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Click here to subscribeTwo Chinese ‘squirrel and grapes' jade carvings, late 19th century, each carved with a squirrel above grapes on a vine leaf with gold mount, 14k, 585 marks on gold mounts, 6cm - 6.5cm long. (2)The 'squirrel and grapes' motif is popular among Chinese art of all mediums, its meaning can be translated as 'abundance in fortune and offspring'. 十九世紀晚期 鑲金玉雕‘子孫萬代’吊墜兩件Please refer to department for condition report
A Chinese grey and black jade carved pebble, Ming dynasty, 17th century, depicting a seated luohan in a cave beside a lion cub, 8cm highProvenance: Private UK collection. Described in an insurance valuation carried out by Peter Sparks of John Sparks Ltd., 2nd May, 1957明 十七世紀 青灰玉雕羅漢來源：英國私人收藏。曾記錄于約翰斯帕克斯有限公司的保險評估單中，日期：02.05.1957Please refer to department for condition report
Lots (1-12) form part of the collection of a wealthy family that moved to China as missionaries in the late 19th century, living in Beijing and later Shanghai. Their son served as Assistant Commissioner to the Shanghai Municipal Police in 1919 until 1928. The family returned to England shortly after the Second World War.A Chinese jade brush handle, 17th century, of tapering form with metal ferrule, the stone of mottled grey tones, 15.5cm long十七世紀 灰玉筆桿來源：拍品號1至12皆為伉儷私人收藏。19世紀後期，紳士及其家庭以其傳教士的身份移居中國北京及上海，其子於1919年至1928年委任上海市警察局的副局長，於二戰後返回英国。Please refer to department for condition report
Property of a Gentleman (Lots 55-80)A Chinese dark green jade 'bird' amulet, late Shang/early Western Zhou dynasty, carved with slender neck and elongated beak, decorated to both sides in low relief with archaic scroll motifs, 10x6cm, later metal standProvenance: Ex. Spinks, London (label)商晚期/西周早期 青玉鳥形佩來源：Ex. Spinks標籤；紳士私人收藏Some natural cracks to the stone. A dent to the tail. Ware commensurate with age.
Property of a Gentleman (Lots 55-80)A Chinese celadon jade 'bird' pendant, late Shang/early Western Zhou dynasty, carved with crested head and sharp beak, the celadon stone with calcified patches to the edges, 3.5x3.5cm, later metal standProvenance: Ex. Spinks, London ( label)商晚期/西周早期 青玉鳥形珮來源：紳士私人收藏。斯帕克斯（標籤）。General ware and dirt commensurate with age.
Property of a Gentleman (Lots 55-80)A rare Chinese pale green and russet jade human figure, Han dynasty, carved as a standing bearded man, 4cm high, on later horn-mounted carved wood stand漢 青白玉人形擺件來源：紳士私人收藏A small nick to the base of the stone. Some natural inclusion of russet. A small area of corrosion to the mount.
Property of a Gentleman (Lots 55-80)A Chinese celadon and russet jade 'Buddhist lion' dish, Ming dynasty, 17th century, carved to the underside with a recumbent Buddhist lion and a cub on her back, 7.5x12cm, later wood stand明 十七世紀 青玉佛獅擺件來源：紳士私人收藏Grazes to the back of the small lion with natural inclusion to the jade. Ware commensurate with age.
Property of a Gentleman (Lots 55-80)A Chinese spinach jade water pot, 18th/19th century, of lobed ovoid form, carved in low relief with six panels of lotus flowers beneath stiff leaves and scroll motifs, raised on a straight foot carved with ruyi, 8cm high, carved wood stand十八/十九世紀 碧玉雕蓮紋瓜形水盂來源：紳士私人收藏A small dent near the foot with a crack runs all the way to the mouthrim. A 2.5 cm scrach to the mouth. General ware commensurate with age.
Property of a Gentleman (Lots 55-80)A Chinese pale green jade censer and cover, Republic period, the pierced cover with flowerhead finial suspended four loose ring handles, the base with pierced dragon and loose ring handles above pierced floral stem with four further loose ring handles, 16cm high, associated ebonised socle base民國 青白玉熏爐來源：紳士私人收藏Please refer to department for condition report
A Chinese Dingyao white-glazed twelve-petal 'floral' dish, Song dynasty, the flat base rising to a gently sloping cavetto divided into twelve petal-shaped sections, 20 cm diameter.A similar example was sold at Christie’s Hong Kong, The sound of jade and the shadow of a chrysanthemum, 28th May 2014, lot 3323Another similar example was sold at Poly Beijing, 7th Dec 2015, Lot 7355.宋 定窯白釉十二瓣形洗Please refer to department for condition report
A CARVED JADE CABBAGE Naturalistically carved 20cm high Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
20 film posters, British Quads including Mary Poppins, Shenandoah, One Sheets for Caine Mutiny, Mr. Lucky, Summer Holiday and others, folded (20). Condition Report: Mary Poppins - small light stains and marks, 2 clean edge tears to top edge fold crease, and another clean edge tear to r.h. centre fold crease.Superman - heavy creasing to edges and centre fold.Shenandoah - creasing to folds and edges, marked to top r.h. corner with a clean edge tear to lower centre edge.The Caine Mutiny - clean edge tears (some with loss) to l.h. edge and top and lower centre edges, torn (with loss) to top centre fold with further clean edge tears, toning and light foxing to margins.Mr. Lucky - light creasing, toning and light marks to margins, a small tear (some loss) to centre fold and a small hole beneath 'Mr.'Star Wars - light creasing overall, heavier creasing to folds. some light stains lower left in raked light.Alien 3 - overall light creases, heavier to folds.Penitentiary - overall creasing and some yellowing in places, a small clean edge tear to l.h. top fold.3 Coins in the Fountain - light creasing and fold creases, some small chips and clean edge tears to edges, toning and light marks to top corners and edge.Planet of the Apes - corners torn (with some loss) blue-tack residue to versos of corners, clean edge tear to l.h. edge and centre folds, a small hole to centre, toning to verso.Dracula Lives - overall creasing, corners creased and torn (with some loss) clean edge tears to centre vertical fold and lower centre edge, toning to verso with blue-tack residue to versos of corners.Jesus Christ Superstar - marked and creased in margins,several pin holes and creasing to corners, lower edge torn in places (with loss) lower r.h. corner torn (with loss) some tape residue to lower edge and verso.Speed 2 - double sided with The Lost World Jurassic Park on verso, light creasing more prominent to folds.Zorba the Greek - overall light creasing, some staining and torn to top l.h. (no loss) clean edge tears and chips to edges, marked and some toning to margins, strong colour.Summer Holiday - strong colour, light creasing and edge chips to r.h. edge, top r.h. corner torn (with loss) toning and marks to verso.Sky Full Moon - overall creasing, more prominent to folds, marked, toned, light stains and very small holes to margins.Avalanche Express: Strip the Comic Grows UP: The River Rat: Kiss of the Spider Woman: Jade: - overall light creasing, some pin holes to corners and occasional chips to edges and edge tears.
A FINE FOUR-CASE ROIRO LACQUER INRO WITH DRAGONFLY AND SPRING FLOWER BASKETUnsignedJapan, 19th century, Edo period (1615-1868)The four-case inro bearing a lustrous roiro ground and finely lacquered in iro-e takamaki-e depicting a dragonfly approaching a basket filled with a sumptuous floral composition, the details further embellished with gold foil, mother-of-pearl, coral, carnelian agate, jade, malachite, and translucent horn. The image continues to the reverse where a butterfly is seen approaching the same basket. The interior cases are of nashiji with gold fundame edges. Unsigned but certainly in the style of Yamada Jokasai who excelled in integrating subtle, yet beautiful, inlays into his designs. With a finely carved fruit nut ojime.SIZE 7.2 x 5 cmCondition: Very good condition. Some tiny non-distracting losses to inlays and lacquered details. Some light surface scratches consistent with age and use. Minor wear to the exterior of the cord runners, microscopic chips along the edges of the cases, and one small nick to the underside. Presents very well.Provenance: Formerly the property of the Strong Museum, donated by Margaret Woodbury Strong (1897-1969), a prolific collector and founder and namesake of the museum. The interior of the bottom case with accession no. '75.5334'.Museum comparison: Compare to a related inro by Jokasai in the Metropolitan Museum of Art (Met), New York, accession no. 29.100.875.Auction comparison:Compare to a related inro by Jokasai sold at Bonhams, Fine Japanese Art, 13 May 2008, London, lot 294 (sold for 3,000 GBP).
A Chinese jade carving,20th century, in the form of a rhinoceros horn, pierced and carved with a Daoist Immortal with an attendant, among fruiting peach branches, supporting a cup in the shape of a lotus leaf, 39cm high, on a wood stand similarly decorated二十世纪 玉雕桃纹摆件Condition ReportSmall chips and cracks in various locations.
A Chinese jade cong,of short cylindrical square section, each corner worked with an animal mask, the four corners divided by a gently recessed vertical band in the centre of each side,11cm long, associated box兽面纹玉琮Condition ReportStone calcified. The stone with inclusions, small knocks to edges.Box tired with tears, stain marks.
WHITE JADE WITH RUSSET SKIN 'LOTUS' PENDANT QING DYNASTY, 19TH CENTURY 清 白玉帶皮巧雕蓮蓬荷葉吊墜 carved in the round as a lotus pod with seeds supported on a lotus leaf, the stone of even white tone with the russet inclusions cleverly worked into the carving to highlight the leafDimensions:4.6cm wideProvenance:Provenance: Private collection, England, has been collecting Chinese jades for over 20 years
PAIR OF WHITE JADE INSCRIBED PLAQUES QING DYNASTY, 18TH CENTURY 清 文珍款 白玉雕山水詩文牌一對 each carved on one side with a continuous landscape scene with a small figure crossing a bridge and walking toward another seated man by the river bank, carved on the reverse with a corresponding poem in relief, the stone of even white colourDimensions:6cm x 4.3m x 0.7cm each
GROUP OF THREE JADE PENDANTS QING DYANSTY, 18TH-19TH CENTURY 清 各式玉珮（共三件） comprising: a pale celadon pendant in the form of two long melons on stems with leaves; a white jade 'double-gourd' pendant with leaves; and a pale celadon with russet skin jade pendant carved in the form of a fruity grape with leavesDimensions:largest: 11cm high
GROUP OF FOUR JADE PIECES 各式玉雕（共四件） comprising: a greyish white with russet skin jade carving of a recumbent dog; a black jade seal with a tortoise knob and the carved with 'Zi Qiang Bu Xi (Strengthen self without stopping)'; a small white jade disc bi carved with archaistic taotie and chi-dragon' in low relief, the middle of the stone of greyish tone; and a white jade 'boys at play' with marriage motif reticulated plaqueDimensions:largest: 8cm high
LARGE STONE-INLAID 'PHOENIXES' SCREEN QING DYNASTY, 18TH-19TH CENTURY 清 紫檀鑲百寶嵌百鳥朝鳳大褂屏 exquisitely inlaid with mother-of-pearl, jade, soapstone, semi-precious stones and wood into a coloured ground in shades of blue, depicting various birds, including magpies, cranes and mandarin ducks worshipping two large phoenixes perching under a large wutong tree, with zitan frames and gilt-bronze hanging mount Dimensions:74cm x 109.1cmProvenance:Provenance: Formerly in a private European collection
RARE SILK WOVEN BAG LIAO DYNASTY, 11TH-12TH CENTURY 遼 絲織束口袋 含白玉環 of rectangular form, composed of sections of fine woven silk, with a fastening cord attached to the upper side of the bag, two white circular jade fittings to hold the fastening cord, decorated with large rhombus with palmette to centre and floral buds in corners, lotus flowers and clouds, lining of brown gauzeDimensions:40cm x 30.5cmProvenance:Provenance: Private Scottish collection, acquired from Centasia Metals Limited, Cyprus on 19th July, 1998, with an original invoice Ref.65L43Published: Mikhail Baskhanov, Maria Baskhanova, Pavel Petrov & Nikolaj Serikoff, 2012. Arts from the Land of Timur: An Exhibition from a Scottish Private Collection. London: Black Gull Books, pg. 194Exhibited: Arts from the Land of Timur: An Exhibition from a Scottish Private Collection, Edinburgh 2012, no. 412Note: Note: This silk bag, originally purchased in 1998 as a Qarakhanid silk bag, Inner Asia, 12th-13th century, later exhibited in the Arts from the Land of Timur exhibition in 2012 and catalogued as a Semirechye piece, has been suggested by several Asian art specialists to be a Liao dynasty textile after the exhibition.Roughly a thousand years old, this fine silk bag is a rare survivor and a testimony to the extensive trade network passing through Central Asia during the eleventh/twelfth century. The quality of the silk and craftsmanship itself, largely lost today, further bears witness to the importance of the silk-route from China. Comparable flower pattern is illustrated in Liao Textiles and Costumes, Zhao Feng (ed.), Hong Kong, 2004, fig. 183; an embroidered bag with similar form and fasten-cord design in the Mengdiexuan Collection, Hong Kong is also illustrated in the same book, fig. 302. A further comparable weft-faced compound twill with flowers, cranes, and clouds decoration, dated to the Liao dynasty, 10th century, is in the Cleveland Museum of Art, inv. nos. 1992.112a
'CHICKEN-BONE' JADE AWL SHAPE PENDANT NEOLITHIC PERIOD, LIANGZHU CULTURE 新石器時代 良渚文化 雞骨白玉錐形飾 the slender rod of oval form, with a conical point at one end and a pierced tab at the opposite end, with two carved parallel lines incised in the middle of the body, the stone of creamy colour with variegated russet and brown inclusionDimensions:7.4cm highProvenance:Provenance: Private collection, England, has been collecting Chinese jades for over 20 yearsNote: Note: Compare to two jade awl shape pendants dated to Liangzhu culture and of similar shape and colour, are both in the collection of the National Palace Museum, Taipei, no. Zhong Yu 中玉38 and Go Yu 購玉89.
MOTTLED DARK BROWNISH-GREEN JADE DISC, BI NEOLITHIC PERIOD, LIANGZHU CULTURE 新石器時代 良渚文化 玉璧刻款: 細起花文若有神/撫無留手卻平勻/知其是玉疑非玉/謂此非珍孰是珍/氣合古人餘沕穆/華羞時語詡玢豳/千年遁跡一朝現/巢許寧稱善隱淪/乾隆丙午仲春月御題鈐印: 篆體「比德」、「朗潤」二方形閒章 of conventional form, the thick bi disc with small central aperture drilled from both sides, the inner walls with remains of pronounced cutting ridges, the dark green stone suffused with a network of brown and buff-coloured alteration on one sideDimensions:18.3cm diameterProvenance:Provenance: Formerly in a private French collection
PALE CELADON JADE 'BARBARIAN' FIGURE QING DYNASTY, 19TH CENTURY 清 青白玉雕胡人獻寶把件 carved in the round with a barbarian man in a striding position, his left arm holding a treasure in front of the chest, the right hand holding a bird resting on his shoulder, the face vividly carved with bulging eyes and beard, wearing a stylised hat and long robes with cape, the stone of even pale celadon colourDimensions:8.5cm high
LARGE SPINACH JADE ARCHAISTIC 'CONG' VASE QING DYNASTY, QIANLONG FANGGU MARK, 18TH CENTURY 清 '大清乾隆倣古'刻款 碧玉雕仿古饕餮蟬紋螭龍耳琮式瓶 carved as rectangular cong form, supported on a short splayed foot, the sides subdivided into three mains sections, the middle section carved in low relief with stylised taotie head with large horns, the upper and lower section further incised decorated with a cicada motif flanked by four horizontal divisions, either side of the vase carved with two sets of tree entangling chi-dragons in openwork as handles, the base inscribed with a six-character 'Da Qing Qianlong Fanggu (Made in imitation of antiquity in the Qianlong reign of the Great Qing dynasty)', the stone of dark spinach-green tone with some black inclusionsDimensions:32cm highProvenance:Provenance: Formerly in the collection of Adrianus Cornelis Maria Verhelst (b. 26th February 1955), The Netherlands.Note: Note: The use of fanggu mark, meaning 'imitating antiquity', was used during the Qianlong reign on archaistic jade vessels. The present lot with its archaic jade inspired cong form and design of taotie mask embodies the artistic pursuit of fanggu. Compare a related archaistic spinach green jade square gu vase and a gong vessel with chi-dragon decoration, both with Qianlong fanggu mark and of the period, from the Qing Court Collection, are in the National Palace Museum, Taipei, museum number Gu Yu 故玉248 and 732.
WHITE JADE 'DRAGON' BELT PLAQUE QING DYNASTY, 19TH CENTURY 清 白玉雕龍紋玉帶扣 of rectangular form, carved to one side with a writhing three-clawed dragon amongst ruyi-head cloudsDimensions:6.5cm long, 4.6cm wideProvenance:Provenance: Private collection, England, has been collecting Chinese jades for over 20 years
GREYISH WHITE JADE CARVING OF MOTHER HORSE AND FOAL QING DYNASTY, 19TH CENTURY 清 青花玉雕瑞馬攜子擺件 carved in the round with a recumbent mother horse turning her head seeing her foal also in recumbent position, both holding stems of lingzhi fungus in their mouth, the stone of white tone with greyish inclusions, especially to the undersideDimensions:11cm wide
WHITE JADE WITH RUSSET SKIN CARVING OF A SEATED BEAR HAN DYNASTY OR LATER 漢或以後 白玉帶皮雕坐熊擺件 carved in seated pose with front paws supporting upper body, left front limb charged forward with body and face slightly turned left, alerted bulging eyes, pricked ears, strong jaw incised with details, the stone of white colour with russet patches and linesDimensions:7.8cm highProvenance:Provenance: Formerly in the collection of Adrianus Cornelis Maria Verhelst (b. 26th February 1955), The Netherlands.Note: Note: The relaxed posture and playful attitude resembles the Ellsworth bear, a gilt-bronze seated bear dated to the Western Han dynasty (206BC-8AD) and was in the collection of Robert Hatfield Ellsworth and sold at Christie's New York, 17th March 2015, lot 1. Such relaxed naturalism in the asymmetrical pose, informal manner and somewhat whimsical presentation finds in an antecedent of a small jade bear in Harvard’s Grenville L. Winthrop Collection (object no.1943.50.310) that dates to the Warring States period (475 BC–221 BC).
MUGHAL-STYLE WHITE JADE HANDLED BRUSH LICK QING DYNASTY, 19TH CENTURY 清 白玉雕痕都斯坦式葵口雙花葉柄筆舔 the finely carved lobed body flanked by leaf-form handles, supported on a short foot ring, the stone of even and translucent white creamy colour with light occasional cloud inclusionsDimensions:9.5cm wide across handlesProvenance:Provenance: Private collection, England, has been collecting Chinese jades for over 20 years
WHITE JADE WITH RUSSET SKIN 'PINE TREE' BRUSH POT QING DYNASTY, 18TH-19TH CENTURY 清 白玉帶皮巧雕松樹瘤紋筆筒 carved from a large white tone pebble, supported on a recessed foot, one side intricately carved in high relief with a large pine tree, the reverse cleverly carved between the russet inclusions with naturalistic burls on tree trunkDimensions:14.5cm high
FINELY CARVED AND RARE PAIR OF PALE CELADON JADE TABLE SCREENS WITH ZITAN STANDS QING DYNASTY, QIANLONG PERIOD, 1736-1795 清乾隆 青白玉雕山水人物圓屏一對 配紫檀雕蝙蝠祥雲紋木座 each screen of flattened disc form, one carved to one side depicting a seated elderly scholar by the river bank accompanied by his attendant amid lush pine trees issuing from craggy rocks, the reverse with a large pine tree amid jagged cliffs with a small sampan berthing underneath, the other table screen carved on one side with an elder scholar walking on stick in conversation with a young boy under large pine trees nearby waterfalls, the reverse with another elder scholar playing qin musical instrument on a sampan passing by pine trees growing on the river bank, the stone of pale celadon tone with some russet skin around the edge, each plaque paired with a two-part zitan wood stand, the upper part reticulated carved with bats flying between ruyi-head clouds, further supported on a rectangular stand with fenced border in openwork Dimensions:jade: 25.3cm diameter each; 48cm overall height with standProvenance:Provenance: Formerly in the collection of Marie Josephina de Berlaymont, BelgiumNote: Note: A pair of comparable Qing dynasty pale celadon jade table screens with spinach jade stands were sold at Sotheby's New York, 23 September 2020, lot 655
A RARE PAIR OF 'PRUNUS' TIANQI LACQUER STOOLS17th/18th centuryThe distinctive top shaped as a prunus flower, one finely decorated with a pair of cranes in a lotus pond, the other with a phoenix and magpies perched amidst flowering shrubs of chrysanthemums and peonies, both incised designs on a leiwen ground and all incised with black outlines, the straight edges with continuous lotus scrolls above the recessed waist decorated with reticulated ruyi designs decorated with further lotus, the shaped apron and curving legs similarly decorated and set into the base stretchers of matching shapes. Each 50.5cm (19 5/8in) high. (2).Footnotes:十七/十八世紀 填漆梅花式花鳥紋香幾一對Provenance: Alice Boney (1901-1988), New York來源：古董商Alice Boney（1901-1988), 紐約Alice Boney was a renowned Chinese-art dealer based in New York City. In 1924 she married Jan Kleykamp and after their honeymoon tour of European cities they returned to New York with a large shipment of Tang dynasty sculptures and opened the Jan Kleykamp Gallery, the first gallery in the city to sell Chinese art. After her divorce, she made a significant name for herself in America in the burgeoning field of Chinese art appreciation and collecting, despite competing in a male-dominated business with C.T. Loo and C.F. Yau. Recognised as a preeminent authority on Chinese art, Boney earned the moniker 'Doyenne of Oriental Art Dealers.' Her clients included the Metropolitan Museum of Art, the Freer Gallery of Art, Mrs. William H. Morris, and President Herbert Hoover. Boney moved to Japan in 1958, where she remained for the next sixteen years. She returned to New York in 1974 and continued to deal from her Park Avenue apartment until her death in 1988.Ubiquitous in Chinese painting, poetry, ornament, and in nature, the flowering plum, the inspiration for the present lot, is uncontested as China's favourite blossom. Over the centuries it has acquired a wealth of meaningful associations, not only foretelling the welcome coming of spring but also identified with understated elegance, the fragility and transience of female beauty, and the solitary enjoyment of nature by the noble recluse, detached from worldly pursuits. The famous Song dynasty scholar Su Dongpo (1037-1101) wrote in one poem that: 'The flowering plums' bones are of jade and snow, and their souls of ice', as the plum blossom was endowed with the Confucian virtues of resilience and perseverance for blossoming in deep winter.Stands and stools such as the present pair served a variety of purposes, as contemporaneous paintings and woodblock prints illustrate. They were usually positioned in the centre of a shrine or in a room and often supported incense burners. Incense was not just used during the performance of religious rituals as it often accompanied flower appreciation and tea drinking, demonstrating the essential role incense played as part of literati aesthetics and lifestyle. Incense also purified and concentrated the mind, producing that exaltation necessary for both playing and appreciating music. Lu Yu, a Southern Song scholar, often described the pleasure of reading while burning incense, a luxury he enjoyed despite an otherwise simple lifestyle due to his modest salary as a government official. 'Listening to the Qin', attributed to Emperor Huizong of the Song dynasty, depicts fragrant incense as the elegant companion to the sound of the guqin. Another Sothern Song connoisseur, Zhao Xigu, in his guidebook focusing on the scholar's elegant taste, has a chapter dedicated to the antique zither where he refers to the burning of incense whilst playing music; see S.Handler, The austere Luminosity of Chinese Classical Lacquer, Hong Kong, 2001, p.225 and 297.Compare with a related 'prunus' flower tianqi and qiangjin incense stand, Kangxi, but additionally decorated with a dragon, illustrated in Ming Qing gongting jiaju daguan, vol.2, Beijing, 2006, p.637. See also a black lacquer stool and a zitan stool, both 'prunus' form, mid Qing dynasty, which are illustrated in Ming Qing gongting jiaju daguan, vol.1, Beijing, 2006, p.135, nos.116 and 117.The design of flowers and birds on the present lot, seems to be related to woodblock prints of flowers and birds, such as in the Jiezi yuan huazhuan (Mustard Seed Garden Manual of Painting), circa 1679, and the Shizhuzhai shuhua pu (Ten Bamboo Studio Manual of Calligraphy and Painting), printed between 1619 and 1633. The increasing availability of illustrated woodblock printed books helped facilitate their design on lacquer such as the present lot.A related 'prunus' qiangjin and tianqi lacquer stand, Kangxi, was sold at Sotheby's Paris, 6 July 2017, lot 55.This lot is subject to the following lot symbols: † TP† VAT at the prevailing rate on Hammer Price and Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A RARE TIANQI AND QIANGJIN LACQUER RECTANGULAR TABLE17th/18th centuryThe top rectangular panel elaborately decorated in varying shades of red and green and browns with a shaped panel depicting a bird perched on a large branch of blossoming peonies and prunus, gazing at the butterfly hovering above it, all reserved on a ground of blossoming lotus issuing foliage and a profusion of curling stems, the waist with reticulated panels, each alternating with a blossoming flower head, between a band of continuous leiwen designs and lappets, the shaped and cusped apron with lotus scrolls alternating with reticulated 'bat' designs, the curling legs with upswept feet each ending with an acanthus leaf. 93cm (36 1/2in) high x 74cm (29 1/8in) high 62.2cm (24 2/8in) deep.Footnotes:十七/十八世紀 填漆開光花鳥紋條桌Lavishly decorated with polychrome lacquer designs of flowers and birds, the present table displays a remarkable degree of complexity in design and execution, and was likely made for the Imperial Court.The qiangjin (incised lines filled with gold) technique was developed as early as the Warring Sates period. It was widely adopted on lacquer wares from the Song dynasty and was used on Imperial lacquer wares during the Ming dynasty. The history of tianqi, a subtype of the caiqi technique of colour lacquering, can be traced back as early as the Shang and Zhou dynasties. When combined with qiangjin, the gold lines and polychrome lacquer created a rather colourful and dazzling effect. A number of lacquered furniture pieces, including tables, stools, incense stands were made during the Jiajing and Wanli periods, testifying to the Court's great interest in lacquered furniture at this time. Compare, for example, a rectangular lacquered table decorated with designs of flowers and birds, Ming dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures from the Palace Museum. Furniture of the Ming and Qing Dynasties, Hong Kong, 2002, p.108, no.91.The subjects depicted on the table top invoke auspicious symbolism conveyed through the use of birds and flower designs. Peonies (mudan) were also known in China as fugui hua ('Flower of Rank and Nobility'), presumably following the popularity enjoyed by these flowers among members of the Imperial families during the Tang dynasty. By their character and pronunciation, they convey blessings for happiness, (fu), and noble/rich/high rank, (gui). In conjunction with rocks (symbolic of endurance), magnolias (representing beauty and fertility), and magpies (homophones with xi, meaning 'joy'), peonies represent a visual rebus for the multiple blessings of 'wealth, longevity, progeny and advancement in career.' Ubiquitous in Chinese painting, poetry, ornament, and in nature, the flowering plum, the inspiration for the present lot, is uncontested as China's favourite blossom. Over the centuries it has acquired a wealth of meaningful associations, not only foretelling the welcome coming of spring but also identified with understated elegance, the fragility and transience of female beauty, and the solitary enjoyment of nature by the noble recluse, detached from worldly pursuits. The famous Song dynasty scholar Su Dongpo (1037-1101) wrote in one poem that: 'The flowering plums' bones are of jade and snow, and their souls of ice', as the plum blossom was endowed with the Confucian virtues of resilience and perseverance for blossoming in deep winter.The shape of the present table is similar to a rosewood table, Ming dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties, Hong Kong, 2002, p.111, no.94. Compare the flower and birds designs on a red lacquer table, Ming dynasty, illustrated in ibid., p.108, no.92. The elaborate ruyi-heads on the apron of the present lot as well as the 'crescent' shaped semi-reticulated sections and openwork design in the waist, are all related to such features in late Ming and early to mid Qing design; see a brown lacquered kang, 16th century, illustrated by Lee Yu-Kuan, Oriental Lacquer Art, New York, 1972, p.319, no.244. However, the complex and highly accomplished design indicates a later than Ming date.This lot is subject to the following lot symbols: † TP† VAT at the prevailing rate on Hammer Price and Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A RARE POLYCHROME LACQUER RECTANGULAR TABLE17th/18th centuryThe large rectangular top painted with a central cartouche featuring a garden landscape scene with Court figures engaging in leisurely pursuits besides an elegant pavilion and various plants and flowers, flanked by two further cartouches depicting respectively a cockerel amidst a flowering branch of peonies and a long-tailed bird amidst bamboo and prunus, all reserved on a leiwen ground, the recessed waist with reticulated narrow panels and lotus scrolls, the shaped apron with a continuous frieze of further lotus and sinuous chilong, the same designs continuing onto the legs terminating with hoof feet. 82cm (32 1/4in) high x 125cm (49 1/4in) wide x 45cm (17 3/4in) deep.Footnotes:十七/十八世紀 填漆花鳥螭龍紋長方桌The present lot is unusual in combining differently-shaped cartouches depicting figures in landscape and flower and bird designs, as well as archaistic designs of chilong instead of the more typical dragon with foliate scrolls. The archaistic design reflects the academic trend known as the 'search for evidence' (kaozheng 考證) movement which 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, such as chilong, which then found their way to lacquer furniture.The shape of the present table appears to have been inspired by an earlier prototype dating the to Mind dynasty, which usually held ritual implements such as incense burner, flower vases and candlesticks in domestic shrines. See a line drawing of a woodblock print dating to the Ming dynasty, illustrating a scene from 'Linchuan's Four Dreams', depicting a similarly-shaped table positioned against the side wall in a domestic shrine; see S.Handler, The Austere Luminosity of Chinese Classical Furniture, Hong Kong, 2001, p.231, pl.14.7.The subjects depicted on the table top invoke auspicious symbolism conveyed through the use of birds and flower designs. The flowering plum, the first flower to bloom in the snow, symbolises transient feminine beauty and youth; it is also associated with coldness, solitude and loss. The famous Song dynasty scholar Su Dongpo (1037-1101) wrote in one poem that: 'The flowering plums' bones are of jade and snow, and their souls of ice', as the plum blossom was endowed with the Confucian virtues of resilience and perseverance for blossoming in deep winter. Peonies mudan were also known in China as fugui hua ('Flower of Rank and Nobility'), presumably following the popularity enjoyed by flowers among members of the Imperial families during the Tang dynasty. By their character and pronunciation, they convey blessings for happiness, (fu), and noble/rich/high rank, (gui). In conjunction with rocks (symbolic of endurance), magnolias (representing beauty and fertility), and magpies (homophones with xi, meaning 'joy'), peonies represent a visual rebus for the multiple blessings of wealth, longevity, progeny and advancement in career.Compare with a related qiangjin and tianqi lacquer table, mid Qing dynasty, illustrated in Imperial Furniture of Ming and Qing Dynasties: Classics of the Forbidden City, Beijing, 2008, pp.154-155, no.176.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
JUMANJI (1995) - Jumanji Tokens and DiceJumanji tokens and dice from Joe Johnston's family adventure film Jumanji. Alan Parrish (Robin Williams), Sarah Whittle (Bonnie Hunt), Judy Shepherd (Kirsten Dunst), and Peter Shepherd (Bradley Pierce) used the four animal tokens and dice to play the mysterious but dangerous magic board game Jumanji.This lot consists of four resin game pieces: a rusted iron-colour elephant, a jade-colour monkey, an ivory-colour rhinoceros, and a black crocodile, all hand-painted to appear carved from natural materials. Also included are two beige dice with black pips. The set is intentionally distressed to appear aged and well-used with mild discolouration, chipping, and pitting throughout from production use. Dimensions (each): 10.25 cm x 10.25 cm x 5.25 cm (4" x 4" x 2") Estimate: £8,000 - 12,000 ΩThis lot will be auctioned on Thursday, November 3rd. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Friday, November 4th; Saturday, November 5th; or Sunday, November 6th.
A RARE ARCHAIC BRONZE GOURD-SHAPED VASE AND COVER, HUEastern Zhou DynastyThe bulbous flask-shaped body supported on a simulated rope-twist foot, rising to a straight neck slightly curved on one side, intricately cast with two registers around the body and another below the mouth rim decorated with the 'coiling snake' panhui motifs, set on one side with a bar handle in the form of a snake attached to the body with two rope-twist rings and with a loose interlinked chain secured to the tail of the bird-shaped cover, the cover naturalistically cast as a bird with well detailed wing feathers bordered with archaistic scrolls, the sharp beak opening to form the aperture of the vessel, the bird grasping two serpents in its claws. 33cm (13in) high. (2).Footnotes:東周 蟠虺紋匏壺Provenance: Mark Dineley (1901-1975)Peter Dineley (1938-2018), and thence by descent來源：Mark Dineley（1901-1975年）舊藏Peter Dineley（1938-2018年）舊藏，並由後人保存迄今Mark Dineley and his son Peter Cleverly Dineley collected antique arms and armour, Chinese, Tibetan and Nepalese art amongst other interests. The collections were displayed in the former family home, Aubrey House, located in Holland Park, London - a stately 18th century house. The house came into the Dineley family when it was acquired in 1873 by William Cleverly Alexander (1840-1916) from whom Mark and Peter were descended. W.C. Alexander was a banker and a great connoisseur and patron of the artist James McNeill Whistler, as well as a renowned collector of Chinese ceramics, jade and Japanese art, much of which is now in the British Museum, London, including the celebrated Northern Song Alexander bowl. He was amongst the lenders to exhibitions held at the Burlington Fine Arts Club in 1895, 1896 and 1910 and to the City of Manchester Art Gallery's Exhibition of Chinese Applied Art in 1913, and to exhibitions held at the Victoria and Albert Museum, London. In May 1931 his collection of Chinese ceramics, including 355 lots, was sold over two days and Sir Percival David acquired a significant part, now in the British Museum.Gourd-shaped vessels resembling this vessel have been excavated in Henan, Shanxi and Shaanxi Provinces, which were among the territories ruled by the Jin and Wei. Such vessels were used for containing wine and it is notable that the design is rare compared with more common wine-vessel forms such as gu. Excavations in early Warring States tombs have only revealed one such vessel within a large burial, suggesting that such vessels reflected the noble status of the deceased.Compare with a similar gourd-shaped vessel and cover, Warring States, decorated with three registers of panhui motifs around the body, in the National Palace Museum, Taipei, (acc.no.GuTong000024N000000000); and another excavated in 1988 at Jinshen village, Taiyuan, Shanxi Province, now in the Shanxi Museum, see Zhongguo meishu fenlei quanji. Zhongguo qingtong tongqi quanji 8. Dongzhou 2, Beijing, 1995, pp.73-74, nos.81-83. See also other similar excavated examples in the Shaanxi Museum of History and the Sackler Gallery of Art illustrated in ibid., pp.75-76, nos.84-85. For an example of this rare type in the Arthur Sackler collection, see Jenny So, Eastern Zhou Ritual Bronzes in the Arthur M. Sackler Collection, Washington D.C., 1995, pp.236-239, no.39. The author suggests that this type of vessel was a 'short-lived type which appeared toward the end of the eighth century BC and disappeared by the early fifth century BC, and illustrates a closely related example formerly in the collection of Mrs. Otto H. Kahn, now in the Metropolitan Museum of Art, New York (acc.no.1949.135.9), illustrated ibid., p.238, fig.39.1.Following the trend for archaism in the 18th century, and especially during the reign of the Qianlong Emperor, vessels such as the present lot became the model for other gourd-shaped vessels in various other media such as jade and cloisonné enamel. See for example, a cloisonné enamel vase of similar form to the present lot, Qianlong, in the Asian Art Museum, San Francisco (acc.no.B6OP286).For further information on this lot please visit Bonhams.com
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