐The Chinese word for deer (lu 鹿), is a homophone for the word for emolument or an official salary (lu 祿), thus deer are symbolic of the rank and wealth. In the troubled times of the late Ming dynasty however, emperors were particularly keen for evidence of Heaven's blessing on their rule. Hu Zongxian (1512-1565) for example, submitted a memorial to the Jiajing emperor on the sighting of a rare white deer - a good omen for the superstitious Jiajing emperor - for which Hu was richly rewarded. Jars such as the present lot, decorated with deer, were particularly favoured at Court during the second half of the 16th century and early 17th century.Compare with a pair of blue and white jars and covers of very similar design, but without the lappet band at the foot, in the Museum of Far Eastern Antiquities, Stockholm, illustrated in Oriental Ceramics, vol.8, pl.247, and by D.Lion-Goldschmidt, Ming Ceramics, New York, 1978, p.187, no.183; this pair of jars was given to Queen Christina of Sweden by the Portuguese Embassy in 1640. A smaller very similarly decorated jar is illustrated in Sekai Toji Zenshu, Tokyo, 1976, vol.14, p.307, fig.218. See a blue and white 'Hundred' deer vase, Wanli, which was sold at Sotheby's London, 9 June 2015, lot 114; and see also a related smaller wucai 'Hundred' deer vase, Wanli mark and period (34cm high), which was sold at Sotheby's New York, 14 March 2017, lot 12.For further information on this lot please visit Bonhams.com
Lot 150
A CARVED PALE GREEN JADE 'CRANE AND LINGZHI' VASE17th/18th century The vase finely carved in the form of a gnarled tree trunk flanked by a a crane standing on rockwork, grasping a branch of large peaches in its beak beside a lingzhi fungus, the stone of even pale tone with faint cloudy inclusions, stand.12.5cm (4 7/8in) high. (2).Footnotes:十七/十八世紀 玉雕仙鶴獻壽紋小瓶Provenance: formerly in the collection of Jan Habbema (1885-1970), acquired in the early 1930s, by repute來源：Jan Habbemam舊藏，傳於二十世紀三十年代早期入藏，並由後人保存迄今Jan Habbema was born in Ambon, the Dutch East Indies, to Habbema and Jacoba Petronella van der Vlist, who were married in Batavia in 1878. After graduating in law in Leiden in 1904, he became a resident of Rembang, Blora, Djocja and Bodjonegoro in the Dutch East Indies between 1930 and 1936. In 1936 he relocated to The Hague where he still lived in 1940 at the outbreak of the Second World War. He formed a large collection of Chinese art when stationed as a high official in Bodjonegoro, Indonesia, until 1936.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 151
A PALE GREEN AND RUSSET OCTAGONAL VASEMing DynastyCrisply cut in baluster form with eight sides, rising from a short spreading foot to a waisted neck and flaring mouth rim, the stone of pale green tone with mottled dark-brown and russet striations. 10cm (4in) high.Footnotes:明 青玉八方小瓶For further information on this lot please visit Bonhams.com
Lot 152
A BLUE AND WHITE 'CRANE AND DEER' YENYEN VASEKangxiThe body boldly painted with a continuous scene of a pair of cranes in flight above a spotted doe turning to look at an antlered deer, all amidst rocks and pines, the flaring neck also with a crane in flight above two recumbent deer amid rockwork and pines. 46.5cm (18 1/4in) high. Footnotes:清康熙 青花「鶴鹿同春」鳳尾尊Provenance: George Kidston CMG, Head of the Eastern Department of the British Foreign Office, 1919-1920, and thence by descent to the the estate of the late Hon. Mrs Patricia A. Kidston (1927-2021).來源：George Kidston勳爵舊藏，曾於1919年至1920年任英國外交部東方事務部主管；並由後人Patricia A. Kidston夫人（1927-2021）保存A similar albeit slightly smaller yenyen vase, Kangxi, also decorated with deer and cranes in the Gardiner Museum of Chinese Art, is illustrated in Cobalt Treasures: The Bell Collection of Chinese Blue and White Porcelain, Toronto, 2003, p.62.Compare with a similar blue and white 'crane and deer' yenyen vase, Kangxi , which was sold at Bonhams London, 8 November 2012, lot 44.For further information on this lot please visit Bonhams.com
Lot 166
A RARE CELADON-GLAZED BARREL-SHAPED JARQianlong seal mark and of the periodThe ovoid jar applied with a pair of archaistic mythical beast-mask and ring handles set between rows of bosses around the shoulder and above the foot, covered with a soft pale blue-green glaze of even tone continuing over the flat rim and stopping at the unglazed ring encircling the countersunk base. 16.5cm (6 1/2in) high.Footnotes:清乾隆 粉青釉鋪首罐青花「大清乾隆年製」篆書款Provenance: Mrs Doris Herschorn (d.1975) and by descent to her son Hugh SassoonChristie's London, 8 June 2021, lot 293來源：Doris Herschorn夫人（逝於1975年）舊藏，並由其子Hugh Sassoon保存倫敦佳士得，2021年6月8日，拍品編號293The present vessel is an elegant example of the refined effect that could be created by combining a finely-textured pale green glaze with relief decoration on a monochrome porcelain vessel. This technique allows the details of the crisp decoration around the body to be highlighted by the delicate translucent glaze pooling in the small recesses, creating a pleasing dichromatic effect whilst accentuating the archaistic design as demonstrated in the taotie mask handles.Vessels shaped as drums, dating to the Qianlong period, are rare, and are a continuation of the Yongzheng period. See a celadon and gilt drum-shaped vase, Yongzheng mark and period, which was sold at Sotheby's Hong Kong, 17 November 1975, lot 154, and a celadon-glazed example which sold at Christie's Hong Kong, 31 March 1992, lot 574.During the 18th century, the Imperial kilns at Jingdezhen devoted considerable research and development to the production of celadon glazes applied to a white porcelain body. Although celadon-type glazes, coloured with small quantities of iron, were applied to porcelain bodies at the Imperial kilns in the early Ming period, the potters working during the Kangxi period perfected a particularly delicate version over a very white porcelain body. The elegant celadon glaze was obtained using only about half the amount of iron utilised in similar glazes produced during preceding periods. During the Yongzheng period, the newly-obtained celadon glaze was further refined to produce an even more finely textured and slightly bluer pale green glaze, and small adjustments continued to be implemented throughout the Qianlong reign. The delicate range of green glazes produced during the Qing dynasty was highly-regarded at the time, and individual glazes were given specific names, such as 'bean green' douqing, 'eastern green dongqing during the Kangxi reign, as well as 'winter green' dongqing and 'soft green' fenqing during the Yongzheng reign. Compare with a pair of similar drum-shaped jars, Qianlong marks and of the period, illustrated in Chinese Celadons and Other Related Wares in Southeast Asia, Singapore, 1979 pl.224, nos.271 and 272. Another similar jar, Qianlong mark and period, from the T.Y. Chao collection, is illustrated in Ch'ing Porcelain from the Wah Kwong Collection, Hong Kong, 1974, no.18.A pair of similar celadon-glazed jars, Qianlong marks and period, was sold at Christie's Hong Kong, 28 May 2014, lot 3307.For further information on this lot please visit Bonhams.com
Lot 108
THREE BAMBOO FLOWER BASKETSOne by Tanabe Chikuunsai (1877-1937), Taisho (1912-1926) to Showa (1926-1989) era, mid to late 20th centuryThe first a hanging basket of the Ryu Rikyo type, madake (timber bamboo) and rattan; mutsume-ami hexagonal plaiting, tobi gozame-ami ('skipping' mat plaiting), asanoha compound hexagonal plaiting (base), knotted and wrapped rattan rim, bamboo and rattan handle, signed Chikuunsai kore o tsukuru (Chikuunsai made this), 26cm x 35cm (10¼in x 13¾in); the second in the form of a Chinese 'arrow vase', madake and rattan plaited in a variety of techniques faithfully following the typical form of a Chinese 'arrow' vase, with two cylinders of bamboo applied either side of the top of the neck, with a bamboo otoshi, unsigned, 30.3cm (12in) high; the third boldly formed, madake strips, natural twigs of bamboo, twigs of another plant, and staining, of roughly spherical form, free-style plaiting interwoven with bamboo rhizomes, hexagonal plaiting (base), unsigned, 38cm x 30cm (15in x 11¾in). (3).Footnotes:Ryu Rikyo is a Chinese-style name used by the pioneering Nanga (Chinese-inspired literati) artist Yanagisawa Kien (1704-1758); Tanabe Chikuunsai I was often inspired by Chinese baskets depicted in Yanagisawa's paintings.For further information on this lot please visit Bonhams.com
Lot 180
MAKUZU KOZAN (1842-1916)A Porcelain Sleeve Vase Meiji era (1868-1912), late 19th/early 20th centuryPainted in underglaze blue and iron red, depicting two writhing dragons flying together amongst incised clouds and crashing waves, the neck rim decorated with a band of shippo-tsunagi (linked-cash), signed within a large rectangular seal Makuzu Kozan sei; with an unrelated wood stand. 28cm (11in) high. (2).For further information on this lot please visit Bonhams.com
Lot 183
KINKOZANA Satsuma Vase Meiji era (1868-1912), late 19th/early 20th centuryFinely decorated in gilt and enamels, the rounded body on a raised foot and flared neck, the central lobed panels decorated with a group of archers and other warriors on one, and elaborately dressed Chinese ladies on the other, the neck with a band of lappets decorated with alternating geometric and diaper patterns, all on an unusual grey ground of tightly clustered chrysanthemums moulded in low relief; signed Kinkozan kore o tsukuru. 18cm (7 1/16in) high.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 186
KINKOZANA Satsuma Ovoid Vase Meiji era (1868-1912), late 19th/early 20th centuryDecorated in enamels and gilt, the body with two large rectangular panels enclosing in one a scene of a cockerel and hen amongst differently coloured wisteria, the other panel depicting a pair of pheasants by a cherry tree, flowering hibiscus and morning glory, all on a cobalt-blue ground of cherry blossoms and karakusa ('Chinese grasses'); signed Kinkozan tsukuru. 31cm (12 3/16in) high.For further information on this lot please visit Bonhams.com
Lot 187
CHOSHUZANA Satsuma Double-Gourd Vase Meiji era (1868-1912), late 19th/early 20th centuryDecorated in enamels and gilt, of exaggerated form, the central section depicting an extravagant daimyo procession leaving a large castle, two dragons, one white and one gilt, on each side of the castle on a diaper ground, the band below embellished with gilt maru ni juji mon (crest of a cross within a circle), emblem of the Shimazu clan, the shoulder decorated with alternating brocade panels; signed Choshuzan saku, Satsuma no kuni Kinkoku Hoshoin Yoshitomo, Yoshitomo hitsu, Jitsu, Ryuzan. 40cm (15¾in) high.For further information on this lot please visit Bonhams.com
Lot 189
YABU MEIZAN (1853-1934) OF OSAKAA Satsuma Ovoid Vase Meiji era (1868-1912), late 19th/early 20th centuryFinely decorated in enamels and gilt with a continuous scene mainly depicting activities associated with the New Year celebrations including ladies and girls playing hagoita (battledore), women examining and adjusting kimono for the New Year, and mothers and children playing with toys, all beneath a neck of trailing maple leaves draping over the shoulder; signed on the base Yabu Meizan within a gilt seal. 15.5cm (6 1/8in) high.For further information on this lot please visit Bonhams.com
Lot 191
KINKOZANA Satsuma Baluster Vase Meiji era (1868-1912), late 19th/early 20th centuryDecorated in enamels and gilt, the continuous central band depicting flowering trees in a rocky landscape with different birds perched throughout, all on a cobalt-blue ground with stylised vegetal motifs and karakusa ('Chinese grasses'), the neck and foot with long oval reserves decorated with millefleurs; signed Kinkozan tsukuru and with an impressed seal Kinkozan tsukuru. 24.5cm (9 5/8in) high.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 199
CHIKUSAIA Satsuma Ovoid Vase Meiji era (1868-1912), late 19th/early 20th centuryDecorated in enamels and gilt, the continuous central band depicting a samurai procession, a group of participants carrying an elaborate festival float, another group pulling a large cart filled with blossoming flowers, the shoulder and foot decorated with colourful brocade panels, each panel with a fan or lobed reserves enclosing scenes of birds and flowers, women and children, and scenic landscapes; signed Chikusai in a red seal beneath a maru ni juji mon (crest of a cross within a circle), emblem of the Shimazu clan. 25.7cm (10 1/8in) high.For further information on this lot please visit Bonhams.com
Lot 200
HODODAA Pair of Satsuma Baluster Vases Meiji era (1868-1912), late 19th/early 20th centuryDecorated in enamels and predominantly gilt with a full repertoire of rakan and their attributes; some of the rakan applied in ceramic high relief, each vase signed on the base Dai Nihon Satsumayaki Hododa tsukuru beneath the Satsuma crest. Each vase: 37.5cm (14¾in) high. (2).For further information on this lot please visit Bonhams.com
Lot 213
OTA TOSHIRO (1869-1940)A Cloisonné-Enamel Four-Sided Vase Meiji era (1868-1912), early 20th centuryThe faceted vase with an elongated body and worked in gilt and silver wire and polychrome enamel with four elaborate lobed panels containing a different flower-and-bird of the seasons comprising: (1) A peacock perched on a rock issuing with peonies; (2) A wagtail in flight among flowering chrysanthemums; (3) A pheasant standing on a rocky ledge beneath branches of maple; (4) A pair of swallows flying beneath trailing wisteria; the neck, shoulder and foot adorned with closely clustered repeated geometric, hanabishi-mon (flowery-diamond crests) and shippo-tsunagi (linked-cash) and tight whorl patterns; signed on the base with two impressed characters Ota within a koro-shaped seal. 24.7cm (9¾in) high.For further information on this lot please visit Bonhams.com
Lot 218
GONDA HIROSUKE (1865-1937)A Pair of Cloisonné-Enamel Moriage Presentation Vases Showa era (1926-1989), circa 1932Each vase decorated in relief and worked in silver wire and pastel-coloured enamels of different tones of green, brown and white, each vase showing a snow-capped Mount Fuji rising in the distance over a rustic landscape, rendered in the Nihonga (neo-nativist painting) manner, one vase with a watermill partially obscured among cedar trees, a rushing stream flanked with rocks in the foreground, the second vase depicting in the background a lone farmer returning home, water rushing through rocks in the foreground, discrete details on the foliage on the trees enhanced by silver wire, all reserved on a pale-beige cream ground, applied with silver rims and feet, each vase incised on the base with a presentation inscription Keibaho jisshi junen kinen keiba, Sho, Shadan Hojin Teikoku Keiba Kyokai, Showa shichinen ichigatsu Hakuryuen kinsei (Horseracing award in commemoration of the tenth anniversary of the Horseracing Law, presented by the Imperial Horseracing Association, January 1932, respectfully made by Hakuryuen [Gonda Hirosuke]) with two wood stands and the original custom-made velvet storage box, stamped with the same inscription. Each vase: 31cm (12 1/8in) high. (5).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 220
A PAIR OF CLOISONNÉ-ENAMEL BALUSTER VASESMeiji (1868-1912) or Taisho (1912-1926) era, early 20th centuryEach vase in the style of Namikawa Yasuyuki, finely worked in silver and gilt wire with an identical design, the body with large speckled pale-pink and mustard shields enclosing white writhing three-clawed dragons alternating with ho-o birds beneath a shoulder of chrysanthemums interwoven among karakusa ('Chinese grasses'), the neck encircled with lappets enclosing stylised bird-and-flower motifs; both vases unsigned. Each vase: 30.8cm (12in) high. (2).For further information on this lot please visit Bonhams.com
Lot 229
GONDA HIROSUKE LINEAGEA Cloisonné-Enamel and Musen Tall Baluster Vase Taisho (1912-1926) or Showa (1926-1989) era, 20th centuryDecorated in partly musen (wireless) and yusen (wired) enamels with a shimenawa (sacred rope) tied around the trunk of a gnarled pine tree on the seashore at low tide in the foreground, the sun setting in the background, applied with a silver rim and foot, signed with the enamelled mark of Gonda Hirosuke on the base; with a wood stand and a plain wood storage box. 31.5cm (12 3/8in) high. (3).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 230
ANDO JUBEI COMPANYA Fine Cloisonné-Enamel Moriage Baluster Vase Meiji (1868-1912) or Taisho (1912-1926) era, 20th centuryWorked in silver wire of varying gauge with a continuous flamboyant design of three three-clawed dragons chasing a flaming tama (jewel) camouflaged among wisps of cloud, rendered in semi-abstract style and different shades of green, blue, and orange reserved on a pale grey ground suffused with blue, applied with a silver rim and foot, signed on the base in silver wire with the mark of Ando Jubei; with a wood stand and a plain wood storage box. 22cm (8 5/8in) high. (3).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 231
ANDO JUBEI COMPANYA Cloisonné-Enamel and Musen Squat Baluster Vase Meiji era (1868-1912), early 20th centuryWorked in partly musen (wireless) and yusen (wired) enamels with a shoal of medaka (killifish) swimming beneath the surface of a lotus-leaf strewn pond, on a graduated pale-blue ground, applied with a silver rim and foot, signed on the base in silver wire with the mark of Ando Jubei, with a separate wood stand; with a wood tomobako storage box inscribed on the lid Shippo ike ukikusa yugyo [...] kabin (Cloisonné vase with pond, duckweed, and swimming fish design) and signed Jubei tsukuru (Made by Jubei) with seal Andoshi kinsei (Respectfully made by Ando), the inside of lid with an old paper label Ando Cloisonné Wares Tokyo-Nagoya Japan in English and in Japanese Kunaicho goyotatsu Tokyo Ginza Ando Shippoten (Ando Cloisonné-Enamel Shop, Ginza, Tokyo, Purveyor to the Imperial Household). 19cm (7½in) high. (3).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 248
A BRONZE SLENDER SINGLE-STEM FLOWER VASEEdo period (1615-1868), probably mid-19th century Of tsurukubi (crane's-neck) form, the elegant, slender neck rising from a pear-shaped body supported on a circular foot, unadorned, the metal with an attractive reddish-brown patina overall, suffused with characteristic irregular darker areas; unsigned. 28cm (11in) high.For further information on this lot please visit Bonhams.com
Lot 250
SUZUKI CHOKICHI (KAKO, 1848-1919)A Bronze Baluster Vase Meiji era (1868-1912), early 20th centuryThe body cast and carved in varying degrees of relief depicting an egret about to alight on a lotus pond filled with large, overlapping, leafy lotus flowers and pods, the feathers of the bird and surface of the foliage rendered in a naturalistic manner, the egret's eye inlaid in gold; signed on the base with a cast mark Dai Nihon Kako tsukuru (Made by Kako of Great Japan) within an oval reserve. 33.8cm (13 5/16in) high.Footnotes:One of the most celebrated monumental bronze casters of the Meiji era, from around 1900 Suzuki Chokichi seems to have worked at a less monumental scale and in a more refined manner, as here. See Joe Earle, Suzuku Chokichi: Master of Metal Raptors, in Victoria Weston ed., Eaglemania: Collecting Japanese Art in Gilded Age America, exhibition catalogue, Boston, McMullen Museum of Art, Boston College, 2019, p.28.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 29
TWO BLACK-LACQUER SMALL FOUR-CASE INROEdo period (1615-1868), 19th centuryThe first lacquered on the upright roiro (black-lacquer) body in gold and red takamaki-e with a vase of flowers resting on a Chinese stand among open books on one side and a family of chickens on the other, with details inlaid in shell, the interior of plain black lacquer, unsigned, 5.6cm (2 5/16in) high; the second inro inlaid in shell with a herdsman pulling an ox, the interior of plain black lacquer, unsigned, 6.2cm (2 3/8in) 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 52
SHIBAYAMA STYLEA Shibayama-Inlaid Gold-Lacquer Four-Case Inro Meiji era (1868-1912), late 19th/early 20th centuryThe upright kinji body decorated in Shibayama style with a Chinese vase brimming over with peonies, chrysanthemums, and bush clover, petals strewn around the ground on one side and leafy sprigs of shukaido (hardy begonia) on the reverse, the interior of rich nashiji, unsigned; with a gold-lacquered ojime and mixed-metal inlaid circular netsuke, carved with a coiled dragon; unsigned. 6.8cm (2 5/8in) high.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
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