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WHITE JADE WITH RUSSET SKIN 'HERMIT'S HUT' SNUFF BOTTLE QING DYNASTY, 18TH CENTURY carved from an oval pebble with the interior hollowed out from the narrowest point as a container, one side carved with two small houses in mountainous landscape in low relief, the other side incised with a hermit's hut at a bay and a corresponding poem, the stone of white tone with russet inclusions and original brownish skins (Dimensions: 6.5cm high) (Qty: 1)(6.5cm high)Qty: (1)Footnote: Provenance: property of a gentleman; formerly in the collection of an European diplomat Sven Hedin (1865-1952) who acquired it from Hong Kong in 1930s

WHITE JADE WITH RUSSET SKIN SNUFF BOTTLE QIANLONG PERIOD carved from a pebble and hollowed the interior hollowed out from the narrowest point as a container, one side carved with a prunus tree in low relief on the original yellowish skin, the other side incised with a corresponding poem, the stone of even white tone (Dimensions: 5cm high) (Qty: 1)(5cm high)Qty: (1)Footnote: Provenance: property of a gentleman; formerly in the collection of an European diplomat Sven Hedin (1865-1952) who acquired it from Hong Kong in 1930s

WHITE JADE CARVING OF AN APSARA QING DYNASTY, 18TH CENTURY carved in round with a flying deity apsara dressing in a long robe with scarf floating horizontally due to the the wind blowing, her bare foot revealed beneath the clothing, her head half raised with jewelled high chignon topped with floral crown, both arms extending forwards in different mudras, a band of swirling clouds supporting her underneath, the stone of even white colour (Dimensions: 8cm wide) (Qty: 1)(8cm wide)Qty: (1)Footnote: Provenance: property of a gentleman; formerly in the collection of an European diplomat Sven Hedin (1865-1952) who acquired it from Hong Kong in 1930s

RARE PALE CELADON JADE CARVING OF A BIXIE WESTERN HAN DYNASTY the mythical beast carved in round, prowling with the right front leg striding forward, its head baring with ferocious teeth and bulging eyes, the muscular body of the horned beast rendered with a large pair of wings extending from the front haunches and detailed with fine plumage, echoing the contours of the long tail, its abdomen carved in relief with male feature, the celadon stone suffused with faint russet inclusions (Dimensions: 7.5cm wide) (Qty: 1)(7.5cm wide)Qty: (1)Footnote: Provenance: Private English collection Note: A closely related carved jade bixie, also dated to the Han dynasty in the Palace Museum, Beijing, is illustrated in The Complete Collection of Treasures of the Palace Museum, Jadeware (I), Hong Kong, 1995, p. 240, no. 201. Compare also to another bixie dated to the Western Han dynasty in the collection of the Xianyang Museum in Shaanxi province, illustrated in Zhongguo yuqi quanji-qin han, vol. 4, Shijiazhuang, 1993, p. 109, no. 148.

RARE WHITE JADE 'DAYLILY' PENDANT JIN DYNASTY, 12TH CENTURY carved on the domed surface in openwork with two symmetrical daylilies blossoming with three luscious leaves, with well-defined flower petals and veins of the leaves, the stone of pale white tone with some white spot inclusion, some metal corrosion stuck in between the concave parts on the back side (Dimensions: 7.5cm wide) (Qty: 1)(7.5cm wide)Qty: (1)Footnote: Provenance: Private English collection, acquired from UK market about 10 years ago; possibly sold to the UK market during the mid-20th century for earning foreign currency Note: a closely comparable example, dated to the Jin dynasty, is in the collection of the National Museum of China

WHITE JADE WITH RUSSET SKIN CARVING OF A BUFFALO WITH BOYS QING DYNASTY, 18TH-19TH CENTURY delicately carved in round with a recumbent water buffalo with its right foreleg half raised and the rest tucked underneath its body, two herd-boys on its right side with one holding a long rope to control the animal, the white stone with russet inclusions (Dimensions: 7cm wide) (Qty: 1)(7cm wide)Qty: (1)Footnote: Provenance: Private English collection, acquired from Christie's London "The Art of China: Featuring the Arnhold Collection, Sale 17412, lot 51; previously in the collection of the late Gerard Arnhold (1918-2010) , who donated part of his collection to Durham University Oriental Museum, and sold part of the collection at Christie's in 2019 Note: a closely comparable jade carving of boy with water buffalo, dated to the Qianlong period, is in the Florence and Herbert Irving jade collection at the Metropolitan Museum of Art, accession number: 2015.500.5.15

PALE CELADON JADE DOG carved as a slender recumbent dog with its head slightly raised to right above two front legs, ears tucked down, tail coiling on rear hind, the stone of even translucent pale green colour with patches of dark brown skin especially on its rear hind and its nose tip (Dimensions: 8.7cm wide) (Qty: 1)(8.7cm wide)Qty: (1)Footnote: Provenance: Private Spanish collection, Barcelona

PALE CELADON JADE 'DRAGON AND PHOENIX' PLAQUE each side carved in low relief with four characters in an oval cartouche, all below a dragon and a phoenix atop, the stone of even translucent pale celadon colour (Dimensions: 6.5cm high) (Qty: 1)(6.5cm high)Qty: (1)Footnote: Provenance: Private Spanish collection, Barcelona

WHITE JADE CARVING OF AN ELEPHANT QING DYNASTY, 19TH CENTURY finely rendered in round as an arched-back recumbent elephant with the ruyi-headed trunk tucked to the right side of its folded foreleg, the body incised with details, the stone of an even translucent white tone with charming patches of russet skin on the forehead and tip of the tusks (Dimensions: 7cm long) (Qty: 1)(7cm long)Qty: (1)Footnote: Provenance: property of a gentle man; formerly from a private German collection, acquired from Beijing in 1965, thence by descent

PALE CELADON JADE BOWL QING DYNASTY, 19TH CENTURY the shallow, rounded sides rising from a slightly recessed base to a straight rim, the pale green stone with russet inclusions and opaque white flecking (Dimensions: 11cm diameter) (Qty: 1)(11cm diameter)Qty: (1)Footnote: Provenance: property of a gentle man; formerly from a private German collection, acquired from Beijing in 1965, thence by descent

CELADON JADE 'DEER AND CRANE' BRUSH REST QING DYNASTY, 18TH CENTURY carved as a boulder with openwork rocks and dense pine trees forming a canopy, one side with with a recumbent deer, a crane peeping from a corner and bird perching in between, the other side with a grooming crane, the stone of even celadon colour (Dimensions: 8.5cm long) (Qty: 1)(8.5cm long)Qty: (1)Footnote: Provenance: Private English collection

SPINACH-GREEN JADE 'SCHOLARS' BRUSH POT QING DYNASTY, 19TH CENTURY the cylindrical body supported on five cloud-shaped feet, intricately carved around the sides with a continuous mountainous landscape, the rocks and trees framing various vignettes, including scholars having tea around a kang table in a courtyard and an attendant bringing out a teapot; scholars walking leisurely in the meandering mountain path leading to a pavilion; a seated scholar reading on a rock accompanied by his attendant, whilst two other scholars seated on mat in conversation, the stone of dark spinach-green tone with some black inclusions (Dimensions: 15.5cm high) (Qty: 1)(15.5cm high)Qty: (1)Footnote: Provenance: Private French collection

WHITE JADE 'BAMBOO' VASE QING DYNASTY, 18TH CENTURY naturalistically carved in round as a section of bamboo, one side carved in openwork with two slender bamboo shoots with expanding leaves in low relief, each with a magpie perching atop, the stone of even white tone with very light greenish tinge (Dimensions: 8.8cm high) (Qty: 1)(8.8cm high)Qty: (1)Footnote: Provenance: property of a gentleman; formerly in the collection of an European diplomat Sven Hedin (1865-1952) who acquired it from Hong Kong in 1930s Note: A comparable jade paperweight of similar bamboo form and dated to the Qianlong period in the Heber R. Bishop Collection is in the collection of Metropolitan Museum of Art, accession number 02.18.575; a Qing dynasty jade double vase joined with bamboo, fungus, and phoenix is in the Avery Brundage Collection at the Asian Art Museum, San Francisco

PALE CELADON ' SCHOLAR PLAYING MUSIC' JADE PLAQUE QING DYNASTY, 19TH CENTURY carved on one side with a seated scholar playing the qin musical instrument, the other side with a corresponding poem, the stone of even pale celadon colour (Dimensions: 6cm high) (Qty: 1)(6cm high)Qty: (1)Footnote: Provenance: property of a gentleman; formerly in the collection of Pietro Accorsi (1891-1982), one of the most renowned Italian antique dealers

PALE CELADON JADE 'FINGER CITRON' WATER POT QIANLONG PERIOD elegantly rendered as a finger citron, also known as 'Buddha's hand' for its shape, borne on a short twig with the finger-like sections gently curling upwards, the top of the fruit with a circular opening and body hollowed as a vessel, the stone of even translucent pale green colour, on a fitted wooden stand carved in openwork with various small finer citrons on leafy branches (Dimensions: 9cm wide) (Qty: 1)(9cm wide)Qty: (1)Footnote: Provenance: property of a gentleman; formerly in the collection of an European diplomat Sven Hedin (1865-1952) who acquired it from Hong Kong in 1930s Note: Finger citrons are not edible unless preserved with salt or sugar, but were known to have been used by Empress Cixi to fragrance rooms in the Palace. Their auspicious symbolism derives from the play on the Chinese word for finger citron, foshou, homophonous with the words for blessings, fu, and longevity, shou. Hence, they were a popular subject in jade carvings of the Qing dynasty. A comparable jade water holder in the shape of a Buddha's hand citron formerly in the Qing Court collection is now in the collection of the National Palace Museum, Taiwan, collection number Gu Yu 故玉 3166; another Qing dynasty finger citron-form jade box and cover was in the C.T. Loo & Co., New York collection and sold at Christie's Live Auction 2553 on 23 Mar 2012, lot 1943

CELADON JADE BRUSH REST OF A CAMEL MING DYNASTY naturalistically carved in recumbent position with legs neatly tucked beneath its body, turning its head backwards, the two humps detailed with incisions, the stone of a celadon-white colour with russet inclusions (Dimensions: 8cm wide) (Qty: 1)(8cm wide)Qty: (1)Footnote: Provenance: property of a gentleman; formerly in the collection of one of the most renowned Italian antique dealers, Pietro Accorsi (1891-1982) Note: a closely comparable Ming dynasty jade camel of similar posture sold at Sotheby's Hong Kong on 5th October 2011, lot 2140

WHITE JADE 'SCROLL' INK STICK REST carved as an open scroll with the ends supporting the flattened top with undulating sides, the top depicting in low relief a joyous boy on a log raft borne on peaches afloat crashing waves, the stone of whitish colour and the top scattered with russet skin patches (Dimensions: 6cm x 4.2cm) (Qty: 1)(6cm x 4.2cm)Qty: (1)Footnote: Provenance: Private English collection, acquired from Scotland

CELADON JADE ‘TRIPLE HUANG’ BI DISC HAN DYNASTY comprising three flat arc-shaped sections, each with straight edges and a conical hole drilled at each end, the stone of yellowish celadon colour with russet and calcification inclusions (Dimensions: 9cm wide each) (Qty: 3)(9cm wide each)Qty: (3)Footnote: Provenance: Private Taiwanese collection

BLACK AND CELADON JADE CARVING OF A LUDUAN SONG TO MING DYNASTY carved with a unicorned mythical beast in seated position, the minutely carved head resting on its back, bushy tail wrapping around its left hind leg, the stone of uneven celadon and black colour (Dimensions: 4.8cm wide) (Qty: 1)(4.8cm wide)Qty: (1)

PALE CELADON JADE CARVING OF GUANYIN QING DYNASTY, 19TH CENTURY carved in round with a standing Guanyin Avalokitesvara dressing in a long robe, her right hand in vitarka mudra in front of her chest, holding a rosary in her left hand, flanked by a small water vase on a rocky foundation, the stone of even pale celadon colour (Dimensions: 24.5cm high) (Qty: 1)(24.5cm high)Qty: (1)

SMALL PALE CELADON JADE 'QIN' BELT HOOK QING DYNASTY, 18TH-19TH CENTURY carved with a dragon's head forming the hook, the gently arched shaft carved in relief in the form of a qin musical instrument, reverse of the shaft with a round knob, the stone with a pale white tinge (Dimensions: 6.5cm wide) (Qty: 1)(6.5cm wide)Qty: (1)Footnote: Provenance: Private Taiwanese collection

An oriental jade coloured hardstone carving of a leaf, together with three other smaller carvings (4)

An oriental jade coloured hardstone carving of a swan and cygnet, together with five other carvings (6)

An oriental jade coloured hardstone carving of a recumbent dog, together with three other carvings of animals (4)

A carved jade coloured hardstone pendant, in the form of a leaping horse, with an unmarked gilt mount, 6cm high

Brieföffner im Stil von Karl Fabergé. Silber, teilw. vergoldet. Klinge aus Jade mit blattähnlicher Montierung. Zylindrischer Griff mit durchbrochen gearbeitetem Netzgitter über hellblau emailliertem Grund. Als Abschluss vollplastisch gestalteter, bekrönter Doppeladler. Gest. 88. L. 27 cm. A Russian parcel-gilt silver and jade letter opener in the style of Karl Fabergé. Standard mark 88.Russland. 20. Jh.

Charmantes Amethyst-Parure Zwei Broschen, ein Ring und ein korrespondierendes Paar Ohrclips. Gelb- und Weißgold, gest 585. Dekorativ gestaltet in Form von Veilchensträußen aus Amethysten und Jade. Ges.-Gew. ca. 45,22 g. Two brooches, a ring and a pair of earrings set with amethysts and jade, in 14 k white gold and gold.

A 20th Century Chinese Republic period hand carved spinach green nephrite jade figurine of a smiling Buddha. The figure sealed with one hand on knee, expressional features and draped in robe. Good mottled green colour throughout. Set fo a wooden socle base. Measures approx; 5cm without stand. 

An important antique 18th / 19th Century Chinese Oriental ' Mutton Fat ' white jadeite jade pendant plaque or token panel of rectangular form having a carved scrolls and cloud to top with pierced hanging loophole. The body bi carved with scenes of blossoming prunus branches and insect. Seven characters to each side in Kaishu script. The base and sides smooth polished. Measures approx; 6cm x 4cm.

An antique 19th Century Chinese Yongzheng mark Oriental porcelain bowl having a deep jade green glaze with depictions of Imperial dragons and flaming clouds. Raised on small circular foot base. Six character Yongzheng mark in black Kaishu script. Condition approx; 8cm x 16cm.

An antique Chinese porcelain Kraak ware plate of circular form having a scalloped edge with hand painted decoration depicting a Dog of Fo to centre with character marks to border reading Water, Jade, Metal & Wood. Measures approx; 19.5cm wide. No visible signs of cracks or chips.

An antique 19th Century Chinese Oriental hand carved pale Celadon jade figurine depicting an Immortal / Elder likely Li Bai Taibai (701-762) the Tang Dynasty Poet. The figure beautifully modelled reclined with arm on book supporting the head. The face detailed with featured and beard sloped over a ' pot belly '. Draped in robes holding a scroll to one hand. Raised on a carved wooden base. Measures approx; 10cm long. Believed to be Nephrite jade.

A PALE GREEN JADE 'LINGZHI' RUYI SCEPTRE18th/19th centuryNaturalistically carved as a long gnarled branch entwined with bamboo and willow, and a further five ruyi heads, the large head with an auspicious bat, the stone of pale green tone with some russet highlights and mottled patches. 35cm (13 3/4in) long.Footnotes:十八/十九世紀 青白玉雕靈芝紋如意The sceptre conveyed wishes of longevity as symbolised by its shape in the form of a lingzhi fungus, the mythical plant of Immortality thought to grow on the legendary islands of Penglai, and in the meaning of ruyi 'as you wish'. The sceptre would have thus been an appropriate present on the event of a birthday and in the beginning of a New Year.Compare with a related jade ruyi sceptre, Qing dynasty, illustrated in the Compendium of Collections in the Palace Museum: Jade, 8, Beijing, 2011, no.72.See a related white jade 'lingzhi' ruyi-sceptre, 19th century, which was sold at Christie's London, 13 May 2014, lot 231.For further information on this lot please visit Bonhams.com

A FINE PALE GREEN AND RUSSET JADE CARVING OF A MYTHICAL BEAST17th century The recumbent beast deftly carved in the round, the head with protruding eyes beneath curling brows and a single horn extending down the knobbly back, turning sharply to the right, the dynamic body accentuated with carved rib cage, and bifurcated tail tucked between its hind legs and curling round its right haunch, the stone of attractive honey-amber tone with pale green underbelly. 5.7cm (2 1/4in) long.Footnotes:十七世紀 玉雕瑞獸把件For further information on this lot please visit Bonhams.com

A RARE VERY PALE GREEN JADE 'BAJIXIANG' 'MARRIAGE' BOWLQianlongCrisply carved around the exterior with the 'Eight Buddhist Emblems' amidst scrolling lotus, flanked by a pair of butterfly handles each suspending a loose ring, the interior worked in medium relief with a nine-headed lingzhi fungus and nandina, all raised on four ruyi-feet, the stone of pale greyish-green tone. 25cm (9 3/4in) wide.Footnotes:清乾隆 青玉雕八吉祥紋雙蝶耳活環洗Provenance: a Scottish private collection來源：蘇格蘭私人收藏This very fine jade bowl with its superbly-carved butterfly handles belongs to the category of 'marriage' bowls alternatively carved with butterfly, bat or dragon handles, popular in the Qing dynasty Imperial court. The two butterfly handles suspending loose rings in mirror image symbolise 'Joyful encounter' (Xi xiangfeng 喜相逢), and by extension marital happiness. For a related example of the use of butterfly handles see a white jade censer and cover with four butterfly handles suspending loose rings, illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (II), Beijing, 2008, pl.27. See also a related white jade 'marriage' bowl, Qianlong, illustrated in The Woolf Collection of Chinese Jade, London, 2013, no.71; and a similar jade 'marriage' bowl, Qianlong, illustrated by R.Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, Hong Kong, 1996, no.88, which was later sold at Christie's Hong Kong, 27 November 2007, lot 1503.See also the related pale green jade 'marriage' bowl, 18th century, which was sold at Bonhams London, 17 May 2012, lot 40.For further information on this lot please visit Bonhams.com

A LARGE JADE CARVING OF A RECUMBENT HORSE19th centuryThe animal skilfully carved recumbent with its legs tucked under its body, turning its head sharply to gently rest on its rounded back, its hind hooves tucked beneath its body, the bushy tail and mane finely detailed with incisions, the tail rendered swept to the side, the stone of pale green colour with beige and cloudy inclusions, wood stand.23cm (9in) long. (2).Footnotes:十九世紀 玉雕臥馬Provenance: Erwin Scharf (1904-1978), and thence by descentErwin Scharf (1904-1978) emigrated from Germany to Britain in the 1930s to escape Nazi persecution of the Jews. He graduated from the University of Leipzig with a doctorate in law but never practiced, rather going into the family business of manufacturing sound reproducing components. His brother, Dr Alfred Scharf was an art historian and it was he who encouraged Erwin's interest in art. 來源：Erwin Scharf（1904-1978）舊藏，並由後人保存迄今Erwin Scharf（1904-1978），二十世紀三十年代，為逃避納粹對猶太人的迫害，自德國移民英國。 Erwin畢業於萊比錫大學並獲法學博士學位，後加入製造聲音再現裝置的家族企業。其兄Alfred Scharf博士是一名藝術史學家，激發了Erwin對藝術的興趣。A larger horse fashioned from a mottled jade and carved in a similar style, Qing dynasty, from the collection of Sir John Woolf, was illustrated in The Woolf Collection of Chinese Jade, London, 2013, no.102, together with a pair of larger pale green examples, Qianlong, no.101; another jade horse, 17th/18th century, in the British Museum is illustrated by J.Rawson, Chinese Jade: From the Neolithic to the Qing, London, 1995, pl.26:20.Compare with a related jade carving of a recumbent horse, 18th century, which was sold at Christie's London, 14 May 2019.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

A LARGE PALE GREEN AND GREY JADE CARVING OF A WATER BUFFALO17th/18th centuryThe recumbent beast naturalistically modelled with its forelegs and hind legs tucked under the powerful body accentuated by a pronounced spine, the tail flicked to the left side and head turned to gaze amenably at the viewer, the gracefully-curved horns flanking the flat forehead, the stone of pale-green tone with dark-grey patches, wood stand. 19cm (7 1/2in) long. (2).Footnotes:十七/十八世紀 青白玉帶皮臥牛Provenance: Erwin Scharf (1904-1978), and thence by descentErwin Scharf (1904-1978) emigrated from Germany to Britain in the 1930s to escape Nazi persecution of the Jews. He graduated from the University of Leipzig with a doctorate in law but never practised, instead going into the family business manufacturing sound-reproducing components. His brother Dr Alfred Scharf was an art historian and it was he who encouraged Erwin's interest in art. 來源：Erwin Scharf（1904-1978）舊藏，並由後人保存迄今Erwin Scharf（1904-1978），二十世紀三十年代，為逃避納粹對猶太人的迫害，自德國移民英國。 Erwin畢業於萊比錫大學並獲法學博士學位，後加入製造聲音再現裝置的家族企業。其兄Alfred Scharf博士是一名藝術史學家，激發了Erwin對藝術的興趣。Buffalos were emblematic of agriculture. As such, in Imperial China, where agriculture was considered by Confucian governments to be the main source of tax revenue, the buffalo - used for ploughing - became a symbol of prosperity and hard work. Emperors frequently likened themselves to farmers ploughing the fields with an ox or buffalo under their reins. See for example, the Yongzheng emperor depicted as a famer in Pictures of Tiling and Weaving Portraying Yinzhen, Kangxi period, in the Palace Museum, Beijing (acc.no.Gu6634-8). Buffalos were also employed in literati paintings, to evoke a bucolic, idealised existence in the countryside. This fitted in with the Confucian ideal of a world in peace and harmony with peasants - the second highest in the Confucian social hierarchy after scholars - contributing to the wealth of the empire. The buffalo in turn, fed into a more mythical or spiritual side, recalling both Buddhist and Daoist preoccupation with simplicity, retreat, and the subjugation of the ego. The philosopher Laozi, is frequently painted and depicted in sculpture riding atop a buffalo. Another aspect of the buffalo is its guardian function, stemming from the legend of the Emperor Yu of the Xia dynasty casting an iron ox to subdue floods. This interpretation was most notably represented in the huge bronze ox commissioned by the Qianlong emperor in 1755 and placed gazing out over the Kunming Lake at the Summer Palace. Depicted in jade rather than bronze, with an eternally placid yet watchful expression, the present lot surely also observes and protects its owner. See a related jade buffalo, Qing dynasty, illustrated in Jade: Ch'ing Dynasty Treasures, Taipei, 1997, no.151. A larger, green jade buffalo, Qianlong, is also illustrated in The Woolf Collection of Chinese Jade, London, 2003, no.99.Compare with a slightly smaller mottled dark green and grey jade buffalo, 17th century, which was sold at Christie's New York, 21 March 2019, lot 1172. See also another celadon and grey jade buffalo, 17th/18th century, which was sold at Christie's London, 8 November 2016, lot 4.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

AN EXTREMELY RARE EMBROIDERED SILK BLUE-GROUND 'DRAGON' RANK BADGEKangxiFinely embroidered in rich couched-gold thread with a central commanding front-facing four-clawed dragon striding in pursuit of a flaming pearl amidst flames and formal four-fold ruyi cloud scrolls, all on a deep midnight-blue satin silk ground, mounted. 38cm (15in) x 37cm (14 1/2in).Footnotes:清康熙 藍地刺繡金龍紋方補Provenance: Linda Wrigglesworth, London, purchased in the early 1980's.來源：倫敦Linda Wrigglesworth，購於二十世紀八十年代初No identical example appears to have been published in public collections. Fully embroidered in fine couched-gold thread with a bold powerful front-facing dragon, highly-detailed with large eyes and flowing mane between its horns, the present badge is a rare example dating to the Kangxi reign. The badge shows the prosperous era of the Kangxi emperor's reign using the finest gold thread of the highest quality. In addition, a fine blue thread defines the dragon's scale with original selvedge and border intact. Square badges decorated with a front-facing four-clawed dragon such as the present example were typically reserved for Imperial dukes of the fourth rank. Rank badges decorated with dragons identified members of the Imperial family and princes of the first to eighth ranks. The first four ranks were solely granted to direct male-line descendants of the emperor. The highest six ranks enjoyed the 'Eight Privileges', gifts of the emperor, which included jade books, sets of seals for correspondence, precious stones on the mandarin hat crests, dragon robes and Imperial porcelain wares; see T.A.Wilson, On Sacred Grounds: Culture, Society, Politics, and the Formation of the Cult of Confucius, Boston Ma, 2002, pp.69 and 315. The 'Eight Privileges' entitled the prince to participate in state councils and share the spoils of war. However, the prince was also bound to reside in the capital and render service to the Imperial court.Two badges were normally attached to the costume, respectively to the back and front, which was was split to allow the garment to be buttoned up at the front. The badge system was first introduced in 1391 during the Ming period and continued onto the Qing dynasty, the styles changed according to the taste of the time; see L.Wrigglesworth and G.Dickinson, The Imperial Wardrobe, London, 1990, pp.120-142.Stylistically, the present dragon closely compares with the writhing dragons featured with prominent heads if compared to their bodies, highly-defined round cheeks and flowing mane and whiskers, which decorate the yellow-ground Imperial robe, dated to the early Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures from the Palace Museum. Costumes and Accessories of the Qing Court, Shanghai, 2006, no.23. See also the dragons within the roundels decorating a blue-ground silk robe, Kangxi, also in the Qing Court Collection, illustrated in ibid., no.10, and the dragons decorating a blue-ground man's formal court coat, illustrated by J.Vollmer, Silks for Thrones and Altars. Silk for Thrones and Altars: Chinese Costumes and Textiles from the Liao Through the Qing, Berkeley, 2004, pp.48-49, no.20.For further information on this lot please visit Bonhams.com

A RARE IMPERIAL PALE GREEN JADE FIGURE OF AMITAYUS17th/18th centuryThe deity finely cast seated in vajrasana, the face with serene expression and downcast eyes, surmounted by pleated hair arranged in a high chignon and topped with a lotus and pointed finial, all around a foliate tiara, the figure wearing a shawl over his shoulder ending in flowing ribbons, bedecked with elaborate jewellery above a thin dhoti loosely gathered over his legs, the stone of even pale green tone flecked with small beige and icy inclusions, hongmu stand. 19cm (7 1/2in) high. (2).Footnotes:十七/十八世紀 御製青白玉雕無量壽佛像Provenance: a distinguished English private collection來源：英國傑出私人收藏Amitayus is one of the most popular meditational deities in Vajravana Buddhism where he is highly revered for his longevity attributes, pure perception and awareness of the emptiness of phenomena. According to the 'Larger Sūtra of Immeasurable Life', compiled during the 1st or 2nd century AD, the infinite merits possessed by the deity resulted from the performance of good deeds in his past lives as a bodhisattva named Dharmakara. Having attained Enlightenment, the deity resided in the wondrous realm of Sukhavati.While there are extant examples of jade carvings of Buddha, figures of Amitayus are much rarer. For related jade figures of Buddha, Qing dynasty, in the Qing Court Collection, see the Compendium of Collections in the Palace Museum: Jade 8 Qing Dynasty, Beijing, 2011, nos.234-238 and 264-265.See two related pale green jade figures of Buddha, dated 18th century and 18th/19th century, which were sold at Bonhams London, 8 November 2012, lot 3, and 14 May 2015, lot 115.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

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

A FINE PAIR OF HUANGHUALI YOKEBACK ARMCHAIRS, NANGUANMAOYI17th centuryEach with a curved crest rail supported on curved rear posts and s-shaped splats, the arm rails supported on slender, tapering standing stiles terminating in the front posts above the soft-mat seat, above a plain apron of square section, all raised on legs of square section joined by straight stretchers and a plain footrest. 122cm (48in) high x 61.5cm (24 2/8in) wide x 47.5cm (18 5/8in) deep. (2).Footnotes:十七世紀 高靠背南官帽椅成對Provenance: an important European private collection來源：歐洲重要私人收藏Displaying restrained lines and generous yet balanced statuesque proportions, and enhanced by the rich lustre of the huanghuali honey-coloured wood, the present pair of chairs embodies the search for simplicity through the beauty and elegance of form, quintessential embodiments of the Ming dynasty timeless aesthetic. The 'Southern official's hat' armchair is one of the most prestigious forms of Chinese furniture. Whereas many armchairs of this form feature thick members and rigid lines, the present pair, displaying slender and elegant curves, has a most refined aesthetic, and represents among the most graceful examples of this design. The entirely uncarved surfaces also suggests that the carpenter appreciated their beauty in form and material. This particular design of nanguanmaoyi chairs differs from the 'official's hat' armchair guanmaoyi in that the crestrails continue into the back posts, as opposed to extending horizontally beyond them. In addition, creating the continuous line of the crestrail joining into the rear upright posts is achieved by a rounded, right-angle joint called a 'pipe-joint,' which is also used to join the curved arms to the front upright posts. According to Sarah Handler, the Chinese yokeback chair was considered the stately seat of Buddhists, deities, royalty and important people; see S.Handler, Austere Luminosity of Chinese Classical Furniture, Hong Kong, 2001, p.43. Discussing the origin of this form, Robert Jacobsen and Nicholas Grindley refer to bent bamboo construction, popular in the Song and Ming dynasties, as a possible inspiration for the continuous top and arm rails which is a principal feature of 'Southern official's hat' armchairs. An illustration from the 'Legend of the Jade Hairpin' Yuzan Ji, dated circa 1570, depicts a pair of speckled-bamboo tall-back chairs with continuous crestrails; see R.Jacobsen and N.Grindley, Classical Chinese Furniture in the Minneapolis Institute of Arts, Minneapolis, 1999, pp.52-53. Compare with a pair of very similar huanghuali 'Southern official's hat' armchairs, early 17th century, of similar proportions and shaped aprons and spandrels as the present examples, in the Minneapolis Institute of Arts, illustrated by R.Jacobsen and N.Grindley, Classical Chinese Furniture in the Minneapolis Institute of Arts, Minneapolis, 1999, pp.52-53. See also another nearly-identical pair of huanghuali 'Southern official's hat' armchairs, 17th century, which was sold at Christie's Hong Kong, 28 November 2012, lot 2026.此對南官帽椅全身光素，彎弧優美，屬於高靠背南官帽椅的標準式。搭腦中成枕形，素麵三彎靠背板嵌入搭腦下方及椅盤後大邊的槽口。後腿上截以挖煙袋鍋榫連接搭腦兩端，向下穿過椅盤成為腿足；三彎弧形的扶手與前腿鵝脖同樣也以挖煙袋鍋榫連接，後端出榫接入後腿上截，中間支以三彎形上細下大的圓材聯幫棍。椅盤為格角榫攢邊框，邊抹冰盤沿上舒下斂底壓窄邊線，四框內緣踩邊打眼造軟屜。座面下安券口牙子，沿邊起線，上方齊頭碰椅盤下面，二側嵌入腿足，底端出榫納入踏腳棖。左右兩面安相似券口牙子，後方為短牙子。腿間施步步高趕棖，踏腳棖及左右兩側管腳棖下各安一素牙子。作為中國古典家具中最負盛名的形式之一，南官帽椅線條優美、造型舒展，通過明快而優雅的形式體現了明代家具簡練、純粹的美學追求。此對高靠背南官帽椅結構嚴謹、用材細緻，既通過造型高大顯示其挺拔俊秀，又兼具靈動線條傳達出的娟秀雅緻；寬厚的靠背板紋理流暢，亮澤如蜜，更見木材天然韻致，盡現傳統中國家具之經典。官帽椅有搭腦和扶手都出頭的「四出頭」、以及四處無一出頭的南官帽椅之別；南官帽椅的搭腦、扶手和前後腿以悶榫角接合的正角榫接做法，匠師據其形象稱之為「挖煙袋鍋」。據Sarah Handler考證，官帽椅主要為供奉神明及王公貴族... This lot is subject to the following lot symbols: TP YTP 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A SPINACH-GREEN JADE BRUSHPOT, BITONGMid Qing DynastyOf cylindrical form inset with a circular base, the lustrous stone of rich spinach-green tone with dark and white speckles. 17cm (6 6/8in) high.Footnotes:清中期 碧玉筆筒Provenance: Grace Wu Bruce, Hong Kong, no.AJ 171 (label) An important European private collection來源：香港古董商嘉木堂，編號AJ 171（標籤）歐洲重要私人收藏The vibrant green colour of the present brushpot evokes vegetation and infuses the composition with a feeling of peace and tranquillity. Jade brushpots were precious objects placed on the desk of scholars and high-ranking officials.The term bitong was first used in the Maoshi caomu niaoshou chongyu shu, a 3rd-century commentary on the Shijing, a Confucian classic by Lu Ji, who lived in the Wu Kingdom during the Three Kingdoms period. At this time, the bitong consisted of 'a brush case made of two bamboo segments attached together and containing a pair of brushes'. The Chuanxin shiyong fang, a recipe book compiled in 1180, mentions the use of bitong as a tool to feed liquid medicine, and the Zhixu zazu, another Song dynasty text, mentions that '(Wang) Xianzhi owned a bitong named qiuzhong ('fur cup') made of spotted bamboo'. Yang believes that both were brush cases rather than brushpots; see Yang Zhishui and Guo Xuelei, 'Bitong shitong, xiangtong', in Shoucangjia, 2006: vol.3.The relatively ample supply of raw nephrite jade, after the Qianlong emperor invaded Khotan and captured the nephrite jade sources, meant that the Court's demand for jade desk items could be fully satisfied. The jade brushpots produced at the time include those made from spinach-green, pale green, Khotan-green, and yellow jade, as well as examples made from other semi-precious stones.碧玉琢製而成，取材大度，質地堅潤，色澤莊重古樸，紋路清晰自然，包漿淳樸溫和，渾然大氣。筆筒是我國傳統文房用具之一，在各類筆筒中，材料價值最高的當屬玉質筆筒。筆筒的製作需要玉料相對較大，且不能有大的綹裂和太多雜質。因為材料珍貴，玉質筆筒較竹木或瓷筆筒等少的多，多見於皇室貴冑之家。「筆筒」一詞最早出現在《毛詩草木鳥獸蟲魚疏》，這一三國吳人陸璣為《詩經》中提到的動植物進行註解的著作之中。據揚之水考證，彼時所稱之「筆筒」，應指收筆所用的筆套，類秦漢時期常見的兩根竹管連在一起而在其中置放一對毛筆的雙連式筒套，亦有單管之製。這一形制的筆筒流行時間很久，宋醫方著作《傳信適用方》記載了服藥時「用筆筒灌在喉中」，此處筆筒亦應指筆套。宋代《致虛雜俎》記載「（王）獻之有斑竹筆筒名裘鐘」，則為筆罩或曰筆帽之屬。而作為插筆之用的筆筒，或受竹刻製品之影響，流行於明清之際，沿用至今。見揚之水與郭學雷著，〈筆筒、詩筒、香筒〉，收錄於《收藏家》，2006年第3期。十八世紀後期，乾隆皇帝為捍衛西北邊防，平定回部，新疆正式歸入清中央政府的直接管轄之下，優質的白玉及碧玉玉料源源不斷貢入宮廷。本例製作之時，玉料豐富，品種激增，同期可見碧玉、青白玉、和闐白玉、黃玉等所製筆筒。For further information on this lot please visit Bonhams.com

A RARE PALE GREEN AND RUSSET JADE 'MYTHICAL BIRD' SCROLL WEIGHTTianji Wenbao incised four-character mark, 18th centuryThe domed weight finely carved as a mythical bird with a single crest and pointed beak, on a circular base with its wings outstretched as if ready for flight, the slightly-flared wings flanking a bulbous body, the long tail feathers elegantly curled in various directions, all meticulously incised with well-defined feathers suggesting vivid movement, the base incised with a four-character 'Tianji Wenbao' mark within a dense ground of C-scrolls, the smoothly-polished stone of pale-green tone with beige and russet inclusions. 6.1cm (2 3/8in) diam. Footnotes:十八世紀 朱雀玉鎮「天雞文寶」刻款Provenance: an important European private collection來源：歐洲重要私人收藏The present lot is an outstanding example inspired by an earlier design dating to the Han dynasty. This rhythmically-carved bird is remarkable for its intricate relief decoration in various depths, displaying exceptional technique in carving the naturalistic and three-dimensional rendering of the jade bird. During the Han dynasty, weights of similar shape to the present example were made of precious materials such as jade or gilt-bronze and likely made for use by high-ranking members of society. In this context, these weights were usually produced in sets of four, each in the shape of a human figure or a mythical animal or bird representing one of the four Directions of the Universe. The Red Bird depicted on the present lot represented South and would have been used in conjunction with the White Tiger symbolising West, the Green Dragon of the East and the Black Tortoise of the North. Sitting at the centre of a cosmic diagram signified being the pivot and recipient of all the forces of the universe, symbolic of the Chinese emperors. The present lot is closely related to a line drawing of a bronze weight in the shape of a mythical bird, Han dynasty, published in the 'Catalogue of Ancient Ritual Bronzes' Xiqing Gujian Xiqing gujian, vol.38, p.46. This collection of drawings served as a source of inspiration for the production of contemporary objects, underscoring the emperor's wish to reinstate what he believed to be the intrinsic qualities of simplicity, sincerity and happy exuberance found in the ancient past; 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. The inscription incised on the underside of the present lot, Tianji Wenbao, reflects the 18th century trend of paying homage to the historical past, as it literally translates as 'Mythical Bird Cultural Treasure'. A gilt-bronze weight similarly shaped as a mythical bird curling above a circular base is in the National Palace Museum, Taipei, acc.no. 000333N. Compare with a related exceptionally rare jade mythical-bird scroll weight, Han dynasty, illustrated by T.Fok, The Splendour of Jade: The Songzhutang Collection of Jade, Hong Kong, 2011, pl.74, which was later sold at Bonhams Hong Kong, 30 May 2017, lot 54.青玉圓雕一朱雀鳥呈振翅待飛姿勢，留皮巧雕出雀鳥頭部及羽翼。雀鳥眼眶以陰刻方式表現，鳥喙短銳而渾圓有力，頭上有一撮羽冠向後垂在頸上。羽翼微張，以陰線勾勒出波摺層次。兩側浮雕腿足，憨態可掬。底部陰刻流動雲紋，中央刻「天雞文寶」篆書款。本例形制源於漢朝席鎮。桌椅普遍使用之前，人們席地而坐，室內所設床榻也需鋪席。席鎮遂用於席的四隅以避免起身落座時折卷席角。皇室貴冑常用材料貴重的銅鎮、玉鎮，且造型豐富，以人物和動物形最為多見，通常以一組四件使用。此朱雀玉鎮應為一組四件中的一件。朱雀是中國傳統文化中的「四靈」之一，和青龍、白虎、玄武共同表示四方，即左青龍（東）、右白虎（西）、前朱雀（南）、後玄武（北）。能以四像神獸形的席鎮置於四隅，寓意著席鎮主人位於東南西北四方的中央，暗示著使用者舉足輕重的地位。宋代以後，席鎮原始的功能逐漸消失，文人常取獸形鎮以為鎮紙之用。此玉鎮之造型與乾隆時期《西清古鑑》卷三十八「書鎮」中一漢鳩鎮的線描圖相似。《西清古鑑》是乾隆十四年下旨編制收錄清代宮廷所藏古代青銅器的大型譜錄。乾隆皇帝好古敏求，崇尚慕古之風，認為古物樸素、精純、高雅、有意涵，曾交《考古圖》、《西清古鑑》等予玉工作為製作新製玉器時造型、紋飾的藍本。詳見張麗端著，《宮廷之雅：清代仿古及畫意玉器特展圖錄》，台北，1997年，頁49-50。本玉鎮之原型有兩例可資參考，台北國立故宮博物ƀ... For further information on this lot please visit Bonhams.com

A Mughal pale green jade ewer and coverIndia, 18th centuryThe pear-shaped body rising from a short foot, carved in low relief with sprays of blossoming flowers surrounded by meandering leaf stems beneath a band of pendent leaves, with similar designs repeated on the domed cover surrounding a lotus-bud-shaped finial, the body with an integral straight spout. 15cm (6in) long.Footnotes:十八世紀 青白玉雕痕都斯坦式蓋壺Provenance: an important European private collection來源：歐洲重要私人收藏This elegant jade wine ewer is of a rare but known form. The Mughal Empire in India (1526-1857) left a legacy of high-quality worked jades. The Qianlong emperor greatly admired the so-called 'Hindustan' jades, and in 1768, he wrote the Tianzhu wuyindu kaoe, a scholarly text on the geography of Hindustan and the derivation of its name. The area he identified was in what is today India, with the city of Agra at its centre. During the eighteenth century, this area was part of the Mughal Empire and thus the jades from this region are today often referred to as 'Mughal' jades. The decoration of the present vessel may have been inspired by Emperor Jahangir's visit to the beautiful flower-filled valleys of Kashmir in 1620, which prompted the introduction of a new style of drawing on botanical designs.Compare with a related jade ewer, 17th/18th century, in the collection of the National Palace Museum, Taipei, illustrated in Exquisite Beauty - Islamic Jades, Taipei, 2007, pl.96. A related white jade wine flask, India, 18th century, was sold at Christie's London, 8 October 2015, lot 143.痕都斯坦即指蒙兀兒帝國（1526-1857）；1768年，乾隆皇帝親自撰《天竺五印度考訛》一文，考證發音，定名「痕都斯坦」。在蒙兀兒帝國治下，伊斯蘭玉器逐漸形成獨特的裝飾風格，並於十八世紀後期經新疆源源不斷貢入清廷，令乾隆皇帝讚歎不已。早期的伊斯蘭玉器造形多受金屬器、瓷器影響，本例細流纖長筆挺的造型或源於金屬器。器身的淺浮雕花葉紋，據說是受蒙兀兒帝國皇帝賈漢吉1620年造訪鮮花盛開的克什米爾峽谷後之啟發；以冷硬的玉料讚頌自然界蓬勃的生機，是為痕玉之獨特風格。台北國立故宮博物院一例清宮舊藏十七至十八世紀蒙兀兒帝國玉單柄壺，紋飾相仿，見鄧淑蘋著，《國色天香：伊斯蘭玉器》，台北，2007年，圖版96。 另對比一例印度十八世紀玉無柄壺，售於倫敦佳士得，2015年10月8日，拍品編號143。For further information on this lot please visit Bonhams.com

Cased set of three yellow metal collar studs marked 9ct, in fitted box of Harrods, together with a yellow metal and celadon jade cross pendant stamped 585, and a yellow metal filed curb-link fine chain stamped 375, 4.4g gross approx Condition: General condition consistent with age and use. **Silver, Gold and Jewellery - The presence of manufacture or assay marks indicating purity are taken to be accurate but no guarantee is implied or given. Weights are taken via our electronic scales as a guide - but we are selling objects, not quantities - and so these are provided for reference only and do not form part of the bidding contract. Precious stones may have been tested via a GemTrue or Presidium tester but, unless specifically stated, no further laboratory reports or certification accompany the item or should be inferred. Corundum family stones (sapphire-ruby), emerald and other coloured gemstones can be natural or artificial, treated or untreated, and we do not offer any warranties as to the origin or treatment of such stones sold at auction. Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.

A LARGE CHINESE CARVED BAMBOO JADE VASE, carved with foliage and fences.

A CARVED JADE BANGEL.

A CHINESE CIRCULAR CARVE JADE BELT BUCKLE. 2.25ins diameter.

A JADE SEAL, inscribed R.H. 3ins long.

A GOOD DIAMOND AND JADE NECKLACE

A SILVER AND JADE PANTHER BROOCH

A PAIR OF SILVER JADE DECO STYLE DROP EARRINGS

A SILVER AND LAVENDER JADE PENDANT AND CHAIN

A mid 20th Century tourist jade figure of a Geisha girl, in box

A carved jade pendant featuring carved koi carp and foliage, size approx 45 x 30mm, total gross weight approx 8.9gms Condition report: good- no visible sign of damage or repair

A collection of jade and other hardstone artefacts and jewels

A 32" Chinese jade beaded necklace, knotted between each bead. Bead size approx. 1cm diameter.

A 22" fresh water pearl necklace with pink and blue jade beads and gold tone hook clasp.

A 20" pink jade and amethyst necklace with white metal decorative beads and S shaped hook clasp.

Carved Green Jade Hoop Earrings, large, near circular, hoops, carved to one side, smooth to the other, giving two different looks as the gold vermeil and silver fittings, with a hinged post that clips in at the back, allow them to be worn in either ear; with a generous amount of jade the earring drop is 1.5 inches (3.75cms)