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Lot 897
An unusual Sowerby glass opalescent sea green vase of foliate shape on tripod feet together with a similar colour Sowerby glass twin handled posy bowl, height 12cm.The vase has mould flaws near the rim and other slight mould flaws. The posy bowl has a slight mould seam and no other condition issues.
Lot 923
A Sowerby turquoise new marble glass vase with a reeded design together with another similar and a pair of turquoise new marble glass vases with moulded handles in relief, tallest height 11cm. (4).One of the smaller vases with a chip approx 2cm on the rim of the neck, squat vase with an area that looks overpainted but does not show under UV light. Extra images on David Lay website.
Lot 933
Sowerby and other jet or black glass, to include a bust of Queen Victoria, one match striker, one fashioned as a boot, a jug, moulded with peacocks and three vases (6).Chip to the foot of base on Victoria bust, chip to foot of the large vase, small chips others in the lot images of which on David Lay website. Large vase with John Derbyshire anchor mark. The barrel match striker has been broken on the view and has been removed from the lot.
Lot 940
Walter Crane, A rare Sowerby turquoise glass beaker, moulded with a design of 'Mary Mary Quite Contrary', height 13.5cm, together with a square section turquoise spill vase, moulded with figures of a shepherd and a lancer (2).Lot 940The beaker, no apparent damage.The spill vase has chips on three corners, see extra images on the David Lay website.
Lot 962
A Sowerby glass Queen's Ivory ware twin handled drum shaped vase with Miss Howard's porcelain plate design, together with a Sowerby flint glass twin handled drum shaped vase, height 8.5cmLot 962The Queen's Ivory example has a restored section to one foot.The flint glass example has a chip to one foot. Extra images are 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 100
A RARE CLOISONNÉ ENAMEL AND GILT-BRONZE 'BUDDHIST LIONS' EWER16th centuryOf ovoid form with a high arched loop handle and serpentine spout, enamelled around the body with six Buddhist lions encircling two brocade balls tied with ribbons, amidst ruyi-head clouds interrupted by a small vase holding precious objects, all between a band of ruyi-head petals around the shoulder and lotus petals around the base, the neck, spout and base similarly enamelled with scrolling foliage. 22.2cm (8 3/4in) wide.Footnotes:十六世紀 銅胎掐絲琺瑯獅子繡球穿花執壺Although the lion is not native to China, its image has long been important to the repertoire of Chinese iconography. Lions were first presented to the Han court by emissaries from Central Asia and Persia, and the Chinese for lion (shi 獅) is thought to be derived from the Persian word šer. Lions were often depicted in stone statuary, symbolising protection and law, and from the Tang dynasty, appeared on decorative arts. The Buddha's teachings are often referred to as the 'lion's roar' in the sutras, indicating their power and nobility. Buddhist lions playing with a brocade ball became the most popular form of imagery for the lion during the Ming dynasty. For a very similar decoration of Buddhist lions, see a cloisonné enamel dish, 16th century, illustrated by C.Brown, Chinese Cloisonné: The Clague Collection, Phoenix Art Museum, 1980, pp.22-23, pl.3.Compare with a very similar cloisonné enamel ewer and cover, 16th century, also decorated with lions, illustrated by H.Brinker and A.Lutz, Chinesisches Cloisonné: Die Sammlung Pierre Uldry, Zurich, 1984, no.98. The author notes that 'no prototype in porcelain [of this shape] exists, but other examples are known in cloisonné enamel. These ewers, sometimes decorated with lions, sometimes with scrolling lotus, possibly served as ritual vessels in Buddhist or Lamaist ritual ceremonies.' Compare with a very similar cloisonné enamel ewer and cover, 16th century, which was sold at Christie's Paris, 7 December 2007, lot 6; and another very similar cloisonné enamel ewer and cover, 17th century, which was sold at Christie's London, 12 November 2010, lot 1146.For further information on this lot please visit Bonhams.com
Lot 110
A VERY LARGE CLOISONNÉ ENAMEL TURQUOISE-GROUND VASE19th century Of baluster form, brightly enamelled around the exterior with various flowers, birds and insects, supported on a tapering foot and rising to a waisted neck decorated with pendant ruyi-heads beneath a floral band and upright plantain leaves beneath foliate scrolls, all reserved on a turquoise blue ground. 73cm (28 3/4in) high. Footnotes:十九世紀 銅胎掐絲琺瑯花鳥紋大瓶Provenance: a European private collection來源：歐洲私人收藏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 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 117
A SPINACH-GREEN JADE 'DRAGON' MOONFLASK, BIANHU19th centuryThe broad, flattened body rising from a short stepped foot to a waisted neck and lipped rim, the neck flanked by a pair of scrolling handles, each side decorated with a central medallion enclosing a full-faced five-clawed dragon, limbs outstretched and soaring sinuously around a flaming pearl amidst wispy clouds, surrounded by five clusters of clouds each interspersed with a bat, the stone of even dark green tone with some cloudy inclusions, zitan stand. 21cm (8 1/4in) high (2).Footnotes:十九世紀 碧玉浮雕龍紋抱月瓶Provenance: James Basil Wilson and Julia Wilson, acquired prior to 1979, 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1979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。While Imperial 'dragon' moonflasks were popular in porcelain during the Qianlong period, they are relatively rare in jade. See a related spinach-green jade vase and cover, with frontal facing dragon surrounded by the bajixiang and clouds, illustrated in The Baur Collection: Chinese Jades and Other Hardstones, Geneva, 1976, B.91.Compare with a related white jade 'dragon' moonflask, Qianlong, which was sold at Sotheby's Hong Kong, 13 October 2021, lot 3610. See also a large carved spinach- green jade moonflask and cover, Qianlong/Jiaqing, which was sold at Christie's Hong Kong, 29 May 2013, lot 2337.For further information on this lot please visit Bonhams.com
Lot 127
A JADEITE NECKLACE19th/20th centuryConsisting of 108 plain mottled white, pale and apple green jade spherical beads; together with a pair of vase-shaped jade earrings and a box. The necklace, 110cm (43 1/4in) around (4).Footnotes:十九/二十世紀 翡翠項鍊 及十九世紀 玉雕耳環一對Provenance: Christie's London, 8 April 1981, lot 218 (the necklace)James Basil Wilson and Julia Wilson, and thence by descent來源：倫敦佳士得，1981年4月8日，拍品編號218（項鍊）James Basil Wilson與Julia Wilson伉儷舊藏，並由後人保存迄今The necklace in this lot is accompanied by a certificate from the Gemmological Certification Services dated 22 March 2022本拍品之項鍊隨附由倫敦Gemmological Certification Services於2022年3月22日發放之鑑定證書In 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.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 necklace consists of 108 beads, 12 for the months of the year, 24 for the solar periods of the year, and 72 for the lesser terms of five days into which the year was subdivided.For further information on this lot please visit Bonhams.com
Lot 135
AN APRICOT-GROUND EMBROIDERED SILK 'ELEPHANT' PANEL18th/19th century The panel of rectangular shape, delicately embroidered in vegetable dyed floss silk and couched gilt threads to depict a central caparisoned white elephant supporting a vase of auspicious objects on its back, surrounded by floral sprays of blossoming peonies and lotus and fruit branches bearing pomegranates and peaches, all on a bright apricot ground, framed and glazed. The embroidery 90.5cm (35 5/8in) wide x 55cm (21 5/8in) high.Footnotes:十八/十九世紀 刺繡太平有象掛屏Provenance: Linda Wrigglesworth, London, acquired in 1980來源：倫敦Linda Wrigglesworth收藏，於1980年入藏The panel is replete with a variety of symbols expressing multiple auspicious wishes. The word for vase ping 瓶 in fact is homophone with 'peace' ping 平, and elephant puns with xiang 象 meaning 'sign' or 'portent'. Together, these two words form a rebus for the phrase taiping youxiang 太平有象, meaning 'Where there is peace, there is an omen (or elephant)'. Pairs of elephants carrying vases thus became an important part of the Imperial throne regalia. The lotus, one of the Eight Buddhist Emblems, is also a homophone with the Chinese character he 和 meaning 'harmony'. Representing purity and aspiration, the lotus, like the pomegranate, also conveys the auspicious symbolism of fertility, for the multitude of its petals, leaves and seeds. Finally, large peaches growing in the wondrous realm of the Queen Mother of the West, granted immortality to whoever ate them.For further information on this lot please visit Bonhams.com
Lot 151
A VERY RARE AND LARGE PALE WHITE GREEN AND BROWN-STREAKED JADE VASE, HUMing DynastyThe vase of flattened pear shape rising from a spreading stepped foot to an everted rim, the body intricately carved on each side with a forward-facing chilong with long mane, surrounded by archaistic motifs and taotie masks, flanked by a pair of mythical-beast loop handles, the stone of pale green tone with russet and milky-white veins. 18.5cm (7 1/4in) high.Footnotes:明 青白玉浮雕仿古紋鋪首耳尊Provenance: Dunt King, Hong Kong, November 1956Bluett & Sons Ltd., London, 13 November 1956R.H.R Palmer, MC DL (1898-1970), collection no. 187, label 'R.H.R.P 187', and thence by descentBonhams London, 11 June 2003, lot 17來源：香港古董商仁德行，1956年11月倫敦古董商Bluett & Sons Ltd.，1956年11月13日R.H.R. Palmer（1898-1970）舊藏，藏品編號187，收藏標籤「R.H.R.P 187」，並由後人保存倫敦邦瀚斯，2003年6月11日，拍品編號17Reginald Howard Reed Palmer (1898-1970), Chairman of Huntley and Palmer 1948-1963, was educated at Eton. He was Sheriff of Berkshire in 1935 when his address was Hurst Grove, near Reading. He started collecting Chinese works of art when he married in 1924, much helped by his wife, who had an equally good eye, especially for jades, and they went on to build a collection consisting of Ming and Qing porcelains, jade, ivory and lacquer. He was also an active member of the Oriental Ceramic Society and regularly lent his pieces for exhibition. Skilfully carved in low relief with the surface finished to a fine and even sheen, this vase represents the archaistic style that grew in popularity in jade carving during the Ming dynasty. The academic trend known as the 'search for evidence' (kaozheng 考證) movement began 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. The shape of the present lot derives from archaic bronze hu vessels, while the combination of decorative elements, including the taotie masks and animal-head handles, are also taken from archaic bronze motifs. For example, the intertwined dragons are reminiscent of designs found on archaic bronze wares from the Eastern Zhou dynasty, such as a facetted hu and cover, illustrated by J.So, Eastern Zhou Ritual Bronze from the Arthur M.Sackler Collections, New York, 1995, pl.37. These archaic motifs are juxtaposed with new designs, such as the stylised rendering of the creature with neatly combed and parted hair, to result in a highly original piece that suited the aesthetic and taste for things qi (奇, variably translated as 'original', 'unusual', 'marvellous' or even 'strange' and 'eccentric'). See K.P.Burnett, Dimensions of Originality: Essays on Seventeenth Century Chinese Art Criticism, Hong Kong, 2013. Vases decorated with this design are unusual and no other closely-related example appears to have been published. Compare with a slightly smaller vase of similar hu shape, decorated on the body with a taotie mask, in the Palace Museum, Beijing, illustrated in The Compendium of Collections in the Palace Museum: Jade, vol.7, Ming Dynasty, Beijing, 2011, pl.19. A creature with similarly rendered hair is found on early Ming lacquerware, as seen on a box attributed to the Yongle reign, in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Yuan and Ming Dynasties, Shanghai, 2006, pl.25.For further information on this lot please visit Bonhams.com
Lot 163
A LONGQUAN CELADON CRACKLE-GLAZED LONG-NECKED VASE13th/14th centuryWith globular body rising from a short inward-tapered foot to a tall cylindrical neck flaring at the mouth, covered with a sea-green glaze and fine craquelure. 15.3cm (6in) high. Footnotes:十三/十四世紀 龍泉窯青釉長頸瓶Provenance: a distinguished English private collection來源：英國顯赫私人收藏Compare with a related Guan or Ge-type bottle, of similar form, 13th/14th century, illustrated by J.Ayers, Chinese Ceramics in the Baur Collection, vol.1, Geneva, 1999, p.79, no.36.For further information on this lot please visit Bonhams.com
Lot 164
A BLANC-DE-CHINE 'PRUNUS' VASELate 17th/18th centuryThe tall slender body rising from a stepped foot to a flaring neck, the body applied with branches of blossoming prunus and peony, covered overall in a creamy ivory-white glaze. 48cm (19in) high.Footnotes:十七世紀末/十八世紀 德化白釉堆貼梅紋觚Provenance: Arthur Barnardiston (1685-1737), Brightwell Hall, Suffolk, and thence by descent, by repute來源：傳為英國薩福克郡布萊克威爾大宅亞瑟·巴那迪斯頓爵士（1685-1737）舊藏，並由後人保存迄今Arthur Barnardiston (1685-1737), was apprenticed to John and Walter Morrice, mercers and members of the Levant Company, 1703, and became a 'Turkey merchant', living for some years in Smyrna. Compare with a related pair of blanc-de-Chine vases with a very similar motif, Kangxi, which was sold at Sotheby's Paris, 30 June 2016, lot 71.For further information on this lot please visit Bonhams.com
Lot 166
A SANG-DE-BOEUF SQUARE PEAR-SHAPED VASE, FANGHUGuangxu incised six-character mark and of the period The form inspired by the early bronze prototypes, with indented corners, applied with rectangular lug handles, and set on raised feet, moulded to each side with peach -shaped panels, covered in a lustrous red glaze with darker striations and paling to a creamy-blue tone at the edges, handles and interiors, attached to late ormolu mount stand. 36cm (14 1/4in) high. Footnotes:清光緒 紅釉貫耳尊「大清光緒年製」楷書模款See for a vase of similar form, Guangxu incised six-character mark and of the period, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum, Shanghai, 1999, p.207, no.186. See also a related pair of flambé-glazed rectangular vases, Guangxu incised six-character mark and of the period, which was sold at Bonhams London, 2 November 2021, lot 348.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 167
A RARE PALE BLUE GLAZED ARCHAISTIC VASEJingyuan tang zhi seal mark, Republic PeriodOf flattened pear-shape rising from a short tapering foot to a waisted neck with lipped rim, flanked by a pair of lug handles with taotie masks, the body with archaistic strapwork, covered overall in a pale sky-blue glaze. 31cm (12 5/8in) high.Footnotes:民國 天藍釉仿古紋雙耳尊青花「靜遠堂製」篆書款The hall mark Jingyuan tang zhi ('靜遠堂製' Hall of Tranquillity and Remoteness) was used by Xu Shichang, who served as the President of the Republic of China from 1918 to 1922.The present vase is based on ancient bronzes from the Spring and Autumn period, such as an archaic vase with strapwork, illustrated in Bronzes in the Palace Museum, Beijing, 1999, p.246.See a claire-de-lune pear-shaped vase, also with Jingyuan tang seal mark, which was sold at Bonhams Hong Kong, 26 May 2013, lot 263.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 169
A FAMILLE VERTE 'JIA SIDAO' DISHKangxiBrightly enamelled with female equestriennes within a pavilion garden, overlooked by attendants and the Minister Jia Sidao with a fan, his foot on the balcony rail as if to jump over in excitement. 54.5cm (21 1/2in) diam. Footnotes:清康熙 五彩月下跑馬圖盤Provenance: Highfield Jones collectionSotheby's London, 30 November 1954, lot 113Eskenazi Ltd., London, 1986來源：Highfield Jones舊藏倫敦蘇富比，1954年11月30日，拍品編號113倫敦古董商Eskenazi Ltd.，1986年The presence of horse-riding women usually identifies this subject matter as the story of 'The Female Troops of the Yang Family'. Indeed, the composition is extremely similar to other dishes with this story. However, the crucial difference between this subject and that of the last Southern Song dynasty minister Jia Sidao, is the excited male figure on the balcony holding a fan. In the present lot, Jia Sidao is comically enjoying the pleasures of women riders at his Geling mansion by West lake. His over-excitement leads him to almost step off the balcony. According to the 'History of the Song Dynasty', emperor Duzong ascended the throne with the support of Jia Sidao (1213-1275) in 1264 after emperor Lizong passed away. He bestowed upon Jia the title of Imperial Teacher and a mansion at Geling in West Lake. Jia was allowed to attend the Imperial audience every three days and handle state affairs in his residence. At that time, all candidates who passed the Civil Examination were Jia's students and visited his mansion to deliver their gratitude. Jia wielded great influence throughout the government.In 1269, Jia became more arrogant and requested retirement quoting health reasons. Emperor Duzong, in tears, tried to retain him. In the end, emperor Duzong gave in, exempting Jia from performing the ritual bow when greeting the throne and allowing him to attend the Imperial audience every ten days. A contemporary poem made a sarcastic remark of the situation that there is no prime minister at the court but in West Lake instead. When the Mongols besieged Xiangyang, Jia paid no attention but surrounded himself with beautiful concubines ranging from Palace ladies and prostitutes to nuns in his Geling mansion. Jia was eventually assassinated and considered an 'evil' minister that led to the ultimate conquest by the Mongols. The figure in the Song official attire wearing the Imperial Teacher hat and brandishing a folded fan is Jia Sidao. In ancient China, holding a fan was a symbol of power and identity. The figure therefore should wield great power and enjoy a high social standing. The craftsmen who painted the present lot however, recycled the imagery and composition used to depict the ladies of the Yang family. See for example, a blue and white rouleau vase decorated with Jia Sidao holding a fan, Kangxi, illustrated in Folklore in Ming and Qing Porcelain, Hong Kong, 2019, pp.83-87.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 172
A RARE IMPERIAL YELLOW-GROUND GREEN-ENAMELLED 'DRAGON' BOWLYongzheng six-character mark and of the periodThe bowl with deep rounded sides rising from a tapered foot to a gently flared rim, finely decorated on the exterior with two dragons striding in mutual pursuit amidst flames whilst each reaching for a 'flaming pearl', one creature with its head turned back, the other looking forward, each finely incised in the biscuit and enamelled in vibrant green against a brilliant opaque lemon-yellow ground, all further below a zigzag border of ruyi clouds divided by a green fillet and a single incised line at the rim, the interior and the base reserved in white, the base inscribed in underglaze blue with the six-character reign mark within a double circle. 14cm (5 1/2in) diam. Footnotes:清雍正 黃地綠彩龍紋盌青花「大清雍正年製」楷書款Provenance: S. Marchant & Son, LondonA British private collection, and thence by descent來源：倫敦古董商S. Marchant & Son英國私人收藏，並由後人保存迄今The present bowl is remarkable for its intricately-incised dragon design and strikingly contrasting colour scheme, but also for its historical context at the Qing Court. This bowl would have displayed the very high status of its female owner.Strict regulations determined the variety and quantity of tableware to be used by the different Imperial members during the Qing dynasty. According to 'The History of the Imperial House and Court' Guochao gongshi, first compiled in the seventh year of the Qianlong reign (1742), and 'The Illustrated Regulations for Ceremonial Paraphernalia of the Qing Dynasty' Huangchao Liqi Tushi, edited in 1759, vessels decorated with designs of green dragons on a yellow ground, could only be used by the emperor's concubines of the second rank at the Court. The prototype to the colour palette and decoration of these bowls appears to be inspired by the 'green dragon' designs of the early 16th century; see, for example, a yellow and green 'dragon' vase, Zhengde mark and period, in the Sir Percival David Collection, London, illustrated by S.Jenyns, Ming Pottery and Porcelain, London, 1953, pl.84b, where it is noted that reproductions of Zhengde wares incised in green on a yellow ground were among the items included in the Yongzheng list of porcelains supplied to the Court compiled by Tang Ying in 1729.A similar bowl decorated with green writhing dragons striding on a yellow ground in the Palace Museum, Yongzheng six-character mark and of the period, in the Qing Court Collection, is illustrated in The Complete Collection of Treasures of the Palace Museum: Miscellaneous Enamelled Porcelains Plain Tricoloured Porcelains, Shenzhen, 2009, p.119, no.98.Two nearly identical green and yellow-enamelled 'dragon' bowls, Yongzheng marks and period, were sold respectively at Sotheby's Paris, 7 October 2015, lot 3717 and Christie's Hong Kong, 1 December 2011, lot 3733.For further information on this lot please visit Bonhams.com
Lot 180
A RARE IMPERIAL FAMILLE ROSE 'BOYS' JARDaoguang seal mark and of the periodThe ovoid body finely enamelled with an older boy clothed in a pink-enamelled robe and wearing a gold official's cap, holding aloft a large golden helmet above his head as four younger boys leap excitedly to reach for it, all set within a scene of rockwork and pines continuing onto the reverse decorated with a flowering pomegranate branch laden with two heavy fruit bursting open and one unripe fruit, all beneath turquoise-ground ruyi-head borders containing double-seeded lotus scrolls enclosing four bats at the neck and simple lotus scrolls at the foot, the interior and underside glazed in turquoise. 19.1cm (7 1/2in) high.Footnotes:清道光 松石綠地粉彩「五子奪魁」圖罐 礬紅「大清道光年製」篆書款Provenance: an English private collection 來源：英國私人收藏The charming scene on the present vase depicting five boys fighting for a helmet is a very popular motif in China, meaning 'five boys competing for distinction', which symbolises the blessing for one's son to achieve outstanding results in the Civil Service Examinations. Helmet (kui 魁) is a pun for 'leader', which also indicates first place in the Palace examination. The 'five boys' refer to the children of Dou Yujun (竇禹鈞), the scholar, educator and official during the Five Dynasties period (907-960 AD), whose eminent sons achieved remarkable success in the Civil Service Examinations, earning him reverence as the ideal parent.Compare with related Daoguang vases, but decorated with a ruby ground around the elongated neck and foot, such as one depicting children in a Dragon Boat Race, and another decorated with fruiting pomegranate trees, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains with Cloisonné Enamel Decoration and Famille-Rose Decoration, Hong Kong, 1999, pls.189 and 194.A famille rose bottle vase, Daoguang mark and period, similarly enamelled with four boys in a garden around an older boy wearing a gold official's cap and holding a golden helmet over his head, was sold at Sotheby's Hong Kong on 7 October 2010, lot 2162.For further information on this lot please visit Bonhams.com
Lot 19
AN EXCEPTIONALLY RARE LARGE MOTTLED GREY AND BROWN JADE 'ARROW' VASE, TOUHUYuan Dynasty Smoothly and simplistically carved as a vessel of flattened pear shape supported on a spreading foot with the neck flanked by a pair of tubular handles, the stone of mottled grey, black and pale green tone, wood box. 28.5cm (11 1/4in) high (2).Footnotes:元 青玉貫耳壺Provenance: Lord Cunliffe (1899-1963), Honorary Keeper of the Far Eastern Collections at the Fitzwilliam Museum, Cambridge (collection no.JS3)Bluett & Sons Ltd., LondonProfessor Peter H. Plesch (1918-2013) and Mrs Traudi Plesch OBE (1921-2013), acquired from the above in June 1978 for £15,000 Bluett & Sons Ltd., LondonA distinguished English private collectionPublished and Illustrated: 'Chinese Works of Art in English Collections: 1 - Early Jades and Metal-work in the Collection of the Rt. Hon. Lord Cunliffe', Apollo, London, March 1957, fig.IIIBluett & Sons Ltd., Oriental Art, II, London, 1991, no.18 來源：劍橋大學菲茨威廉博物館東方藝術部名譽主任，Cunliffe勛爵（1899-1963）舊藏（藏品編號JS3）倫敦古董商Bluett & Sons Ltd.英國Peter Plesch教授（1918-2013）與大英帝國官佐勳章獲勳人Traudi Plesch伉儷舊藏，於1978年6月3以15,000英鎊購自Bluett & Sons倫敦古董商Bluett & Sons Ltd.英國顯赫私人收藏出版著錄：〈Chinese Works of Art in English Collections: 1 - Early Jades and Metal-work in the Collection of the Rt. Hon. Lord Cunliffe〉，《Apollo》，倫敦，1957年3月，圖版編號III倫敦古董商Bluett & Sons，《Oriental Art》，II，倫敦，1991年，編號18The present lot has several distinguishing features that make it remarkable and attest to the skill and taste of both jade carvers and patrons in the Yuan dynasty. Firstly, it is carved from a particularly large piece of jade. Secondly, its monumental scale is further enhanced by the simplicity and complete absence of any decoration, which leaves the surface of the stone to speak for itself. Thirdly, despite the simplicity of form, the greatest care has been taken to carve internally the tubular handles and to finish the accurately shaped interior of the vessel and the area within the foot ring. The natural markings are such as to have appealed especially to scholarly taste. Indeed, such jades spoke eloquently of the subtle taste to let nature speak for itself, and that it was merely the job of the craftsmen to enhance nature's work. Scholarly taste is further encapsulated by the shape of the vase, which is modelled after archaic bronzes. Admiration for antiques and archaic bronzes was especially strong during the Southern Song period, and bronze vessels were produced as early as the 12th/13th century and into the Yuan period. See for example two archaistic bronzes, Yuan dynasty, illustrated in The World of Khubilai Khan: Chinese Art in the Yuan Dynasty, New York, 2010, pp.18-19. See also an archaistic bronze vase with tubular handles, Yuan dynasty, of similar form to the present lot, illustrated in ibid., p.290, where it is noted that vessels with tubular 'ears' on the sides are a reference to the ancient game of touhu, a darts-like game but played by throwing arrows into the vase or ears. Compare a related jade vessel of this form, one with similar tubular handles, Yuan dynasty, illustrated in Zhongguo meishu quanji, vol.9, Beijing, 1986, nos.270. See also a jade vase of similar form but with ring handles, Song/Yuan dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (II), Hong Kong, 1995, pp.140-141, no.114.For further information on this lot please visit Bonhams.com
Lot 207
A BLUE AND WHITE SOFT-PASTE VASEKangxi The compressed body rising from a tall spreading foot and surmounted by a tall cylindrical neck with one rib, the exterior painted with a scene of two fishermen in a boat pouring wine, another lady in a boat approached by two oarsmen on the shore, the neck with a band of pendent ruyi-heads beneath the rib, above the rib with bamboo and bird. 33cm (13in) high.Footnotes:康熙 漿胎青花人物紋長頸瓶Provenance: Soame Jenyns (1904-1976), by repute來源：傳為索姆·詹寧斯（1904-1976）舊藏Soame Jenyns was an important scholar and curator in the field of Asian ceramics and art history. From 1927 to 1931 he was in the Hong Kong civil service, after which he joined the British Museum where, except for secondment to the Admiralty during the war, he remained until 1968. He was on the Committee of the Royal Academy Exhibition, 1935-1936. Furthermore, he was Deputy Keeper of the Department of Oriental Antiquities 1950 to 1968. Between 1954 and 1972 he made gifts of Chinese porcelain to the British Museum. A selection of Chinese and Japanese ceramics are in the Marlay Gallery at the Fitzwilliam Museum, Cambridge on loan from the Jenyns family.For further information on this lot please visit Bonhams.com
Lot 209
A BLUE AND WHITE 'CHILONG AND PHOENIX' VASELate Qing Dynasty/Republic PeriodSturdily potted with a large globular body supported on a tapering foot, rising to a tall waisted neck and flaring rim, painted around the exterior with phoenix and writhing chilong amidst meandering foliate scrolls issuing ruyi heads. 44cm (17 1/4) high.Footnotes:清晚期/民國 青花龍鳳紋長頸瓶Provenance: a European private collection來源：歐洲私人收藏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 22
A PALE GREEN AND RUSSET JADE 'BIRD AND BEAR' GROUP17th centuryThe pale green stone with patches of attractive bright russet skin, carved as a bird with outstretched wings protectively shielding the recumbent lion, wood stand, box. 8cm (3 1/8in) wide (3).Footnotes:十七世紀 青玉雕鷹熊擺件Provenance: Bluett & Sons, Ltd, London (label)An English private collectionBonhams London, 15 May 2014, lot 211A distinguished English private collection來源：倫敦古董商Bluett & Sons Ltd.（標籤）英國私人收藏倫敦邦瀚斯，2014年5月15日，拍品編號211英國顯赫私人收藏The present carving is known as a yingxiong group, since the eagle (ying 鷹) and the bear (xiong 熊) together represent a visual pun for a 'hero', (yingxiong 英雄), perhaps suggesting that the piece would have been appropriate as a gift to someone serving in the military.Yingxiong carvings come in many different interpretations, from the gentle bird pecking the nose of an archaistic beast illustrated in the Compendium of Collections in the Palace Museum: Jade 6, Ming Dynasty, Beijing, 2011, no.261 and the more fearsome creatures illustrated in the Compendium of Collections in the Palace Museum: Jade 9, Qing Dynasty, Beijing, 2011, no.149, to the unusual form of the 'hero vase' featuring two conjoined cylindrical vases flanking an archaistic eagle and bear; see the spinach-green jade example illustrated in the Compendium of Collections in the Palace Museum: Jade 10, Qing Dynasty, Beijing, 2011, no.149.The present carving makes most effective use of the almost triangular pebble, highlighted by patches of deep russet. Instead of depicting the ferocity or stylised archaism frequently associated with the motif, this carving instead offers an intimate picture of two creatures looking at each other in harmony, with the bird spreading in its wings protectively over the crouching docile beast.See a related pale green jade yingxiong group, 17th/18th century, which was sold at Bonhams London, 12 May 2011, lot 62.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 34
A PALE GREEN JADE RETICULATED VASE AND COVERMing DynastyThe expertly-hollowed vase of slightly-flattened pear shape rising from a stepped tall foot to cylindrical neck, the body exquisitely pierced with an archaistic motif of stylised dragons, the foot with a rope-twist band, and neck with cicada-lappets, the cover pierced with swirling clouds and surmounted by a mythical-beast finial, the stone of pale green tone, with some grey and brown patches. 13.5cm (5 1/4in) high (2).Footnotes:明 青玉鏤雕仿古紋獅鈕蓋瓶Provenance: Roger Keverne Ltd., LondonA distinguished English private collectionPublished, Illustrated and Exhibited: Roger Keverne Ltd., Summer Exhibition, London, 2008, no.70來源：倫敦古董商Roger Keverne Ltd.英國顯赫私人收藏展覽著錄：Roger Keverne Ltd.，《夏季展覽》，倫敦，2008年，編號70See a related jade vase and cover with similar pierced decoration, Ming dynasty, unearthed from the tomb of a son of the Qianlong emperor and now in the Palace Museum, Beijing, illustrated in The Complete Collection of Jades Unearthed in China, vol.1, Beijing, Tianjin, Hebei, 2005, p.46.For further information on this lot please visit Bonhams.com
Lot 36
A PALE GREEN JADE 'LOTUS' VASE18th centuryThe lustrous stone expertly carved as a large hollow lotus leaf with fluttering edges and finely incised veins, issuing from leafy stems bundled together with reeds beside further lotus pods and flowers, the stone of even pale green tone, box, carved wood stand. 15.8cm (6 1/4in) long. (3).Footnotes:十八世紀 青玉荷葉花插Provenance: Roger Keverne Ltd., LondonA distinguished English private collectionPublished, Illustrated and Exhibited: Roger Keverne Ltd., Winter Exhibition, London, 2007, no.95來源：倫敦古董商Roger Keverne Ltd.英國顯赫私人收藏展覽著錄：Roger Keverne Ltd.，《冬季展覽》，倫敦，2007年，編號95See a related pale green jade 'lotus' vase, Qing dynasty, in the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Jade, 8, Qing, Beijing, 2011, p.215, no.170, acc.no.Gu87767.Compare with a related but smaller jade lotus waterpot, 17th/18th century, which was sold at Sotheby's Hong Kong, 24 November 2014, lot 1251.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 65
A RARE CARVED BOXWOOD 'ELEPHANT' GROUPLate Qing DynastyThe large beast expertly carved with naturalistic wrinkles standing foursquare with its head lumbering slightly to the right, the long trunk curled up to its right side feeling for a vase of ruyi held by a foreigner with long flowing robes and a conical hat, above the rounded caparisoned back incised with lotus are a further two figures crouching, holding between them a basket of lingzhi fungus, box. 10.7cm (4 1/8in) high. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清晚期 黃楊木雕太平有象Provenance: The Peony collectionSotheby's Hong Kong, 31 May 2018, lot 338Exhibited, Published and Illustrated: The Oriental Ceramic Society of Hong Kong, Art and Imitation in China, Hong Kong, 2006, no.50.來源：牡丹堂舊藏香港蘇富比，2018年5月31日，拍品編號338展覽著錄：《馳騁古今：中國藝術的摹仿與創新》，香港東方陶瓷學會，香港，2006年，編號50The present lot is replete with auspicious meaning. The 'vase' (ping 瓶) carried by the foreigner 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 an omen (or elephant!)'. Furthermore, the figures on top, being elephant-riders (qixiang, 騎象) form a rebus for jixiang, 吉祥, 'blessings'. The boys interpreted here as the Twin Immortals, the Hehe Erxian, symbolic of harmony and union, lend good wishes for a happy marriage, suggesting that perhaps the group was intended as a wedding gift. See a related boxwood carving of an ox and qilin, early Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Hong Kong, 2002, p.57.For further information on this lot please visit Bonhams.com
Lot 86
A LARGE INSCRIBED GILT-LACQUERED BRONZE FIGURE OF AVALOKITESHVARAMing DynastySeated in dhayanasa with her crossed legs enveloped in drapery, a scarf and a jewelled necklace hanging from her shoulders and a tall reticulated crown encircling her head with three faces, the crown fronted with a seated Buddha, her principal hands holding a vase, the other eight arms holding various attributes, all supported on a lotus-petal base, the reverse with inscription of donors' names. 42.7cm (16 3/4in) high.Footnotes:明 銅漆金三面十臂觀音坐像Provenance: Dr Walter Rieder (1890-1986)Dr Walter Rieder (1890-1986) served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialised in educational, literary and philanthropic work and Dr Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr Rieder forged with local artists, some of whom he knew from his teaching activities. Dr Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.來源：Walter Rieder博士（1890-1986）舊藏1930年10月至1951年12月間，Walter Rieder博士（1890-1986）於山東青島的瑞士東亞使團 (SOAM) 任職。該組織專注於教育、文學和慈善工作，但Rieder博士並非作為傳教士，而是作為一名教師，教授高中數學、物理及科學科目，並以促進'文化間交流理解'和'搭建東西方文化的橋樑'為己任。在其旅居青島期間，Rieder博士大量收藏了各類中國藝術品。通過本次拍賣所呈現的拍品，我們得以一窺二十世紀後半葉的青島古董市場。Rieder博士的藏品不僅展示了他對中國藝術的熱情，還反應了其任教期間與當地的文人逸士建立的個人友誼。 Rieder博士還對其藏品進行了學術研究，並對很多物品留下了詳細筆記。也因為此，這些藏品也成為了Rieder博士了解中國歷史和文化的門戶。本次上拍的拍品曾於2006年與2018年於瑞士因特拉肯的美術館展出。Avalokiteshvara, also known as Guanyin, is the Bodhisattva of Compassion and the Protector of the World. The current Avalokiteshvara belongs to esoteric Buddhism with the arms symbolising his many powers for saving the world and helping followers to gain Enlightenment. See a related bronze figure of a multiple-armed Avalokiteshvara, Ming dynasty, from the Warren Cox collection, illustrated by H.Munsterberg, Chinese Buddhist Bronzes, Japan, 1967, no.71.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 87
A BRONZE 'ARROW' VASE, TOUHUYuan/Ming DynastyExpertly cast with with a compressed globular body rising from a stepped foot and surmounted by a tall cylindrical neck, with four tubular rings surrounding the mouth with archaistic motifs, the body with four mythical beast-heads suspending loose rings, archaistic chilong clamber around the shoulder and neck. 47.8cm (18 3/4in) high.Footnotes:元/明 銅螭龍紋投壺Provenance: Dr Walter Rieder (1890-1986)Dr Walter Rieder (1890-1986) served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialised in educational, literary and philanthropic work and Dr Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr Rieder forged with local artists, some of whom he knew from his teaching activities. Dr Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.來源：Walter Rieder博士（1890-1986）舊藏1930年10月至1951年12月間，Walter Rieder博士（1890-1986）於山東青島的瑞士東亞使團 (SOAM) 任職。該組織專注於教育、文學和慈善工作，但Rieder博士並非作為傳教士，而是作為一名教師，教授高中數學、物理及科學科目，並以促進'文化間交流理解'和'搭建東西方文化的橋樑'為己任。在其旅居青島期間，Rieder博士大量收藏了各類中國藝術品。通過本次拍賣所呈現的拍品，我們得以一窺二十世紀後半葉的青島古董市場。Rieder博士的藏品不僅展示了他對中國藝術的熱情，還反應了其任教期間與當地的文人逸士建立的個人友誼。 Rieder博士還對其藏品進行了學術研究，並對很多物品留下了詳細筆記。也因為此，這些藏品也成為了Rieder博士了解中國歷史和文化的門戶。本次上拍的拍品曾於2006年與2018年於瑞士因特拉肯的美術館展出。The arrow vase was for the game of touhu, where arrows are thrown by hand into the three necks of the vase. See a related bronze arrow vase, dated as first half 17th century, illustrated in The Chinese Scholar's Studio: Artistic Life in the Late Ming Period, New York, 1987, no.63.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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