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Lot 154
18-teiliges Porzellanservice ''Erde'' Sowjetunion, Leningrad (St. Petersburg), Lomonsossow, T.W. Afanassjewa (Malerei), S.E. Jakowlewa (Entwurf), 1889 Porzellan, polychrome Aufglasurmalerei. Bestehend aus: Wandteller/Tablett, Kanne, Sahnegießer, Zuckerdose, sechs Tassen mit sechs Untertassen, Vase und Fußschale. Alle Teile mit roter Manufakturmarke, ''MADE in UDSSR'', alle Teile außer Untertassen kyrillisch betitelt und signiert (in Schwarz). H. 7 - 17 cm, D. 25 cm (Tablett) - Aus der Ausstellung ''Porzellan aus der UDSSR'' von 1989, anlässlich des Besuches von Michail Gorbatschow zum Gespräch mit Helmut Kohl zur Wiedervereinigung in Bonn.
Lot 160
Große Vase mit Blumen Sowjetunion, Porzellanfabrik Kislowodsk, 1960-1989 Porzellan. Aufglasurmalerei. Applizierte Blüten und Blätter. Blüten teils bestoßen. Unterseite mit roter Manufakturmarke. H. 38 cm - Aus der Ausstellung ''Porzellan aus der UDSSR'' von 1989 anlässlich des Besuches von Michail Gorbatschow zum Gespräch mit Helmut Kohl zur Wiedervereinigung in Bonn.
Lot 818
Große Vase Haniroff (Entwurf), Friedrich Goldscheider, Wien, um 1900 Auf der naturalistisch verzierten Vasenschulter stehend ein kleines Mädchen mit Frosch. Seitliche Asthenkel. Terrakotta, bemalt. Bez.: Haniroff (geritzt), Friedrich Goldscheider Wien, REPRODUCTION RESERVÉE, 0652, 129, 10 (eingestempelt). H. 58 cm Lit.: R.E. Dechant/F. Goldscheider, Goldscheider - Firmengeschichte und Werkverzeichnis, Arnoldsche, Stuttgart 2007, S. 296
Lot 988
Seltene Bodenvase mit galvanisiertem Feinsilber-Dekor KPM, Berlin, 1913 Balusterförmiger Korpus mit wellig gebogter Mündung. Weiß glasiert. in umlaufendem Rapport galvanisierter Feinsilber-Dekor aus Akanthus, Blumen und Gitterwerk. Binnenzeichnung graviert. In den ausgesparten rautenförmigen Reserven stilisierte Blümchen in grüner Aufglasurmalerei. Bez.: Unterglasurblaue Szeptermarke, Jahreszeichen ''N'', Bossierersignet. H. 58 cm. Die vorliegende Vase wurde 1865 in das Modellbuch der Berliner Porzellanmanufaktur mit der Bezeichnung ''Chinesisches Blumengefäß'' und der Modellnummer ''2239'' und Taxnummer ''5,38'' aufgenommen. Die Vasenform war im März 1923 als Ausstellungsobjekt im Messraum der Manufaktur vertreten. Aufgrund von fehlenden weiteren Kennzeichen wie Reichsapfel, ''KPM'' oder der Zuweisung an einen Metallveredler kann man auf eine manufakturferne Veredlung und Dekorierung schliessen. Der Silberauftrag ist besonders wertig und aufwendig gearbeitet worden, daraus lässt sich die Arbeit einer Spezialfirma ableiten. Möglich wäre die Metallporzellanfabrik Deusch & Co. in Lorch bei Schwäbisch Gmünd.
Lot 994
Kleine Vase M. Clément Massier, Golfe Juan, 1900 Steinzeug. Dekor: Pflanzenornamente in lebhaften Lüsterfarben, partiell mattgeätzt. Unterseite in Lüsterfarbe bez.: M.C.M. Golfe - Juan A.M. 1900, MED (geritzt), undeutl. eingepreßte Buchstaben. H. 11 cm Lit.: H. Makus, Keramik aus Historismus und Jugendstil, S. 117 ff.
Lot 1015
Große Potpourri - Vase mit Blumen Sitzendorf, 20. Jh. Reich mit goldstaffierten Rocaillen, C-Bögen und Akanthus belegter Korpus mit ornamentalen Durchbrechungen. Rocaillenkartuschen mit mehrfarbigen Blumenbuketts. Seitliche Rocaillen-Henkel. Der dazugehörige Sockel entsprechend staffiert. Unterglasurblaue Manufakturmarke. H. 83 cm
Lot 1168A
Nicolae Tonitza 1886 Barlad - 1940 Bukarest Stillleben - Kapuzinerkressestrauß in Vase. Öl auf Karton. Oben links signiert. Gerahmt. 33 cm x 22,5 cm (Passepartout-Ausschnitt). Anbei Expertise von Alexandru Maciuca. Tonitza studiert ab 1908 an der Königlichen Akademie der Künste in München. 1909 lebte er zwei Jahre in Paris und unterrichte ab 1911 als Zeichenlehrer an der Militärhochschule in Iasi/Rumänien. 1912 beendete er sein Studium an der Kunstakademie in Iasi. Ab 1933 bekleidete er den Lehrstuhl an der Akademie Iasi und wurde 1937 deren Rektor. Ausstellungen: 1916 Bukarest 1924 Biennale in Venedig 1929 Barcelona 1930 Amsterdam 1935 Brüssel
Lot 1300
Cloisonne-Vase Japan, Meiji-Periode, um 1900 Leicht konischer Korpus mit abgeflachter Schulter und eingezogenem, kurzem Hals. Umlaufendes, polychromes Cloisonne-Email: mit Drachen und Vögel gefüllte Spitzblattreserven, darüber Blumenbordüre sowie Reserven mit Schmetterlingen und Blüten. Hersteller wohl Ando. H. 24 cm.
Lot 1328
Deckelvase China, Qing Dynastie, wohl 19. Jahrhundert Balusterförmige Vase, Wandung mit umlaufendem Schnitzdekor: Vorder- und Rückseite mit je zwei Reserven figürliche Gartenszenen darstellend, dazwischen Floralrankendekor. Zwei Handhaben mit Ringen. Deckel durchbrochen gearbeitet. Unterseitig bezeichnet. Elfenbein. H. 51 cm. Besch. Bitte beachten Sie, dass aufgrund der aktuellen CITES-Bestimmungen für Objekte aus Elfenbein ein uneingeschränkter Handel nur innerhalb der EU erlaubt ist. Ein Export in Drittländer ist zur Zeit nicht möglich.
Lot 44
A RARE TURQUOISE-GLAZED PEAR-SHAPED VASEQianlong seal mark and of the period The compressed globular body supported on a short spreading foot, rising to a long waisted neck flaring at the rim, covered in a lustrous turquoise-blue glaze with fine 'snake-skin' crackle. 22.5cm (8 7/8in) high.Footnotes:清乾隆 孔雀藍釉長頸瓶「大清乾隆年製」篆書款Turquoise is among the rarest of glaze colours found on Imperial marked monochromes. A turquoise-glazed meiping vase, 18th century, in the National Palace Museum, Taipei, is illustrated in Catalogue of the Special Exhibition of K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware from the Ch'ing Dynasty in the National Palace Museum, Taipei, 1986, no.25.See a turquoise-glazed meiping vase, Qianlong seal mark and of the period, which was sold at Bonhams London, 8 November 2018, lot 116.For further information on this lot please visit Bonhams.com
Lot 46
A LARGE CARNELIAN AGATE 'SANDUO' VASE19th century Naturalistically carved using the milky-white portion of the stone as two curved hollowed tree trunks forming the vase with incised knotted tree bark, issuing a gnarled bough bearing large and small finger citrons beside, the vermilion-red part of the stone skilfully fashioned into fruiting branches of pomegranate and peach on the exterior forming the sanduo (Three Abundances), all beside an auspicious phoenix, with green-stained carved bone and wood stand. 19cm (7 1/2in) wide. (2).Footnotes:十九世紀 南紅瑪瑙「三多」花插The Buddha's Hand citron, which can be interchangeable with other citrons, together with the peach and pomegranate, are known collectively as 'The Three Abundances' (sanduo 三多), which express the wish for abundant blessings, long life, and many sons. Vases with this motif were often enjoyed at the Imperial Court and made of various other materials, see for example a related vase of similar design but made of beeswax, Qing dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum: Small Refined Articles of the Study, Shenzhen, 2009, no.331; carnelian agate vases but of fish design are also illustrated in Ibid., no.334.See a related carnelian agate 'sanduo' vase, 18th century, which was sold at Sotheby's Hong Kong, 30 November 2017, lot 362.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 55
A VERY RARE PAIR OF 'PRONK' VASES AND COVERSCirca 1740Each of square section, the tapering body rising from a stepped foot to a tall waisted neck with an everted rim, each face painted with a white and pink floral bloom borne on a leafy branch extended up to the neck, all reserved on a lilac diaper ground, the domed covers similarly decorated and surmounted by a lotus-bud finial. 33.5cm (13 1/4in) high. (4).Footnotes:約1740年 紫地花卉紋「普隆克式」方蓋瓶一對The present lot is extremely rare as no other vases of this type appear to be recorded with their original covers. A single similar vase, without cover, was sold at Christies New York, from the H. B. Frelinghuysen Jr Collection on 24 January 2012, lot 89.Cornelis Pronk (1691–1759) was a Dutch draughtsman, painter and porcelain designer, known particularly for his numerous drawings of cities, towns and buildings (so-called topographical drawings), as well as for his porcelain designs. In 1734 the Dutch East India Company commissioned Pronk to produce designs for a set of plates. This porcelain was produced in China, then shipped to Europe and sold there at a very high price.See a related five-piece garniture without covers, which was sold at Christies New York, 30 January 1993, lot 72.For further information on this lot please visit Bonhams.com
Lot 68
A LARGE FAMILLE ROSE MIRROR-BLACK-GLAZED VASE, HUQianlong seal mark, Republic PeriodRobustly potted with deep rounded sides rising to an angled shoulder, surmounted by a tall flaring ribbed neck flanked with a pair of handles formed by gourd vines each bearing five gourds in high relief amidst the leafy tendrils trailing down onto the shoulder, all reserved on the lustrous black ground, the interior of the neck and base glazed white, the base with the seal mark, traces of gilding remaining. 59cm (23 1/2in) high.Footnotes:民國 粉彩瓜果藤曼耳烏金釉大壺青花「大清乾隆年製」篆書款The present vase appears to have been inspired by the innovative vessels produced during the Qianlong reign, decorated around the shoulders or rims with fruits, flowers, dragons or clambering boys modelled in high relief and painted in bright famille rose enamels. See, for example, a famille rose vase, Qianlong mark and of the period, decorated around the neck with high-relief designs of peaches and lingzhi, illustrated in Kangxi, Yongzheng, Qianlong: Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p.363, no.44. See also a famille rose mirror-black-glazed 'double-gourd' vase, 18th century, which was sold at Christie's New York, 17 September 2010, lot 1488.For further information on this lot please visit Bonhams.com
Lot 81
AN EXCEPTIONALLY RARE IMPERIAL YELLOW-GROUND SILK EMBROIDERED 'LADIES AND LIONS' SCREEN PANELQianlongComprising nine sections superbly and colourfully embroidered in satin stitch with a continuous scene of eight female Immortals engaging in leisurely activities with nine playful Buddhist lions, all set in a wondrous Immortal landscape dotted with elegant pavilions, meandering streams, jutting ornamental rocks and various delicately-rendered trees including the fabled tree bearing the large peaches of Immortality, each Immortal figure wearing a feathered cape or apron over highly-detailed garments, one shown on a raft besides a flower vase holding lotus, two other figures conversing whilst crossing a natural footbridge, one carrying a hoe, the other a basket of lingzhi, followed by a joyful lion trailing behind them, two figures holding, respectively, a brocade ball and a cub gazing at its mother standing at a short distance, another pair standing in similar poses as the previous figures, a further figure standing beside a female lion holding a small cub on its back, all reserved on a brilliant Imperial yellow silk satin ground, mounted. 255cm (100 3/8in) wide x 121cm (47 5/8in) high.Footnotes:清乾隆 御製明黃地繡仙山瑞獅仕女采芝圖屏Provenance: Sotheby's Belgravia, early 1980'sLinda Wrigglesworth, London來源：二十世紀八十年代初，購自倫敦蘇富比貝爾格萊維亞倫敦Linda WrigglesworthThe superb satin-stitch embroidery of the present panel, combined with the rich yellow ground, the meticulous attention to detail and the extraordinary sense of realism and liveliness conveyed by the decorative subjects, reflect the highest standards achieved by Imperial commission during the Qianlong period. It was under the emperor's patronage that the silk industry reached its artistic zenith. Every detail, no matter how small, is realistically reproduced with very fine silk floss threads. The patterned textiles of the garments and the serene facial features of the figures, from the eyebrows to the lips and the subtlety of the hairlines, the depictions of lichen on rocks, the shimmering mane of the Buddhist lions and their joyful expressions, and the smallest architectural elements, are all embroidered with utmost precision and care. The graduated shape and size of the panels making up the present lot suggest that it was made for an Imperial screen. The outer two lengths are in fact considerably narrower, a feature noted in several surviving palace screens. Although drawn as a continuous scene and now stitched together, each panel was embroidered individually up to the selvage edges of the cloth but not across the vertical seams. See for example a nine-panel black lacquer screen, Yongzheng, featuring nine embroidered dragons stitched in gold thread, and the panels inserted within the frame of a black lacquered screen, Yongzheng/Qianlong, both in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum. Furniture of the Ming and Qing Dynasties, vol.2, Hong Kong, 2002, pls.198 and 200.The allusion to Immortality, conveyed by the subjects depicted on the present screen panel, indicates that this textile may have been created to celebrate the birthday of Dowager empress Chongqing (1669-1777), mother of the Qianlong emperor, to whom he was particularly close and visited daily. The screen panel may have been commissioned for the Dowager empress's residence, the Palace of Longevity and Health, Shoukang Gong, which was completed in 1736. The complex included a Main, Rear and Rearmost Hall, respectively dedicated to the performance of court rituals, devotional activities and living quarters. The Palace of Longevity and Health was furnished with a dazzling array of sumptuous objects, many decorated with objects underscoring wishes for longevity conveyed by depictions of Immortal deities; see J.Stuart, Empresses of China's Forbidden City 1644-1912 2018, Salem MA, pp.78-87. The scene depicted may relate to the mythical Immortal realm of Kunlun. The Zhuangzi, thought to have been composed between 370 BC and 280 BC, is one of the earliest textual references to this wondrous realm, mentioning: 'In the far-away mountains of Gushe live divine humans. Their skin is cool as frost and snow; they are shy and delicate as virgins. They do not eat grains, but breathe wind and drink dew'; see S.Little, Taoism and the Arts of China, Chicago, 2000, p.36. The peaches growing in the Orchard of Immortality of Kunlun were believed to ripen only once every three thousand years and could prolong one's life for another six thousand years. Compare with a continuous scene depicting the Immortals gathering to celebrate Xiwangmu's birthday, which includes similarly-clad female Immortals and Buddhist lions, depicted on a famille rose twelve-leaf screen, Jiaqing, which was sold at Bonhams London, 11 May 2017, lot 214. Two lions playing with an embroidered or brocade ball is a common design, which may have the same significance as two dragons fighting for the pearl of supremacy, thus symbolising Imperial power. Undoubtedly, Buddhist lions were also viewed in connection with beliefs in Immortality as they were often depicted as companions to female Immortals from at least the Song dynasty; see, for example, 'Picking Up Lingzhi Fungi to Celebrate Longevity', a painting by Li Zhaoqing, attributed to the Song dynasty, in the National Palace Museum, Taipei, acc.no.001256-00001. See also the playful lions accompanying the female deities depicted on the Imperial famille rose twelve-leaf screen, Jiaqing, which was sold by Bonhams London, 11 May 2017, lot 214. The embroidery style of the present lot closely compares with a yellow-ground panel depicting an Immortal landscape, Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures from the Palace Museum. Textiles and Embroideries of the Ming and Qing Dynasties, Hong Kong, 2005, p.199, fig.220. See also a related yellow-ground embroidered panel depicting Immortal female figures, Qing dynasty, illustrated in Beauty of Tapestry and Embroidery, Taipei, 1995, p.156. Compare also a large embroidery, Qianlong, depicting the birthday celebration of General Guo Zhiyi, illustrated in The Complete Collection of Treasures of the Palace Museum. Embroidered Pictures, Shanghai, 2005, no.54.A related blue-ground embroidered Daoist Immortals panel, Qianlong, much smaller than the present example, was sold at Christie's New York, 22 March 2019, lot 1654.For further information on this lot please visit Bonhams.com
Lot 13
A LARGE CLOISONNÉ ENAMEL 'LOTUS' VASE, YUHUCHUNPING17th centuryThe pear-shaped body rising from a spreading foot to a waisted neck flaring at the rim, brightly decorated on a turquoise ground with five registers of lotus blossoms borne on dense meandering foliate scrolls, below a band of pendent ruyi heads encircling the rim, the foot decorated with floral scrolls. 42.5cm (16 3/4in) high.Footnotes:十七世紀 銅胎掐絲琺瑯纏枝蓮紋玉壺春瓶Provenance: a European private collection來源：歐洲私人收藏Pear-shaped cloisonné enamel vases of this form are rare, a related pear-shaped candle-holder decorated with scrolling lotus, second half 17th century, is illustrated by H.Brinker and A.Lutz, Chinese Cloisonné: The Pierre Uldry Collection, London, 1989, no.205. See also a related cloisonné enamel vase of similar shape, second half 16th century, illustrated in Enamel Ware in the Ming and Ch'ing Dynasties, Taipei, 1999, no.8.See a similar large cloisonné enamel vase, 17th century, which was sold at Christie's London, 10 May 2011, lot 136.For further information on this lot please visit Bonhams.com
Lot 14
A RARE CLOISONNÉ ENAMEL AND GILT-BRONZE TRIPOD INCENSE BURNER16th century The vessel of a compressed globular form supported on three gilt-bronze elephant feet, the flat rim cast with a pair of gilt-bronze handles shaped as sinuous chilong, decorated around the sides with six large blossoming lotus heads borne on scrolling leafy tendrils, below a green-ground band of flower-heads, the base with further flower-heads. 20.5cm (8in) wide.Footnotes:十六世紀 銅鎏金掐絲琺瑯纏枝蓮紋沖耳象足爐Provenance: Galerie Gross, Wiesbaden, Germany, 31 October 1986 (invoice)A European private collection來源：於1986年10月31日購自德國威斯巴登Galerie Gross（發票）歐洲私人收藏The present lot exhibits a rare feature in the treatment of the lotus, having a lotus pod emerge from the lotus blossom. See a similar decoration of lotus pod in a lotus blossom, in a simplified form, on a cloisonné enamel long neck vase, Xuande mark and period, in the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Enamels, 1, Beijing, 2011, no.54. The gilt-bronze sinuous chilong handles and feet also exhibit the highest level of craftsmanship at court; see a related cloisonné enamel incense burner, first half 16th century, featuring the same gilt-bronze feet and handles but decorated with cranes amidst clouds, illustrated by H.Brinker and A.Lutz, Chinese Cloisonné: The Pierre Uldry Collection, Zurich, 1989, no.56. See also a related cloisonné enamel incense burner and cover with similar motif of lotus, Yuan dynasty, illustrated in Ibid., no.9.A similar cloisonné enamel and gilt-bronze incense burner, 16th/early 17th century, was sold at Christie's New York, 22 March 2019, lot 1792.For further information on this lot please visit Bonhams.com
Lot 24
A RARE WUCAI 'SAGE AND DEER' VASEShunzhiThe tall body boldly decorated around the exterior with a continuous scene of an elderly bearded sage standing beside a deer and accompanied by two attendants carrying baskets of peaches and lingzhi fungus, all amidst a rocky landscape with bamboo and wispy clouds, and a poetic couplet, all beneath a cracked-ice band, the cylindrical neck with flowers and insects. 38.3cm (15 1/8in) high.Footnotes:清順治 五彩「華封三祝」圖瓶Provenance: an English private collection來源：英國私人收藏The inscription reads '具慶堂中歌兒美，華封庭下祝三多',Which may be translated as:'The song in Juqing Hall sings beautifully, and Huafeng brings three auspicious wishes'This couplet comes from the ancient philosophical text known as the Zhuangzi, where in the 'Heaven and Earth' chapter, Tang Yao, the Heavenly King, visited Shaanxi Province, and the old man of Hua - Huafeng - blessed Yao with longevity, wealth and more children. The present lot possibly depicts the old man of Hua beside the deer (lu 鹿), which also has the auspicious symbolism of 'emolument' or an official salary (lu 祿).This vase is particularly rare for its elongated neck. A related wucai vase, Shunzhi, featuring a similar baluster form but a more common shorter and waisted neck, decorated with a figural scene beneath a cracked-ice band is illustrated by M.Butler, J.B.Curtis and S.Little, Shunzhi Porcelain, 1644-1661, Alexandria VA, 2002, p.207, pl.64.For further information on this lot please visit Bonhams.com
Lot 29
A RARE AND LARGE FAMILLE VERTE AND GILT 'DRAGON' SAUCER-DISHKangxi six-character mark and of the periodWell potted, boldly and vividly enamelled across the interior with a central fearsome four-clawed red-scaled dragon with a green face energetically striding amidst flames in pursuit of a gilt flaming pearl, the base with the six-character mark within a double ring. 36.6cm (14 1/8in) diam.Footnotes:清康熙 五彩描金遊龍紋大盤青花「大清康熙年製」楷書款Compare with a related famille verte dish depicting a central dragon, Kangxi, in the Qing Court Collection, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelains in Polychrome and Contrasting Colours, Hong Kong 1999, no.106. See also another famille verte dish decorated with a single dragon chasing a gilt flaming pearl, Kangxi six-character mark and of the period, in the British Museum, acc.no.Franks.510.A similar design of a striding dragon pursuing a gilt flaming pearl decorates a famille verte vase, Kangxi, which was sold at Sotheby's Paris, 12 December 2013, lot 173. See also a large famille verte black-ground 'dragons' dish, Kangxi mark and of the period, which was sold at Bonhams Hong Kong, 8 November 2012, lot 75.For further information on this lot please visit Bonhams.com
Lot 35
AN UNUSUAL LARGE BLUE AND WHITE 'RIVER LANDSCAPE' BOTTLE VASEQing DynastyThe vessel delicately painted around the compressed, globular body with a continuous landscape scene depicting a sampan crossing a river flanked by high peaks and pine trees as a gentleman gazes at the sky, the elongated neck rising from a band of cross-hatch designs, painted with another river scene featuring further sampan, scholars and fishermen, the rim with further branches of pine trees. 63cm (24 6/8in) high.Footnotes:清 青花山水人物圖長頸瓶Provenance: an English private collection來源：英國私人收藏The present vase is unusually imposing, with its tall, columnar neck, and delicate rendering of a riverscape scene in deep washes of cobalt-blue, often employed on Kangxi wares. A vase of related form, in the collection of the Shanghai Museum, is illustrated by M.Butler and Wang Qingzheng, Seventeenth Century Jingdezhen Porcelain from the Shanghai Museum and the Butler Collection, Hong Kong and London, 2006, pp.2586-287, no.105. Compare with a smaller but similarly-shaped blue and white bottle vase, Kangxi, decorated with officials in a garden, which was sold at Christie's New York, 24 March 2011, lot 1658. Another smaller blue and white bottle vase, Kangxi, decorated with a hunting scene, was sold at Christie's New York, 23 March 2018, lot 777.For further information on this lot please visit Bonhams.com
Lot 36
A CELADON, UNDERGLAZE BLUE AND COPPER-RED VASEQianlong four-character mark and of the periodOf baluster form, the large central band around the body painted in underglaze blue and copper-red with a continuous scene of flowers, gnarled rocks and insects, moulded lappets on the shoulder and applied with a pair of beast-head handles, the flaring neck decorated in copper-red with meandering floral scrolls, the ormolu mounts 18th/19th century. 29.2cm (11 1/2in) high. (2).Footnotes:清乾隆 冬青釉青花釉里紅花卉紋瓶青花「乾隆年製」篆書款Related porcelain vases in celadon, underglaze blue and copper-red, with later ormolu mounts were popular with European nobility and royalty. See for example, a related vase, 18th century, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol.II, London, 2016, pp.504-505, no.1275. Similar Qianlong seal marks are illustrated in Ibid., p.504.For further information on this lot please visit Bonhams.com
Lot 38
A RARE BLUE AND WHITE 'DEER' VASEEarly 18th centuryOf elongated ovoid form surmounted by a short flaring neck and flaring rim, finely painted on the body in vivid tones of cobalt-blue with a scene of a deer and fawn beneath a large gnarled pine tree, two birds flying above, all amidst a mountainous landscape, wood stand. 19cm (7 1/2in) high. (2).Footnotes:十八世紀早期 青花松鹿獻瑞圖瓶Provenance: Francesco Maria, Marchese Taliani de Marchio (1887 - 1968), Grand Officer of the Italian Crown, Commander of the Order of St Maurice and Lazarus, and Commander of the Order of Pius IX (Ordine Piano), and his wife Archduchess Margaretha d'Austria Toscana, Marchesa Taliani de Marchio (1894–1986).According to Marchese Taliani De Marchio's handwritten inventory, the vase was received as a gift in 1943.來源：意大利王室總督、聖莫里斯和拉撒路勳章司令及皮尤斯九世勳章司令、佛朗西斯高·瑪利亞，塔里安利·德·馬基奧侯爵（1887-1968），及馬加烈特·奧地利-托斯卡納女大公、塔里安利·得·馬基奧女侯爵（1894-1986）伉儷收藏依據塔里安利·得·馬基奧女侯爵的清單手稿，該拍品於1943年作為禮物贈予此家族。Marchese Taliani was a distinguished Italian diplomat who lived through major historical upheavals of the first half of the 20th century, events whose impact affect all to this day. His first diplomatic appointment was to Berlin in 1912; followed by Constantinople in 1913, where during the First World War he negotiated an agreement for the protection of Italian citizens and interests in the (soon to be partitioned) Ottoman Empire. From 1916 to 1919 he served in St Petersburg, and under the privilege of diplomatic immunity was in a unique position to observe and chronicle first-hand the October Revolution, its day by day development, the subsequent fall of Tsarist Russia and the establishment of the Soviet Republic; from 1919 he served in Rome as Secretary of State for the Ministry of Foreign Affairs; with later assignments to London (1921 - 1923) and again to Constantinople (1924–1928), this time as the Republic of Turkey; from 1929 - 1930 he was in Rome as Head of Protocol of the Ministry of Foreign Affairs; in 1932 he was appointed Italian Ambassador to the Netherlands; in 1938 he was appointed Ambassador to China, where he remained until 1946; and his last diplomatic appointment was in 1951 as Ambassador to Spain until 1952.Sent to China in 1938 as Ambassador to the Nationalist Government of Chiang Kai-shek in Nanjing, he became an acute - and far from humourless, despite the hardships of everyday life - front line eye-witness of the Second Sino-Japanese War, during which the Japanese forces captured the capital and attacked Shanghai. When Mussolini recognised Wang Jingwei's Japanese puppet government, Taliani presented his credentials to him. On 8 September 1943, having refused to swear allegiance to the Italian Social Republic (Republic of Salò), he and his wife, the Archduchess Margaretha d'Austria Toscana (1894-1986), were arrested and interned by the Japanese in a concentration camp near Shanghai, where they remained for two years until the end of the war. After the end of hostilities, the new government of Alcide De Gasperi reconfirmed him as Ambassador to China until 1946.Marchese Taliani published three books: Pietrogrado 1917, Milan, 1935; È Morto in Cina, Milan, 1949; and Dopoguerra a Shanghai, Milan, 1958.The Chinese word for deer (lu 鹿), sounds like the word for emolument or an official salary (lu 祿), thus deer are symbolic of the rank and wealth that are associated with such a salary. The word for deer is also a homophone for 'road' and for 'six'. Thus two deer suggest two auspicious phrases: Lulu shunli, 'May all roads be smooth', and Liuliu dashun, 'May everything be smooth sailing'.See a related blue and white 'deer' vase, Qianlong mark and of the period, with similar motif but of different shape, which was sold at Sotheby's Hong Kong, 11 April 2008, lot 2830.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 42
A RARE LANGYAO 'OLIVE-STONE' VASEEarly 18th centuryRising from an inward-sloping foot to an oviform body tapering to a waisted neck with flared mouth rim, the rich raspberry-red glaze applied evenly, stopping neatly at the white-glazed rim and above the foot ring, the interior glazed white. 28.3cm (11 1/8in) high. Footnotes:十八世紀早期 郎窯紅釉橄欖瓶The shape of the present vase is rare. The elegantly-potted baluster shape appears to have been an innovation of the Yongzheng reign. Compare, for example, the shape of a blue and white vase, Yongzheng mark and period, illustrated in The Complete Collection of the Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red, Hong Kong, 2010, vol.3, no.85. See also a related yellow-ground green and aubergine enamelled vase, Qianlong seal mark and period, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Miscellaneous Enamelled Porcelains, Plain Tricoloured Porcelains, Shanghai, 2009, no.132.Copper-red glazes, which had not been revisited since the Ming dynasty, were not only successfully fired but technically improved during the Kangxi period renowned for its langyao and 'peach bloom' group. These may have been produced under the supervision of Zang Yingxuan and Lang Tingji, who demonstrated a commitment to precision and technological innovation, which would determine the subsequent history of Qing Imperial porcelain production; see J.Hay, 'The Diachronics of Early Qing Visual and Material Culture', in The Qing Formation in World Historical Time, Cambridge, 2004, p.318.Compare with a similar red-glazed vase, 18th century, which was sold at Christie's Hong Kong, 28 May 2014, lot 3441.For further information on this lot please visit Bonhams.com
Lot 43
A BLUE-GLAZED SQUARE VASE, CONGGuangxu six-character mark and of the periodModelled after an archaic jade prototype, the square body rising from a short circular foot to a short tapering neck, the rectangular sides applied with a pair of elephant-head handles suspending fixed rings, covered overall in a thick and rich purplish-blue glaze. 29.5cm (11 7/16in) high.Footnotes:清光緒 霽藍釉象耳琮式瓶墨彩「大清光緒年製」楷書款Provenance: a Portuguese private collection, and thence by descent 來源：葡萄牙私人收藏，並由後人保存迄今Compare with a very similar blue-glazed cong vase, Guangxu mark and of the period, illustrated in Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.483.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 113
An inlaid bronze pear-shaped vaseTaisho (1912-1926) or Showa (1926-1989) era, early/mid-20th centuryThe slender body applied with two elongated lappets and decorated with four foliate motifs inlaid in flat inlay relief of gold within a rectangular panel outlined in silver flat relief inlay; the base incised with a seal Kanreki kinen (60th birthday celebration). 24.2cm (9¼in) high.For further information on this lot please visit Bonhams.com
Lot 114
A bronze pear-shaped vaseBy Isshosai Shonen for the Miyao Company, Meiji era (1868-1912), late 19th/early 20th century The front decorated in high relief with a sparrow perched on a branch of bamboo scrutinising a bee settled on the foliage, the reverse signed with chiselled characters Isshosai Shonen kizamu (Chased by Isshosai Shonen) above the foot; the base with a seal Miyao sei. 33.2cm (13in) high.For further information on this lot please visit Bonhams.com
Lot 115
A large inlaid-bronze vaseMeiji era (1868-1912), late 19th centuryThe body and tall octagonal trumpet neck with dark-brown patination, the front applied in high relief with a detachable silver goshawk, its legs of gilt with shakudo talons perched on a gnarled trunk from which issue branches of flowering prunus, two inlaid sparrows resting on the bottom of the trunk, one at either side; unsigned. 69.5cm (27 3/8in) high.For further information on this lot please visit Bonhams.com
Lot 126
An inlaid shibuichi ovoid vaseBy Seifu, Meiji (1868-1912) or Taisho (1912-1926) era, early 20th centuryThe front of the body engraved and inlaid in flat gilt relief with an eagle perched on a wave-lashed rock, its wings outspread as it prepares for flight; signed on the reverse with chiselled characters Seifu. 26.7cm (10½in) high.For further information on this lot please visit Bonhams.com
Lot 134
An impressive and finely inlaid iron vase and cover with historical scenesBy the Komai Company of Kyoto, Meiji era (1868-1912), late 19th/early 20th centuryDecorated with gold nunome damascene overlay and silver details, the flattened-spherical body with a tall foot resting on a stand with four lobed feet, silvered elephant-head handles to either side each with a pendant chain including lobed floral ornaments and a bell-like finial, the hemispherical cover surmounted by a shishi (Chinese mythological lion dog), each side of the body with a silver-rimmed lobed panel, on one side a night scene of a seated Buddhist monk/samurai with his armour chest and tachi behind him, writing brush in hand, facing a helmet-less samurai also holding writing materials, behind them a nomaku (field curtain) emblazoned with three Uesugi-sasa mon (Bamboo-and-sparrow crests, see below) and an overhanging pine tree, the scene illuminated by two kagari (braziers), on the other side a related scene, in a different location, of two samurai in mortal combat, scattered sakazuki (sake cups) at their feet, one holding a long yari which the other parries with his left hand while brandishing a tachi in his right, the surrounding surfaces with typical Komai dense ground decoration including ho-o birds, peony scrolls, key fret, floral medallions, birds and creepers, vine leaves and scrolls, chrysanthemum mon (crests), katabami mon (woodsorrel crests), butterflies and other motifs, signed underneath in gold in seal form Nihonkoku Kyoto no ju Komai sei (Manufactured by Komai of Kyoto in Japan). 17.5cm x 12cm x 29cm (6 7/8in x 4¾in x 11 7/16in). (2).Footnotes:The decoration on large-scale Komai work often incorporates detailed, complex narrative scenes based on recent or contemporary woodblock-printed sources. Although the precise source has yet to be identified, this is likely the case with the present lot, whose lobed panels depict two, probably linked, scenes from the civil wars that ravaged Japan in the second half of the sixteenth century. The large mon (crest) with two confronted sparrows and leaves of bamboo grass, shown three times on the nomaku (field curtain) behind the senior figure in the more peaceful scene, is that of Uesugi Kenshin (1530-1578), one of the most powerful warlords of the day; he was renowned for his Buddhist piety and devotion to Bishamon, the Buddhist God of War, which may explain his appearance here in the garb of a monk. The most likely episode is perhaps the inconclusive fourth battle of Kawanakajima (1561), whose most famous episode is a one-on-one combat between Uesugi and Takeda Shingen (1521-1573).For further information on this lot please visit Bonhams.com
Lot 138
An inlaid silver and shibuichi vaseBy Katsunobu for the Hattori company, Meiji era (1868-1912), late 19th/early 20th centuryThe slender tall bulbous neck in silver extending down the body as two overlapping shikishi (square poem sheets) inscribed with a poem, partially obscuring the decoration of sprays of chrysanthemums worked in low relief silver and gilt beside lapping waves at low tide rendered in katakiribori (engraving with an angled chisel emulating brushstrokes) and kebori (plain line engraving); signed on the reverse with chiselled characters Katsunobu kizamu (Chased by Katsunobu) and on the base Hattori sei (Made by Hattori) within a rectangular reserve. 24.2cm (9¼in) high.Footnotes:The inscription on the vase is from a waka poem by Fujiwara no Michizane (845-903): Akikaze no / fukiage ni tateru / shiragiku wa / hanaka aranuka / nami no yosuruka (White chrysanthemums / standing in Fukiage / where autumn winds blow / they are flowers, are they not / or maybe approaching waves?); Kokin wakashu (Collection of Japanese Poems Ancient and Modern), poem 272.For further information on this lot please visit Bonhams.com
Lot 141
A silver and cloisonné-enamel vaseBy Kin'unken of Kyoto, Meiji era (1868-1912), late 19th/early 20th centuryThe openwork silver filigree oval body supported on a high foot inset with a rectangular, lobed panel on either side applied in low relief of coloured enamels, depicting on one side a ho-o bird in flight and on the other a writhing dragon reserved on a ground of openwork silver filigree scrolls and daisies, the neck applied with two S-shaped silver handles, the neck encircled with wide bands of formal foliate motifs and vertical cloud formations, the foot with repeated stylised butterflies; signed on the base Kin'unken tsukuru within a silver tablet. 20.2cm (8in) high.For further information on this lot please visit Bonhams.com
Lot 145
A pair of cloisonné-enamel vasesMeiji era (1868-1912), late 19th/early 20th centuryEach worked in gilt wire with an identical design of stalks of large windswept white peonies covering the midnight-blue ground, the neck and foot with repeated geometric motifs; each vase unsigned. Each vase: 40.5cm (15 15/16in) high. (2).For further information on this lot please visit Bonhams.com
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