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Lot 80
Wines & Spirits - 1990s red wine including Shutter home 1993, 750ml, 13.5% vol; Hardys Banrock Station 1997, 75cl, 13.0% vol; Caballo De Plata, Bonarda Barbera 1999, 75cl, 13% vol; Ernest & Julio Gallo, 750ml, 12.5% vol; Las Colinas 1994, Cabernet Sauvignon, 75cl, 12.5%vol; Gatsberg 1994, 75cl, 12%vol ect.(17)
Lot 91
Ceramics & Glass - a Japanese eggshell porcelain six setting tea service, decotated with in the traditional manner with dragons and deity, the cups with well defined portrait lithopane; Spodes Italian pattern blue and white ginger jar; George Jones Abbey plates; set six wine glasses, champagne flutes etc.
Lot 99
A collection of advertising wares to include an album containing beer mats including Babycham, Birkenhead Keg, Old Higsonians, White Ways Green Ginger Wine, a small quantity of Bovril advertising postcards, and a collection of vintage razor blade boxes and other barber related paraphernalia, various clippers and razors.
Lot 772
A group of Royal Doulton Brambly Hedge recipe plate collectors plates, comprising Nettle Soup, Honey and Nut Biscuits, Strawberry Shortcake, Apple Pie, Mushroom Tart, Crystallised Violets, Blackberry Sorbet, and Elderflower Wine, together with The Stores Stump, The Dairy, The Oak Palace and Crab Apple Cottage. (12)
Lot 8
A collection of used Concert t-shirts and programmes. Steps Program and -t-shirt / Jethro Tull Program Under Wraps Production Manual and Broadsword Sweatshirt, Triumph 1980 tour program and t-shirt lots of wear. MSG 1980 t-shirt worn April Wine 1981 worn t-shirt and Program. Plus George Michael Programme, 2 x chris d Burgh, Gloria Estefan, Eurythmics Revenge.
Lot 76
A RARE SMALL JADEITE WINE-POT AND COVER18th/19th centuryOf elegant globular form, with expertly-carved spout and C-shaped handle, the exterior carved with flowering tree peonies, the domed cover carved carved with blossoming stems surmounted by a knop finial, the stone with bright apple-green inclusions. 9.7cm (3 7/8in) wide. (2).Footnotes:十八/十九世紀 翠玉蓋壺Provenance:Spink & Son Ltd., London,E. A. Parry (1879-1946), London, acquired from the above on 31 December 1923, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1923年12月31日購自上者，並由後人保存迄今Compare with a jadeite wine pot or waterdropper and cover, late 18th/early 19th century, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen, vol.3, London, 2016, p.809, no.1880, which was presented to Queen Mary in 1949 by the Queen and King of Norway. See also a related jadeite wine pot and cover, 19th century, from the Salting Bequest, in the Victoria and Albert Museum, illustrated by M.Wilson, Chinese Jades, London, 1997, no.46.參考一例十八世紀晚期/十九世紀早期翠玉蓋壺或水盂，由挪威國王王后於1949年贈與英國瑪麗王后，收錄於J.Ayers著，《Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen》，卷三，倫敦，2016年，頁809，編號1880。另見George Salting舊藏一例十九世紀翠玉蓋壺，現藏於倫敦維多利亞和阿爾伯特博物館，收錄於M.Wilson著，《Chinese Jades》，倫敦，1997年，編號46。For further information on this lot please visit Bonhams.com
Lot 98
A LARGE GILT-DECORATED LACQUER GARMENT BOX AND COVER19th centuryOf near square form, the surface of the cover finely decorated in gilt with a scene of a scholar seated beside a vat of wine, gazing at a lady, all amidst willow trees and floral sprays, the corners with further floral scrolls, all reserved against a brown-black lacquer ground. 47cm (18 1/2in) x 46cm (18 1/8in). (2).Footnotes:十九世紀 褐漆描金人物紋方蓋盒Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Compare with a related large gilt-lacquered garment box and cover, mid Qing dynasty, which was sold at Bonhams London, 11 May 2021, lot 298.參考一例清中期彩漆描金喜上枝頭多子紋方蓋盒，售於倫敦邦瀚斯，2021年5月11日，拍品編號298。For further information on this lot please visit Bonhams.com
Lot 75
A PAIR OF JADEITE TWO-HANDLED WINE CUPS19th centuryWith crisply carved feet, the rounded bodies rising to everted rims, each vessel flanked by a pair of stylised S-shaped dragon handles, the stone of grey-green hue. Each 8.1cm (3 1/4in) wide. (2).Footnotes:十九世紀 翡翠雙龍柄盃一對Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The shape of the present lot was probably inspired by earlier vessels of the Ming dynasty, which in turn were based on archaic food vessel, gui. Handled jade cups, relating to the present pair, often decorated scholar's desks where they served a variety of purposes, such as burning incense. However, the smaller size of the present cups indicates they were likely used for drinking wine. Reviving archaic shapes underscored the Chinese interest in restoring the ancient values of their glorious past.本品造型或沿襲以青銅器簋為摹本的明代仿古器，是明清以來尚古擬古之復古思潮的反映。形如此例的雙耳盃，常被置於文人案頭作熏香等多方用途；但本例尺寸小巧，應為酒具之用。For further information on this lot please visit Bonhams.com
Lot 29
A MUGHAL-STYLE PALE GREEN JADE 'CHRYSANTHEMUM' DISH18th/19th centuryThe thin semi-translucent vessel delicately carved with radiating bands of petals encircling a central cross-hatched roundel, the stone of even pale green tone. 8.6cm (3 3/8in) diam.Footnotes:十八/十九世紀 痕都斯坦式青白玉菊瓣盤Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Symbolic of longevity in China, chrysanthemums were also associated with a joyful retirement. They were the favourite flowers of Tao Qian, or Tao Yuanming (365-427), a poet living during a turbulent period in China who retired in midlife to a small estate to live out his days in rustic obscurity, drinking wine and writing poetry; see S.Nelson, 'Revisiting the Eastern Fence: Tao Qian's Chrysanthemums', The Art Bulletin, 2001, vol.83, no.3, pp.437-460.A related larger jade chrysanthemum-shaped dish, is in the Avery Brundage collection, Asian Art Museum, San Francisco, acc.no.B60J307. See also a related Mughal-style white jade chrysanthemum-shaped dish, 18th century, in the National Palace Museum, Taipei, illustrated in Exquisite Beauty: Islamic Jades, Taipei, 2007, p.207. A related pale green jade chrysanthemum dish, 18th century, was sold at Bonhams Knightsbridge, 8 May 2017, lot 162; another related celadon jade chrysanthemum-shaped dish, Qing dynasty, was sold at Bonhams New York, 21 July 2020, lot 89.菊花紋飾意指長壽有徵、多子多福；又因其耐霜雪之特性而被賦予人格化的精神。晉陶淵明不為五斗米而折腰，辭官歸田，淡泊明志；其「採菊東籬下，悠然見南山」的逍遙適意，從此賦予了菊花堅韌而不流俗的文人氣節。參考舊金山亞洲美術博物院布倫德基氏收藏之一例玉雕菊瓣式盤，館藏編號B60J307，形制相仿惟尺寸稍大。台北國立故宮博物院亦藏有一例清葉紋花式盤，收錄於鄧淑萍編著，《國色天香——伊斯蘭玉器》，台北，2007年，頁207，可為比對。倫敦邦瀚斯騎士橋於2017年5月8日售出一例十八世紀青白玉菊瓣盤，拍品編號162；以及紐約邦瀚斯於2020年7月21日售出一例清青白玉痕都斯坦式菊紋盤，拍品編號89，可資參考。For further information on this lot please visit Bonhams.com
Lot 56
A SUPERB JADEITE ARCHAISTIC INCENSE BURNER AND COVER, FANGDINGQianlong seal mark, late Qing DynastyOf archaistic form, crisply carved with taotie masks on the straight sides, the corners with flanges, set with a pair of mythical-beast-head handles suspending loose rings, all supported on four cabriole feet, the rim with a pair of square arched handles, the cover surmounted by a Buddhist lion, the stone of vibrant apple-green tone on one side and attractive translucent frost-white tone on the others, hardwood stand. 13.3cm (5 1/4in) high. (3).Footnotes:清晚期 翡翠饕餮紋獅鈕活環耳方鼎「乾隆年製」篆書刻款Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Meticulously carved in the archaistic shape of a food vessel, the present lot is a remarkable example of jadeite carving displaying the lapidary craftsman's ability to emphasise the finest qualities of the jadeite stone and its high degree of frost-like translucency through the elaborate archaistic designs of taotie masks and auspicious creatures.The fangding shape and decorative designs of the present vessel, including the taotie masks, ring-handles and stylised dragons, are all inspired by early bronze ritual food vessels, which were made during the Shang and Zhou dynasties. For an example of an archaic bronze fangding, Shang dynasty, in the Qing Court Collection, see Bronzes in the Palace Museum, Beijing, 1999, p.51, no.22.The archaistic style recalls the Qianlong Emperor's fascination with antiquity and archaism. Proposing to 'restore ancient ways', referring to the view of ancient culture as having intrinsic qualities of sincerity, simplicity and happy exuberance, the Emperor instructed the Court to collect drawings of antiquities, such as the 'Catalogue of Xiqing Antiquities' Xi Qing Gu Jian, compiled in 1755, which provided the craftsmen with a source of inspiration in jade carving; 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. See two related examples of jadeite archaistic fangding and covers in the Metropolitan Museum of Art, New York, the first, Qing dynasty (dated as Qianlong), and the second, a larger example, Qing dynasty, illustrated by H.R.Bishop, The Heber R. Bishop Collection of Jade and other Hard Stones, Handbook no.10, New York, 1909, pp.42 and 51 (acc.no.02.18.499a,b; and acc.no.02.18.428a,b). See also an archaistic jadeite fangding and cover, 19th century, in the Fitzwilliam Museum, Cambridge, illustrated by J.C.S.Lin, The Immortal Stone: Chinese Jades from the Neolithic to the Twentieth Century, Cambridge, 2009, p.123.A related but larger (18.5cm high) jadeite archaistic vessel and cover, fangding, late Qing dynasty, and a jadeite archaistic wine cup, jue, late Qing dynasty/early 20th century, were sold at Christie's, Hong Kong, 30 May 2012, lots 4275 and 4276. A jadeite archaistic censer and cover, 19th century, was sold at Sotheby's London, 10 November 2010, lot 116.以翡翠大料剖制琢成，長方形，雙沖耳，口下漸收，下承四夔龍足。有蓋，蓋面隆起，蓋頂雕獅戲繡球為鈕。腹部浮雕饕餮紋，兩側雕獅首銜環耳，雕工精湛，古樸莊重。玉材選料考究，質地明淨細膩，晶瑩剔透，種水上乘，且色澤尤為殊妙，器身正面翠色，碧綠濃艷，背面半透明，清和溫潤，白綠兩色相互映襯，相得益彰。本例器形及紋飾源自商周青銅器方鼎。清代皇室承接了明代的宮廷收藏，其中包括大量高古青銅器；如清宮舊藏一例商代青銅鼎，收錄於《故宮青銅器》，北京，1999年，頁51，編號22。乾隆皇帝十分推崇自古物中取材器物造型與設計，其慕古之情對清代裝飾藝術之影響甚深。乾隆十四年，乾隆皇帝諭令將內府庋藏的鼎、尊、彝等青銅器分門別類，仿效《考古圖》、《宣和博古圖》體例薈輯成《西清古鑑》，成為當時有史以來規模最大的古銅器圖譜，相關討論可參見張麗端《宮廷之雅：清代仿古及畫意玉器特展圖錄》，台北，1997，頁49-50。紐約大都會藝術博物館館藏兩例清代翡翠仿古紋方蓋鼎，藏品編號02.18.499a,b與02.18.428a,b，收錄於H.R.Bishop著，《The Heber R. Bishop Collection of Jade and other Hard Stones》，手冊10，紐約，1909年，頁42與51。另見劍橋大學菲茨威廉博物館館藏一例十九世紀翡翠方鼎，收錄於J.C.S.Lin著，《The Immortal Stone: Chinese Jades from the Neolithic to the Twentieth Century》，劍橋，2009年，頁123。參考一例清晚期翠玉饕餮紋獅鈕活環耳方鼎，較本例形制相仿惟體積稍大（通高18.5厘米），及一例清晚期翠玉雕獸面紋爵，同售於香... 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 46
A VERY RARE PAIR OF IMPERIAL INSCRIBED CINNABAR LACQUER CARVED TEA BOWLSQianlong seal marks and of the period, the inscription dated Bingyin year, corresponding to 1746Each vessel with deep rounded sides rising from a straight foot to a gently flaring rim, carved to the exterior through layers of cinnabar lacquer to a black diaper-pattern ground with an Imperial poem, 'Three-Purity Tea,' Sanqing Cha, dated to the Bingyin year (corresponding to 1746) followed by the seals Qian and Long, all between two borders of ruyi designs encircling the rim and foot, against matching leiwen grounds around the foot and rim, the red-lacquered base intaglio-carved with a six-character seal mark within a recessed square, the interior lacquered brown. Each 11cm (4 3/8in) diam. (2).Footnotes:清乾隆 御製剔紅御題詩三清茶盌一對 「大清乾隆年製」、「乾隆丙寅小春御題」款 「乾」、「隆」印Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The present pair of tea bowls was part of a tea set used by the Qianlong Emperor at tea ceremonies held during New Year celebrations. The vessels are both inscribed with one of his favourite poems, Sanqing cha ('Three-Purity Tea'), which he wrote during the Bingyin year (1746), on the occasion of his 36th birthday while sipping tea in his studio on a cold winter's day. The poem refers to the tea made from plum blossoms, finger citron and pine nut kernels, which was offered to the Emperor during his visit to the sacred mountain Wutai. When brewed together in snow water, these three ingredients gave the tea a unique flavour and purity. The poem further describes the virtues of tea making and drinking, which reminded one of the Buddhist values of simplicity, austerity and purity. As a consummate connoisseur, The Qianlong Emperor combined art and tea at intimate gatherings within the Palace walls. A party hosted by the Emperor was a remarkable experience, an aesthetic convergence of artwork and tea leaf. The Qianlong Emperor brewed and tasted tea using the finest objects in the Palace Collection, a great treasure of implements and wares dating back to the eleventh century. During a gathering, the talk flowed from the age and glaze of a tea vessel to the specific number of buds and leaves plucked for a particular tea. Brewed and served, the tea itself was appreciated for its hue, scent and flavour, prompting a new yet leisurely stream of comments and observations. On the occasion of the New Year celebrations, the Emperor held a tea-drinking banquet in the Palace of Cherished Glory, Chonghua Gong, in the Forbidden City, where he asked his guests to compose poetry, and as a token of his appreciation, he rewarded the best poet with a 'Sanqingcha' bowl.The famous poem is recorded in the 'Anthology of Imperial Qianlong poems and prose' Qing gaozong yuzhi shiwen quanji, 'Imperial Poems' Yuzhi shiwen chuji, vol.1, chapter 36, p.17, and may be translated as:The plum blossom in appearance not ostentatious,The finger citron, scented and fresh, Pine nuts of most fragrant aroma,Three ingredients of outstanding purity.An infusion is brewed in a shallow tripod vessel,And the ingredients steeped in snow-water collected in a bamboo casket.After coming to a boil, bubbles like the eyes of fish or crabs can be seen in the surface of the water,Steam rises from the tripod appearing to alternate between Utpadanirodha birth and death. Teacups from the kilns of Yue sprinkled with Immortals' milk,The warmth of my yurt is agreeable to the joy of the mystic trance.The five Buddhist Skanda purify the greater part of all things,Spiritual awakening may occur but cannot be spoken of.The sweet smelling ingredients are dealt with and suitably delivered,Silky smooth the Immortals' wine, clear and limpid. Wo Quan's offering may be eaten.Lin Bu can admire the change of seasons.Nonchalantly the Koan of the Zhaozhou monk may be uttered,And the eccentricity of Yu Chuanzi laughed at heartily. On a cold night in winter, listening to the sound of the water clock,From the Guyue Studio I observe the moon, hanging in the sky like a jade archer's ring. I take advantage of what remains to drink my fill,And chant deliberately so that I might arise without exhaustion. Composed by the Emperor in the tenth lunar month of the Bingyin year [corresponding to 1746] during the reign of the Qianlong Emperor. The poem contains numerous literary and Buddhist allusions. The Manchu Imperial family were followers of the teachings of Tibetan Buddhism but much of the terminology used - to fit with Chinese poetic practice - relates to Chan Buddhism. Wo Quan was a mythical being who lived in the mountains, where he collected herbs for his own sustenance. He was particularly fond of pine nuts and was said to have presented some as a gift to the legendary Emperor Yao. Yao, however, did not eat them, and so missed out on their long life-giving properties. The Qianlong Emperor implies in the poem that, unlike the legendary Emperor Yao, he would not have hesitated. Another reference in the poem is made to 'the Monk of Zhaozhou'. This was Congshen (778-897), a Tang dynasty Chan Buddhist monk. In Chan Buddhism, a koan is a question, story or statement which may appear contradictory but after greater meditation upon, can lead to enlightenment. The koan of the Monk of Zhaozhou refers to the following story: when two monks visited Congshen, he asked if they had visited this temple before. When the first said yes, Consghen invited him to drink tea; when the second said no, Congshen also invited him to drink tea. When asked by the head monk why he had asked this seemingly pointless question, Congshen also invited him to drink tea. The reference echoes the Qianlong Emperor's enlightened generosity in hosting tea parties with his ministers. Compare with a very similar carved lacquer bowl, with the same poem, Qianlong seal mark and of the period, in the Qing Court Collection in the Palace Museum, Beijing, illustrated in The Emperor's Private Paradise: Treasures from the Forbidden City, New Haven and London, 2011, no.57. For a similar pair of lacquer bowls also carved with the Qianlong Emperor's poem Sanqing cha ('Three Purity Tea'), see a pair in the Tianjin Municipal Art Museum, illustrated in The Complete Series of Chinese Lacquer Zhongguo qiqi quanji, vol.6, Fuzhou, 1993, pl.211; and see another example in the Victoria and Albert Museum, London, which is illustrated by H.Garner, Chinese Lacquer, London, 1979, pl.93. Bowls inscribed with the Sanqing Cha poem were also produced in porcelain; see a blue and white bowl, Qianlong seal mark and of the period, illustrated in 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.142; see also an iron-red example, Qianlong seal mark and of the period, also in the National Palace Museum, illustrated in Empty Vessels, Replenished Minds: the Culture, Practice, and Art of Tea, Taipei, 2002, no.129. Two further iron-red bowls, Qianlong seal mark and period, are illustrated in Late Chinese Imperial Porcelain, Art Gallery of New South Wales, Sydney, 1980, no.1.See a single very similar lacquer tea bowl with the same poem, Qianlong seal mark and of the period, which was sold at Christie's Hong Kong, 2 December 2015, lot 3163. See also a similar pair of Imperial inscribed cinnabar lacquer tea bowls, Qianlong mark and period, which were sold at Sotheby's Hong Ko... For further information on this lot please visit Bonhams.com
Lot 78
A FAMILLE VERTE 'TWO CRICKETS' WINE CUP18th/19th centuryThe shallow rounded sides rising to a gently flaring rim, enamelled around the exterior in green, iron-red, yellow and aubergine with a pair of crickets amongst flowering plants and rockwork, wood stand. 6cm (2 3/8in) diam. (2).Footnotes:十八/十九世紀 五彩草蟲紋盃Provenance: Parry Collection, London, and thence by descent來源：倫敦Parry家族舊藏，並由後人保存迄今Crickets are associated with spring and summer, but are more often represented in Chinese art due to the homophonous relationship of their name with 'happiness', Xi, and auspiciousness, Xi. A pair of crickets represents the wish for double-happiness or auspiciousness, Shuang Xi.Compare with a related blue and white wine cup, circa 1725, salvaged from the Ca Mau wreck, decorated with cricket amidst flowers, in the Victoria and Albert Museum, London, acc.no.FE.179-2007.蟋蟀這一傳統鳴蟲，自古便是被吟詠的對象。因其諧音「喜來」，如本例繪有兩隻蟋蟀者，則有雙喜臨門，喜事不斷之意。倫敦維多利亞和阿爾伯特博物館館藏一例於金甌沉船（Ca Mau wreck）出水的約1725年青花酒盃，器身繪蟋蟀草蟲紋，館藏編號FE.179-2007，可為參照。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 20
TWO EXCEPTIONALLY RARE REALGAR CUPS18th centuryOne of rounded square form, the other of stylised peach form, set on raised feet, the vessels displaying the natural properties of the orange-red sulphide mineral, each with pewter lining. The larger 7.2cm (2 7/8in) wide. (2).Footnotes:十八世紀 雄黄小盃一組兩件Provenance:Spink & Son Ltd., LondonMrs E. A. Parry (1879-1977), London, acquired from the above on 30 September 1925, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry夫人（1879-1977）舊藏，於1925年9月30日購自上者，並由後人保存迄今Objects made of realgar, which is a sulphide of arsenic found in Yunnan, Guizhou and Gansu Provinces, are exceptionally rare and very few can be found in museum or private collections. See in the National Museum of Scotland, Edinburgh, a realgar cup, 18th/19th century, acc.no.A.1924.478, and a realgar figure of Budai, 19th century, acc.no.A.1925.414. See also a relagar figure of Shoulao, Qing dynasty, in the British Museum, London, acc.no.1913,0408.1; and a figure of the Daoist Immortal He Xiangu, 18th century, in the British Museum, London, illustrated by R.S.Jenyns, Chinese Art, vol.3, Fribourg, 1981, p.220, no.200; and see a partially realgar inkcake, Qianlong mark dated to 1737 and of the period, in the Qing Court Collection, in the Palace Museum, Beijing, coll.no.Gu00129724-7/26. R.Soame Jenyns notes in ibid., p.220 that realgar may have been one of the constituents used by Daoists in their search for the Elixir of Immortality (which often had the opposite result). The strong connection of realgar in Chinese art to Daoism is supported by the examples above which include figures of Daoist Immortals, and the present lot which includes a peach-shaped cup, a fruit which symbolises in Daoist lore the wish for longevity. The realgar material was so prized that the yellow-orange arsenic sulfide mineral was often imitated in glass, including vessels made for the Imperial Court during the celebrated Qianlong reign. See a pair of imitation realgar glass vases, Qianlong four-character seal marks and period, illustrated by E.S.Rawski and J.Rawson, ed., China: The Three Emperors 1662-1795, London, 2005, p.304, no.234; and see an imitation realgar glass wine cup, Qianlong four-character mark and of the period, which was sold at Christie's Hong Kong, 29 May 2013, lot 2312.雄黃，《本草綱目》稱其又名石黃，化學成分為三硫化砷，中國雲南、貴族和甘肅等省都有出產。雄黃製品於博物館或私人收藏中存世極少，已知者包括蘇格蘭國立博物館館藏一例十八/十九世紀雄黃盃，藏品編號A.1924.478，及十九世紀雄黃布袋和尚像，藏品編號A.1925.414。倫敦大英博物館藏亦藏有兩例雄黃製品，包括一例清雄黃壽老，藏品編號1913,0408.1；及一例十八世紀何仙姑像，收錄於詹寧斯著，《中國藝術（Chinese Art）》，卷三，弗里堡，1981年，頁220，編號200。北京故宮博物院館藏一件清宮舊藏清乾隆蘭亭修褉黃御墨，以包括雄黃在內的天然黃色材料製成，藏品編號Gu00129724-7/26。詹寧斯在其《中國藝術》一書第220頁中稱，雄黃或許是道家煉製丹藥時所用成分之一，雖然效果常常適得其反。上述幾例道教人物像，以及本例其一盃呈桃形，這一道教語義下象徵長壽的水果，均可視為雄黃與道教的緊密聯繫在藝術上的體現。雄黃材料色澤悅目但難以保存，因此益發珍貴。清中期後，以玻璃仿製寶石之風日盛，民間乃至清廷造辦處皆可見仿雄黃料製品，如清乾隆御製仿雄黃料六棱瓶一對，收錄於E.S.Rawski與J.Rawson合著，《China: The Three Emperors 1662-1795》，倫敦，2005年，頁304，編號234；以及一例清乾隆仿雄黃料酒盃，售於香港佳士得，2013年5月29日，拍品編號2312。For further information on this lot please visit Bonhams.com
Lot 22
A PAIR OF FAMILLE VERTE 'LI BAI' WINE CUPSKangxi/early YongzhengEach of conical form rising from a short foot to the flared sides, delicately enamelled around the exteriors with the famous Tang dynasty poet, variously in a semi-reclining pose holding a wine cup and seated leaning against a qin, amongst wine jars and vessels, with boys in attendance, two wood stands, possibly zitan. Each 6.7cm (2 5/8) diam. (4).Footnotes:清康熙/雍正早期 五彩太白醉飲圖笠式盃一對Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The present pair of cups is rare and part of a small group of exquisitely enamelled polychrome wares, including cups, small bowls and saucer-dishes, finely decorated with scholars in idealised natural retreats, dating to the late Kangxi and early part of the Yongzheng reigns, circa 1720-1725. Compare with two closely-related bowls, Yongzheng marks and period, the first decorated with a scholar and attendant by a riverbank gazing at geese, and the second with a scholar leaning on a pine tree, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, nos.155-156. See also a related polychrome enamelled bowl and cover, Yongzheng mark and period, enamelled with the Daoist Immortals Zhongli Quan seated near a pine tree and Zhang Guolao with his mule, in the Victoria and Albert Museum, London, acc.no.597&A-1907.The Tang poet Li Bai (701-762), or Li Taibai, has an almost divine status in Chinese culture, being considered one of the greatest poets in a five-thousand year classical tradition. In one hagiographic account, while Li Bai's mother was pregnant with him, she had a dream of a great white star falling from heaven. Indeed, he was within his own lifetime considered to be a banished Immortal, a myth he no doubt encouraged, explaining his courtesy name of 'Taibai' or 'Venus'. Apart from his literary brilliance, he was known as a tippler who eventually drowned after falling from his boat one night having become very drunk before trying to embrace the reflection of the moon in the Yangzi river. He is thus often depicted dozing beside a large vat of wine. Compare with a very similar famille verte cup, Kangxi/early Yongzheng, decorated with a continuous scene of a scholar seated on the bank of a river, which was sold at Christie's New York, 24 March 2011, lot 1723. See also a pair of related polychrome cups decorated with scholars, Yongzheng marks and period, which was sold at Bonhams London, 13 May 2010, lot 340.盃敞口，直壁，呈斗笠式，外壁以五彩繪通景人物圖。對盃小巧玲瓏，輕盈適手，筆法瀟灑，素雅清新，繪工細膩，極富文人氣息，應屬於康熙晚期至雍正早期，即約1720至1725年間製作之精品。北京故宮博物院藏兩件清雍正五彩人物圖小盃，其釉彩施用及繪畫風格均為類似，見《故宮博物院藏文物珍品大系：五彩·鬥彩》，香港，2007年，編號155及156；另對比英國維多利亞及阿爾伯特博物館藏一件清雍正五彩繪八仙人物蓋盌，其用彩及繪畫風格相類，館藏編號597&A-1907。器身所繪人物或為「飲中八仙」主題，其一手持酒盃、袒胸露腹者應為詩仙李白。李白字太白，號青蓮居士，是中國歷史上最偉大的浪漫主義詩人，以豪飲聞名，且文思敏捷，常以酒助詩興。據載，賀知章、李適之、李璡、崔宗之、蘇晉、李白、張旭、焦遂八人俱善飲，性情豪放曠達，被稱為「酒中八仙人」；杜甫曾作《飲中八仙歌》一詩，描寫他們無拘無束的灑脫性格。參考一例康熙晚期/雍正早期五彩人物圖笠式盃，外壁通景繪一高士倚坐岸邊，售於紐約佳士得，2011年3月24日，拍品編號1723。另見清雍正五彩「蒼松高仕」及「鷸蚌相爭」圖小盃兩件，售於倫敦邦瀚斯，2010年5月13日，拍品編號340，可資比對。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 38
A RARE WHITE JADE CUP18th centuryThe undecorated vessel with tall sides rising from a short foot, the stone of attractive lustrous white tone, with reticulated zitan stand. 5.7cm (2 1/4in) high. (2).Footnotes:十八世紀 白玉盃Provenance: Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Well proportioned and smoothly polished to a lustrous sheen, white jade cups such as the present example highlight the flawless quality of translucent stone and the purity of the material. They allow the beholder to revel in the natural beauty of the stone and the elegant pure form of the cup.See a pair of similar white jade cups, Qianlong, in Manchester Art Gallery, acc.nos.1934.36-37. Compare also a related white jade wine cup, Qianlong mark and period, illustrated in Virtuous Treasures: Chinese Jades for the Scholar's Table, Hong Kong, 2008, p.76, no.26.Compare with a similar pair of white jade cups, of the same size and form, which was sold at Christie's New York, 17 March 2017, lot 1102.白玉整挖而成，直口直壁，至腹部下方處下斂至圈足。器身線型圓潤，光素無紋，彰顯玉材自身之清素雅緻。曼徹斯特美術館館藏相似乾隆白玉盃一對，藏品編號1934.36-37。另見一例清乾隆白玉盃，收錄於《閣有天珍：中國文房玉雕》，香港，2008年，頁76，編號26。紐約佳士得曾售一對白玉盃，2017年3月17日，拍品編號1102，形制大小皆似本例，可為比對。For further information on this lot please visit Bonhams.com
Lot 59
AN EXCEPTIONALLY RARE IMPERIAL RED LACQUER INSCRIBED CHRYSANTHEMUM-SHAPED BOWL AND COVERQianlong seal marks and of the period, the inscription dated Spring 1776The wide elegant body supported on a spreading circular foot and curving upwards to a gently-flared rim, the domed cover with a circular knop, decorated overall with raised vertical petals, all lacquered in brilliant vermillion, the tip of the cover and the base of the bowl each with a gilt four-character Imperial zhuanshu seal mark, the central interior cartouches lacquered black and each gilt with a dated kaishu inscription. 10.6cm (4 1/8in) diam. (2).Footnotes:清乾隆四十一年 御製脫胎朱漆御題詩菊瓣式蓋盌 「乾隆年製」、「乾隆丙申春御題」篆書款Provenance:Spink & Son Ltd., London,Mrs E. A. Parry (1879-1977), London, acquired from the above on 30 June 1933, and thence by descentPublished, Illustrated and Exhibited: Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-1936, p.252, no.2957.來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry夫人（1879-1977）舊藏，於1933年6月30日購自上者，並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935-1936年，頁252，編號2957The present lot was exhibited in one of the most historic and prestigious exhibitions of Chinese art ever held. The exhibition's importance is reflected by its patrons who not only included King George V and Queen Mary, but also the President of the Chinese Republic. The committee of honour included luminaries such as Hu Shi and Cai Yuanpei; and the executive committee counted among its members renowned collectors and scholars such as R.L.Hobson, George Eumorfopoulos and Sir Percival David. With 3077 exhibits, it was not only one of the largest exhibitions of Chinese art, but many of the exhibits, including rare objects from the Palace Museum were seen in Europe for the first time. In this extraordinary exhibition, the present lot was amongst the very few Imperial Qianlong period lacquer wares chosen to be included, alongside a red lacquer 'chrysanthemum' dish, Qianlong mark and of the period, inscribed with an Imperial poem, lent by Sir Percival David, who was the Director of the Exhibition Committee.Compare with an identical lacquer chrysanthemum-shaped tea bowl and cover, also gilt decorated with two Qianlong seal marks and an inscribed Imperial poem, in the Qing Court Collection, illustrated in Lacquer Wares of the Qing Dynasty: The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2006, pp.215, no.164. See also another identical bowl in the Victoria and Albert Museum, London, gifted by Sir Harry Garner, illustrated by H.Garner, Chinese Lacquer, London-Boston, p.150, pl.97.The present bowl and cover were made by Imperial commission by artisans in Suzhou specialising in the 'hollow dry-lacquer' technique, with the inscriptions then carved in the Imperial Workshop in Beijing. With remarkably thin and delicate walls, the 'chrysanthemum' petals of the cover perfectly fit the fluted bowl, representing the highest quality of Qing Imperial lacquer craftsmanship. The interior of the bowl and the cover both have a gilt inscription of a poem by the Qianlong Emperor, dated 1776 which compares the vessel to a chrysanthemum flower. The poems may be translated as follows: 'It is made in the form of a fragrant chrysanthemum,And yet it is even more delicate,Drinking tea from it may be likened to sipping dew,from a newly plucked blossom.Imperially inscribed in the Spring of the Bingshen year of the Qianlong reign'.The Qianlong Emperor's poem likens drinking tea from this cup to drinking dew from a chrysanthemum: a fairy-like experience reserved for poets, Immortals and sages. The chrysanthemum was long associated with the poet Tao Yuanming (365-427) who lived during the turbulent transition between the Jin and Liu Song dynasties. To escape the political turmoil, he retired in midlife to a small estate to live out his days in rustic obscurity, drinking wine and writing poetry. Private and quiet as his life was, Tao's reputation grew steadily after his death, particularly for his associations with chrysanthemums, which he grew in a small patch by the eastern fence of his retirement estate; see S.Nelson, 'Revisiting the Eastern Fence: Tao Qian's Chrysanthemums', The Art Bulletin, 2001, vol.83, no.3, pp.437-460. The chrysanthemum, an autumnal flower, together with Tao's poetry of retirement, came to encapsulate the eremitic ideal of the scholar returning to nature for quiet contemplation. Over time, the chrysanthemum, together with the bamboo, orchid and prunus was regarded as one of the 'Four Gentlemanly Flowers': flowers that represented Confucian ideals to be emulated by true gentlemen. As such, the chrysanthemum flower provided much inspiration to artists and craftsmen from as early as the Song dynasty. Bowls and vessels decorated with chrysanthemum motifs were traditional gifts bestowed at Imperial celebrations, particularly during the Double Ninth festival (occurring on the ninth day of the ninth month) or Double Yang festival, where it was customary to climb a high mountain, drink chrysanthemum liquor and wear chrysanthemum flowers. Chrysanthemums were considered to have cleansing qualities and were used in medicine to cure illness and thus were also emblematic of longevity and fertility, because of the multitude of their petals. Chrysanthemums appear to have been popular motifs decorating vessels produced during the reign of the Qianlong Emperor, and because of the flowers' association with longevity, it is possible that the Emperor took an increasing interest in the motif as he approached retirement. See also a red lacquer chrysanthemum-shaped box and cover, Qianlong seal mark and of the period, with gilt poetic inscription, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, Shanghai, 2006, p.216, no.165.The Qianlong Emperor's enthusiasm for the chrysanthemum motif may also have been inspired by a powerful predecessor of his, the Yongle Emperor. On a red lacquer 'chrysanthemum' dish, Qianlong mark and of the period, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen, London, 2016, vol.III, p.848, no.1954, there is a poem dated 1774, the title of which is 'In praise of a chrysanthemum dish made in imitation of the vermillion lacquer of the reign of the Yongle Emperor' (Yong fang Yongle zhuqi juhua pan). The Ming dynasty Yongle Emperor (1403-1424) was one of the most energetic and powerful rulers in Chinese history. Under his vibrant reign, numerous technical heights were reached in the production of porcelain and lacquer. Not to be outdone, the Qianlong Emperor also may have felt that he wished to appropriate the chrysanthemum form of lacquerware for himself, as both a homage to former glorious Emperors and also as a subtle expression of his own stature. Compare with an identical cinnabar lacquer 'chrysanthemum' bowl and cover, Qianlong seal mark and of the period, which was sold at Bonhams Hong Kong, 24 November 2013, lot 342.本拍品曾借展... For further information on this lot please visit Bonhams.com
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