Fine Chinese Paintings & Works of Art...Fine Chinese Paintings & Works of Art New York | Monday...

Fine Chinese Paintings & Works of ArtNew York | March 15, 2021

Bonhams© 2021 Bonhams & Butterfields Auctioneers Corp. All rights reserved.

Fine Chinese Paintings & Works of ArtNew York | Monday March 15, 2021 at 10am

BONHAMS 580 Madison AvenueNew York, New York 10022bonhams.com

SALE NUMBER 26733Lots 1 - 234

AUCTION INFORMATION Jacqueline Towers-Perkins2068426‐DCAEric Minoff2074912‐DCA

Bonhams & ButterfieldsAuctioneers Corp.2077070-DCA

CATALOG: $45

ILLUSTRATIONSFront Cover: lot 86Inside Front Cover: lot 47Inside Rear Cover: lot 31Rear Cover: lot 218

PREVIEWThursday March 11, 12pm-5pmFriday March 12, 12pm-5pmSaturday March 13, 10am-5pmSunday March 14, 10am-5pm

GLOBAL HEAD, CHINESE CERAMICS AND WORKS OF ARTAsaph Hyman+44 (0) 20 7468 [email protected]

INQUIRIESChinese Works of Art Dessa GoddardUS Head, Asian Art+1 (415) 503 [email protected]

Michael C. HughesVice President, Head of Department+1 (646) 988 [email protected]

Bruce MaclarenVice President+1 (917) 206 [email protected]

Ming Hua 華銘Junior Specialist+1 (646) 837 [email protected]

Sherman ToInventory control+1 (917) 206 [email protected]

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Alternatively, contact our Client Services department at: [email protected]+1 (212) 644 9001

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Rachel HymanLondon, Montpelier Street

Colin SheafDeputy Chairman

Dessa GoddardUS Head, Asian Art

Asaph HymanGlobal Head, Chinese Art

Xibo WangHong Kong

Keason TangHong Kong

Aude Louis CarvesParis

Kelsey ChangLondon, Montpelier Street

Rosangela AssennatoLondon, Montpelier Street

International Chinese Ceramics and Works of Art team

Benedetta MottinoLondon, New Bond Street

Edward LuperLondon, New Bond Street

Xiaoye GuLondon, New Bond Street

Global

EuropeAsia

Michael C. HughesNew York

Yvett KleinSydney

Australia

USA

Asia Representatives

Ming HuaNew York

Daniel HerskeeSan Francisco

Ling ShangSan Francisco

Rachel DuLos Angeles

Vivian ZhangBeijing

Bobbie HuTaipei

Bernadette RankineSingapore

Bruce MacLarenNew York

Wang JieShang Hai

NEOLITHIC CULTURESCishan-Peiligang c. 6500-5000 BCCentral Yangshao c. 5000-3000 BCGansu Yangshao c. 3000-1500 BCHemadu c. 5000-3000 BCDaxi c. 5000-3000 BCMajiabang c. 5000-3500 BCDawenkou c. 4300-2400 BCSongze c. 4000-2500 BCHongshan c. 3800-2700 BCLiangzhu c. 3300-2250 BCLongshan c. 3000-1700 BCQijia c. 2250-1900 BC

EARLY DYNASTIESShang c. 1500-1050 BCWestern Zhou 1050-771 BCEastern Zhou Spring & Autumn 770-475 BC Warring States 475-221 BC

IMPERIAL CHINA

Qin 221-207 BCHan Western Han 206 BC-AD 9 Xin AD 9-25 Eastern Han AD 25-220Three Kingdoms Shu (Han) 221-263 Wei 220-265

Wu 222-280Southern dynasties (Six Dynasties) Western Jin 265-316 Eastern Jin 317-420 Liu Song 420-479 Southern Qi 479-502 Liang 502-557 Chen 557-589Northern dynasties Northern Wei 386-535 Eastern Wei 534-550 Western Wei 535-557 Northern Qi 550-577 Northern Zhou 557-581

Sui 589-618Tang 618-906Five Dynasties 907-960Liao 907-1125Song Northern Song 960-1126 Southern Song 1127-1279Jin 1115-1234Yuan 1279-1368Ming Hongwu 1368-1398 Jianwen 1399-1402 Yongle 1403-1424 Hongxi 1425 Xuande 1426-1435 Zhengtong 1436-1449 Jingtai 1450-1456 Tianshun 1457-1464 Chenghua 1465-1487 Hongzhi 1488-1505 Zhengde 1506-1521 Jiajing 1522-1566 Longqing 1567-1572 Wanli 1573-1620 Taichang 1620 Tianqi 1621-1627 Chongzhen 1628-1644Qing Shunzhi 1644-1661 Kangxi 1662-1722 Yongzheng 1723-1735 Qianlong 1736-1795 Jiaqing 1796-1820 Daoguang 1821-1850 Xianfeng 1851-1861 Tongzhi 1862-1874 Guangxu 1875-1908 Xuantong 1909-1911

REPUBLICAN CHINA Republic 1912-1949 People’s Republic 1949-

Chronology

Chinese Works of ArtLots 1 - 173

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PROPERTY OF A NEW ENGLAND COLLECTOR

1A PAIR OF RARE LARGE PAINTED WOOD FIGURESEastern Zhou Dynasty (4th Century BCE) Elagantly but simply carved as standing attendants, most likely female, each with a large oval ‘Brancusi-like’ modernist head with large and striking scooped-out ovals to each side of the face topped by arched brows, two large black-painted almond-shaped staring eyes centered by a slender nose bridge with triangular tip, a simple down-turned crescent incised for the mouth with traces of red pigment, each missing one of the large ears pierced for earrings, traces of painted robes in red, black and earthy-beige pigments to the ribboned and hemmed garments that show traces of double-tied-sashes with circular bi-like discs attached down the narrow sides and a simple red-pigment band below the shoulders on the backs, the robes fall gracefully in a gently spreading cone from the high-waisted bust to the hems at their feet, each with rounded shoulders and out-curving slender arms with square mortise holes carved to accept separate hands, losses. 28in (71cm) high (2).

$3,500 - 4,500

東周木俑一對 Provenance Renzo Freschi Oriental Art, Milan, Italy, 2008 Literature Renzo Freschi Oriental Art, Miti e Riti (Myths and Rituals), Milan, 2008 來源 Renzo Freschi Oriental Art, 意大利米蘭, 2008年出版 Renzo Freschi Oriental Art, Miti e Riti (Myths and Rituals), 米蘭, 2008年

Far more common amongst funerary-furnishing survivals are the non-organic and less perishable pottery figures and vessels. It is therefore quite unusual to find wood figurines that have survived the vicissitudes of burial and time. Particularly those buried in the 4th century BCE. And how extraordinarily modern in our eyes do these sculptures appear today? Such figurines were placed symbolically in burial tombs to serve the deceased on their difficult spirit journey. They can also be seen as a form of ancestor worship, so crucial a part of Confucian philosophy and the duties of filial piety. For another tall (23 1/2 inches high) painted wood figure dated to the Eastern Zhou Dynasty, circa 3rd Century BC, and also displaying simple but powerful geometric facial features, see J.J. Lally & Co. Oriental Art, Two Thousand Years of Chinese Sculpture, New York, 2008, no. 2, where the author cites others from that group that were discovered in Changsha, Hunan in 1936 at sites associated with the ancient state of Chu and first shown in the United States at the Yale University of Fine Arts and published in the catalogue, An Exhibition of Chinese Antiquities from Ch’ang-sha: Lent by John Hadley Cox, New Haven, 1939. For another figure, see Eskenazi, Early Chinese Art: 8th Century-9th Century AD, June-July, 1995, pp. 86-87, no. 45. Their example bears a quite obvious black-checked pattern to the clothing (mostly lacking in ours) that relates to a group of wood figures from a tomb of the State of Chu, Wuchangyidi, in Jiangling, Hubei, which are also painted with long strings of jade beads and pendants (which ours display), see Teng Rensheng, Lacquer Wares of the Chu Kingdom, Hong Kong, 1992, p. 109, figs 32:1-4. See also a fascinating line drawing of pectoral and girdle ornaments on wooden figures from Chu tombs at Xinyang, Henan province and Jiangling, Hubei province, illustrated in China 5000 Years, Innovation and Transformation in the Arts, Guggenheim Museum, New York, 1998p. 64, fig. 12. For a pair of much smaller figures (15 1/2in high) dated to the Western Han Dynasty, see J.J. Lally & Co., Ancient Chinese Ceramics and Tomb Sculptures, New York, 2000, no. 10, where they cite another pair of wood figures excavated from a Western Han tomb in Maojiayuan, Jiangling county, Hubei province that were also included in the exhibition Lacquerware from the Warring States to the Han Periods Excavated in Hubei Province, The Chinese University of Hong Kong Art Gallery, 1994, no. 82.

FINE CHINESE PAINTINGS & WORKS OF ART | 7

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PROPERTY FROM A PRIVATE AMERICAN COLLECTION

2AN ARCHAIC BRONZE CIRCULAR RETICULATED STEM DISH, DOUMid-late Western Zhou Dynasty (9th-8th Century BC) The circular dish with short vertical sides which are cast with alternately large and small stylized-D-shaped raised panels, supported on a gently-waisted reticulated stem which forms the foot, pierced with a design of stylized bird and animal forms in two bands, all under a silvery-grey-green patina. 9in (22.8cm) across

$1,800 - 2,500

西周中晚期青銅豆

See a similar example illustrated by Jessica Rawson, Chinese Bronzes, Art and Ritual, British Museum, London, 1987, pp. 34-35, fig. 12d, in a line drawing depicting twenty-one vessels from a hoard of one-hundred and three bronzes buried at Zhuangbai, a village in Fufeng Xian at the heart of the Zhouyuan area. Also compare with a dou from Hubei province with a reticulated stem illustrated by Jenny So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, New York, 1995, p.181. The author notes that this type of dou with shallow, straight vertical-sided bowl and broad openwork stem may have developed alongside wood-core lacquer dou, around the 10th or 9th century BC. Another late Western Zhou example in Qishan County Museum is illustrated in Zhongguo meishu quanji (Collected Works of the Fine Arts of China), Beijing, 1985, vol. 4, pp. 79 and 211. See also another dou in the Hubei Museum collection illustrated in Zhongguo wenwu jinghua daquan, qingtong juan, Hong Kong, 1994 , p. 186, no. 661. For a similar dou, see Christie’s, London, ‘Status and Ritual: Archaic Chinese Bronzes from an Important Private European Collection’, 9 November 2015, lot 17



3AN ARCHAIC BRONZE TRIPOD VESSEL AND DOMED COVER, DINGEastern Zhou Dynasty (770-256 BC) The rounded sides and shallow domed cover each cast with two low-relief bands of braided-rope design, the bands on the ding divided by a thin raised band of small oval bosses and with upright arched handles at the sides cast with a continuation of the braided rope design, the cover with three upright cylindrical lug handles equally spaced on the outer braided-rope band (some encrustation). 12 1/2in (31.7cm) across

$4,000 - 6,000

東周青銅鼎

For two bronze vessels from the Eastern Zhou period, a ding (6th-5th century BCE) and a jian (5th Century BCE), each with a form of braided-rope design, see Pope, Gettins, Cahill and Barnard, The Freer Chinese Bronzes, Vol. 1, Catalogue, Washington D.C., 1967, pp 490-495, pl. 90 and pp. 478-483, pl. 88, respectively. For others, also, of a slightly larger and more ornate type, see www.metmuseum.org, accession no.: 1988.20.6a,b, (ritual tripod cauldron), formerly in the Charlotte C. and John C. Weber Collection and gifted to the Metropolitan Museum, New York in 1988; and another in the Los Angeles County Museum of Art, from the ancient state of Jin in Shanxi province is illustrated in www.lacma.org, accession no.: M.74. 103a-b. Both ding also have three cylindrical lugs on the cover. See others versions of a similar type at auction; Bonhams, San Francisco, 27 June 2017, lot 8096; Lempertz, Cologne, 7-8 June 2019, lots 646 and 647; Sotheby’s, London, lot 204; and Christie’s, London, 9 November 2015, lot 9.

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PROPERTY FROM THE COLLECTION OF ERIC WESENBERG, CALIFORNIA

4AN ARCHAISTIC BRONZE SLOPING RECTANGULAR VESSEL AND COVER, FUSong/Ming Dynasty Of rectangular shape, the vessel and cover are flat-cast in impercetable shallow relief with a dense ground of stylized bird motifs and coiled cells, the spreading corner supports similarly cast and with a cut-out section in the apron, thickly-cast on both sections of the fu with a pair of mythical animal-head handles, the cover alone, cast with four evenly-spaced small animal-mask tabs around the rim, under a polished dark patina. 13 1/2in (34.3 cm) across the handles

$5,000 - 8,000

宋/明銅簠 Provenance Nicholas S. Pitcher, London, 2008 來源 Nicholas S. Pitcher, 倫敦, 2008年

For a near identical example, perhaps the same bronze, see Sotheby’s, London, 9 November 2005, lot 491. See also another very similar archaic-bronze exemplar, sold at Christie’s, New York, The Sze Yuan Tang Archaic Bronzes from the Anthony Hardy Collection, 15 September 2010, lot 871. For two other pre-cursors of the ‘Spring and Autumn’ period, (circa 770 – 476 BCE.), see Christian Deydier, Understanding Ancient Chinese Bronzes, Their Importance in Chinese Culture, Their Shapes, Functions and Motifs, Paris, 2015, pp. 36-37, from the Meiyintang Collection, and the same author, Chinese Bronzes, Fribourg, Switzerland, 1980, p. 227, no. 78 from the Art Institute of Chicago. The term fu 簠 was employed very early on in classical texts to refer to a vessel used to hold offerings of millet during rituals. This oblong vessel of rectangular form with upwardly sloping sides in its lower section, is supported by a flared foot and topped by a cover of the same shape, which may also serve as a mirror-vessel when up-turned. The fu 簠 appears during the end of the Western Zhou 西周 period, or, more precisely, at the end of the 9th century B.C. and becomes very popular during the subsequent Spring and Autumn 春秋 period.

Chinese Jades and other stones

The Robert P. Youngman CollectionLots 5 - 20

Property of an English LadyLots 29 - 54

PROPERTY FROM THE ESTATE OF ROBERT P. YOUNGMAN

5A PALE ‘YELLOW’ JADE SWORD-SHAPED PENDANTShang Dynasty or later The blade with multiple softly-polished horizontal ribbed channels, resembling a silkworm, below a horizontal wider chape-like band and terminating in a stylized head (handle) with simplified eyes, the pendant of slender flattened oval cross-section, pierced at one end for suspension. 3 3/8in (8.5cm) long

$1,000 - 1,500

商或更晚黃玉雕劍形珮 it is quite conceivable that this carving is indeed meant to evoke a stylized representation of a silkworm. Their images in jade certainly existed by the late Shang dynasty as attested to by an example excavated at Ta Ssu K’ung village in Anyang, see Ma Te-Chih et al., in Kaogu, 1955, No. 9, pl. 17:7. See also two small examples illustrated by Max Loehr, Ancient Chinese Jades from the Grenville L. Winthrop Collection in the Fogg Art Museum, Harvard University, 1975, p. 133, no. 167.


6A TURQUOISE MATRIX DRAGON-CRESTED OWL PENDANTShang Dynasty or later Of flattened oval cross-section, carved as a standing owl with neatly delineated scrolls on both sides forming the wings and feathers, the head with hooked beak and surmounted by a dragon crest, the stone of mixed tones of turquoise and black. 2 1/8in (5.5 cm) high

$3,000 - 5,000

商或更晚綠松石龍紋鴞形珮 For a Shang dynasty jade pendant of an owl-like predatory bird with a tall crested head ornament, see Liu Yang and Edmund Capon, Transclucent World, Chinese jade from the Forbidden City, Art Gallery of New South Wales, 2007, p. 58, no. 11.

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7A TURQUOISE MATRIX COILED ‘PIG-DRAGON’ PENDANTShang Dynasty or later The flattened coiled dragon neatly delineated with ridged channels to depict the wide-eyed open-mouthed beast with short coiling body and tapered tail, the spine marked with simple diamond-shaped hatching, all topped by a simple knop crest, pierced to the center from both sides for suspension some inclusions to the mostly turquoise stone. 1 3/16in (4.3cm) high

$800 - 1,200

商或更晚綠松石豬龍形珮

A near identical white and gray jade example sold at Sotheby’s, New York, Important Chinese Works of Art: The Collection of Mr. and Mrs. Richard C. Bull, 6 December 1983, lot 149 and later illustrated by Jessica Rawson, Chinese Jade from the Neolithic to the Qing, 1995, London, British Museum, p. 210, no. 12:3, where the author notes “Thread relief such as that on this jade is a feature of only a few Shang period jades. It was, however, one of the major types of decoration on neolithic jades of the Longshan and Shijiahe cultures, and it is clear that Shijiahe jades with relief decoration were known to the Shang”.


8A TURQUOISE MATRIX FIGURAL OWL PENDANTShang Dynasty or later Carved in the round to depict a standing owl, the body neatly delineated with ridged scrolls forming the wings and feathers, the upward-looking head with hooked beak and large ears, pierced vertically through the center for suspension. 1 1/2in (4cm) high

$3,000 - 5,000

商或更晚綠松石鴞形珮

For a larger Shang dynasty carving of an owl carved in the round but surmounted by a high comb, see Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Jadeware I, Hong Kong, 1995, p. 73, no. 63. For another green jade owl dating to the Shang dynasty with similar ridged scrolls to the body, see Christie’s, Hong Kong, Chinese Archaic Jades from The Yangdetang Collection, Part II, 28 November 2018, lot 2720.


9AN OLIVE-GREEN, BEIGE AND RUSSET JADE FIGURE OF A CROUCHING BEARShang Dynasty (circa. 1600-1100 BCE) The bear seated on its rear haunches in a crouching position with forelegs resting on the knees of the drawn-in rear legs, the bears large head with wide mouth resting on the forelegs, the eyes cut in low-relief below simple rounded ears, the rounded body cut with ridged channels of scrolls, a short hole drilled to the back of the head. 1 5/8in (4.2cm) high

$30,000 - 50,000

商玉熊 Provenance Sotheby’s, Hong Kong, The Robert Youngman Collection of Chinese Jade, 3 April 2019, lot 3419 Alvin Lo Oriental Art Ltd., New York Published Robert P. Youngman, The Youngman Collection of Chinese Jades from the Neolithic to Qing, Chicago, 2008, pl. 32 來源蘇富比香港，楊門中國玉器珍藏，2019年4月3日，拍品編號3419 Alvin Lo Oriental Art Ltd., 紐約出版羅伯特．楊門，《楊門藏玉：中國玉器．新石器時代至清代》，芝加哥，2008年，圖版32

For a very similar jade bear formerly in the Rafi Y. Mottahedeh Collection and dated to the Shang dynasty, see Sotheby’s, New York, 4 November 1978, lot 162. Similarly positioned, it too had a small hole drilled to the back of the head. It had previously been published and exhibited at the Victoria and Albert Museum in the ground-breaking jade retrospective Chinese Jade Throughout the Ages May-June, 1975, p. 35, no. 44. It was also published by S.H. Hansford, Chinese Jade Carving, London and Bradford, 1950, pl. XXVa. and again in Transactions of the Oriental Ceramic Society, 1973-74/1974-75, London, 1976, (a special edition for the Victoria and Albert Museum Exhibiton), p. 35, no. 44, where its owner is listed as Mr John M Crawford Jr. Two jade bears from a Western Zhou Dynasty tomb of the Marquis of Jin and his wife in Shanxi province are illustrated in Zhongguo chutu yuqi quanji, vol. 3, pls. 125 and 126. See also a similar jade crouching bear from the M. Calmann Collection, Paris, illustrated in International Exhibition of Chinese Art, Royal Academy of Arts, London, 1935-36, no. 283. See the Metropolitan Museum of Art Bulletin, 1973/1974, Volume XXXII, No. 2 in an article by Maxwell Hearn and Wen Fong entitled ‘The Arts of China, The Age of Ritual: The Shang Dynasty’ for a depiction of a marble bear (4 1/2 inches high) in a very similar crouching pose, though devoid of surface decoration and dated to the 13th - 11th Century BCE (Illustration no. 7). For a Shang dynasty buffalo also carved in the round, using a similar jade material and with related relief scroll decoration, see Max Loehr, Ancient Chinese Jades from the Grenville L. Winthrop Collection in the Fogg Art Museum, Harvard University, Massachusetts, 1975, p. 123, no. 148. Later in the same publication, a crouching bear is illustrated that entered the Collection in 1943 that is dated to ‘probably’ the Western Zhou period. It too bears close comparison. For other small figural jade carvings of similar size, format and decoration, see China: 5,000 Years: Innovation and Transformation in the Arts, Guggenheim Museum, New York, 1998, p. 208, no. 10 (1 & 2) both unearthed in 1976 from Fu Hao tomb No. 5, Anyang, Henan province and now in the Henan Provincial Museum, Zhengzhou.

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Lot 9 (Two views)

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10A RUSSET, CELADON AND CALCIFIED JADE FIGURAL PENDANTWestern Zhou Dynasty Of flattened curved outline, the figure seated with knees drawn in, with a coiled dragon forming the body and with the face in profile on the convex edge below an elaborate bird-like head-dress, the decoration formed from well-delineated simple ridged channels to both sides, pierced for suspension at both ends and also simple piercing to the legs, dragon and the earrings. 3 1/8in (8cm) across, approximately

$3,000 - 5,000

西周人形玉珮

A very similar jade pendant with comparable cut-out piercings and overall profile, is illustrated in Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Jadeware I, Hong Kong, 1995, p. 122, no. 102. Compare with a very similarly envisioned jade zoomorphic pendant illustrated by Liu Yang, Translucent World, Chinese Jade from the Forbidden City, Sydney, 2000, p.66, no. 19, where the author notes that figures such as these, combining a sacred human and a dragon or phoenix, were a new form created during the Western Zhou dynasty. Their prototype can be traced to earlier Neolithic (Liangzhu culture) models which combines images of a deity and animal mask or to nearer precedents of Shang jade figures: two pendants excavated from the Fuhao tomb depict combines bird and human figures with bent legs as illustrated in line drawings by Jessica Rawson, Chinese Jade from the Neolithic to the Qing, London, British Museum, 1995, pp. 218-219, figs. 1-3, and another plaque dated to the 9th century BCE illustrated on p. 51, fig. 38. For an earlier Shang dynasty example, see John Finlay, The Chinese Collection, Selected Works from the Norton Museum of Art, West Palm Beach, 2003, pp. 112-113, no. 25.



11A CELADON AND PALE RUSSET JADE ‘SHAMAN’ COMBWestern Zhou Dynasty, Dawenkou Culture Of rounded rectangular outline, with fourteen graduated flattened teeth along one edge, the shaft carved on both sides in extremely low relief with a shaman-like image, the head with a large swathe of neatly-channeled hair, the body stylized with neatly cut channels and terminating in a dragon-like-tail. 2 9/16in (6.5cm) wide

$10,000 - 15,000

西周大汶口文化神人紋玉梳

For a very similar depiction on a handle-shaped object in the Palace Museum, see Gugong Bowuyuan Cang Wenwu Zhenpin Quanji(Complete Collection of Treasures of the Palace Museum) Jadeware I, Hong Kong, 1995, p. 104-105, no. 86 Western Zhou jade carvings with their partially humanoid motifs, evolved from Shang prototypes which depict a crouching human with bent arms framing the torso above the sharply bent legs, and wearing a headdress. Two such carvings of curved outline from the Shang dynasty tomb of Lady Fu Hao at Anyang are illustrated in The Jades from Yinxu, Beijing, 1982, pls. 109 and 113. See Christie’s, Hong Kong, Chinese Jades from the Yangdetang Collection, Part II, 28 November 2018, lot 2744 for a partially human-form pendant of curved outline; and another sold Christie’s, New York, 16 March 2016, lot 911, both from the Western Zhou period and which share some characteristics in the crouching figures depicted. A late 5th century BCE comb with incised scroll decoration now in the Hubei Provincial Museum was un-earthed in the famous tomb of Marquis Yi of Zeng, excavated 1978 in Suixian, Hubei and found directly underneath Marquis Yi’s head. A group of five jade ornaments including a Zhou dynasty comb were offered at Sotheby’s, New York, 18 March 2014, lot 155.

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12A PALE CELADON AND BLACK JADE PHOENIX PENDANTEastern Zhou Dynasty/Warring States or later Of annulate profile, the phoenix with slender coiled body carved on both sides with neatly engraved and channeled with lines forming tufts and feathery decoration above muscular lags with claws. 1 1/8in (3cm) across

$1,000 - 1,500

東周/戰國或更晚鳳鳥形玉佩 For a Warring States jade pendant with a hydra design but similar rounded-relief carving and with darker inclusions at the edges, see Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Jadeware I, Hong Kong, 1995, p.192, no. 160. See a small jade carving of a crested feline beast with similar treatment of curling scrolls to appendages and the body illustrated by Max Loehr, Ancient Chinese Jades, Fogg Art Museum, Harvard, 1975, p. 302, no. 440. For a Qianlong archaism of the same subject in the Qing Court Collection, see Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Jadeware III, Hong Kong, 1995, p. 19, no. 15.


13A YELLOW JADE MYTHICAL HARE PENDANTEarly Shang Dynasty style With large upright ears, almond-shaped eyes and snout, the top of the head engraved with a criss-cross pattern, the front legs bent at the chest, the lower body terminating in a scroll, pierced at the neck from both sides for suspension. 3 1/2in (8.8cm) high

$1,000 - 1,500

商代早期風格黃玉兔形珮



14A WHITE AND GREY JADE ‘CRESTED OWL’ PENDANTShang Dynasty Of curving outline, the flattened pendant carved with a large notched crest above an owl head with small ears and hooked beak, the body with simple scrolls delineating the wing feathers, terminating in a large coiled tail and simple clawed feet, pierced at both ends for suspension, the stone of even white tone with grey-black inclusions at the tail, traces of red pigments. 3 1/8in (8cm) across

$15,000 - 20,000

商灰白玉鴞紋珮

For a pendant of near identical form but of flatter design from the British Museum, see Transactions of the Oriental Ceramic Society, 1973-74/1974-75, London, 1976, in a special edition for the exhibition ‘Chinese Jade throughout the ages’, organised by the Arts Council of Great Britain and The Oriental Ceramic Society at the Victoria and Albert Museum, 1st May - 22nd June 1975, p. 37, no. 63. Unlike ours, it is calcified, but it does have some dark markings within the matrix. Another is illustrated by Sherman Lee, China 5000 Years, Innovation and Transformation in the Arts, Guggenheim Museum, New York, 1997, no. 10 (3), and was unearthed in 1976 from the Fu Hao tomb no. 5 in Anyang, Henan Province and now in the Henan Province Museum, Zhengzhou. For another Shang dynasty, Anyang period (circa. 1200 BCE.) crested bird pendant, see John Finlay, The Chinese Collection, Selected Works from the Norton Museum of Art, West Palm Beach, 2003, pp. 110-111, no. 24. Among the many jades discovered in the Fu Hao tomb were twenty-one crested bird pendants. Jessica Rawson has outlined the development of these birds and their relationship with Shang human figures with similar crests, see Chinese Jade from the Neolithic to the Qing, British Museum, London, 1995, pp. 218-219 no. 12:14. See also another example illustrated in Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Jadeware I, Hong Kong, 1995, p. 70, no. 60.

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15TWO PALE CELADON GREEN AND GREY JADE DRAGON-SHAPED PENDANTSEastern Zhou Dynasty (5th - 4th Century BCE) The two carved in mirror image with powerfully arched S-shaped bodies with scrolling projections, one with tight ‘grain’-form coils, the other with a variety of shaped ‘commas’ and ‘grain’-form coils, each pendant is outlined with a small edge-ridge, the heads, feet and some projections with more detailed realistic fur-like markings, the reverse side of each is un-worked save for original tool cutting marks on each both drilled, from one side only, at the center of upper body for suspension. 6 1/4in (16cm) across, approximately

$6,000 - 10,000

東周龍形玉佩兩件 Provenance Alvin Lo Oriental Art Limited, New York, 2001 Literature Alvin Lo Oriental Art Limited, Auspicious Jade Animals, New York, 2001, No. 1 來源 Alvin Lo Oriental Art Limited,, 紐約, 2001年出版 Alvin Lo Oriental Art Limited, Auspicious Jade Animals, 紐約, 2001年, 圖錄編號1

For a similar pair of Eastern Zhou, Warring States (475-221 BCE) dragon-shaped pendants unearthed at Pingliangtai, Huaiyang county, Henan Province and now housed in the Henan Provincial Institute of Archaeology and Cultural Relics, Zhengzhou, see China: 5,000 Years: Innovation and Transformation in the Arts, Guggenheim Museum, New York, 1998, p. 213, no. 14.

For another rare matched pair of dragon pendants dating to the same period, see Jessica Rawson, Chinese Jade from the Neolithic to the Qing, British Museum, London, 1995, pp.269-270, No. 17:9 where the author notes that “matched dragon pendants of this quality are rare having been used only in the tombs of the highest rank. There are only a few examples in collections outside China.” She also notes that dragon pendants made a sudden appearance in the range of jade items in the fifth century BCE tombs in Henan province and the tombs of the Jin State. For a number of other similar examples see, Wen C. Fong and James C.Y. Watt, Possessing the Past: Treasures from the National Palace Museum, Taipei, New York, Taipei, 1996, pp.48-49, pl. 10, where the authors note that such pieces formed part of a composite pendant worn by the aristocracy of the eastern Zhou period and illustrate a line drawing reconstructing the assemblage (fig. 3). See also Max Loehr, Ancient Chinese Jades from the Grenville L. Winthrop Collection in the Fogg Art Museum, Harvard University, Massachusetts, 1975, pp.290-291, no’s 422-424; Zhou Nanquan, Gugong Bowuyuan Tsan Wenwu Jenping Quanji, The Complete Collection of Treasures of the Palace Museum, Jadeware (1),Hong Kong, 1995, p.180, No. 150; and Teng Shu-p’ing, Chun Yu Bie Tsang Shu Ji, 1999 Collector’s Exhibition of Archaic Chinese Jades, National Palace Museum, 1996 pp.236-237, no’s 154 and 174. A pair of unadorned silhouette dragon pendants dated to the Eastern Zhou period (5th-4th century BCE) that resemble the undersides of our examples, are illustrated by J.J. Lally & Co., Ancient Chinese Jade, March 2018, no. 107 where comparison is drawn with another pair excavated from the tomb of Marquis Yi of Zeng at Suizhou, Hubei province illustrated by Gu (ed.), Zhongguochutu yuqi quanji (Complete Collection of Jades unearthed in China), Vol. 10, Hubei, Hunan, Beijing, 2005, p.84. See also John Finlay, The Chinese Collection, Selected Works from the Norton Museum of Art, West Palm Beach, 2003, pp.136-137, no. 43, for a single example.


16A ‘YELLOW’ JADE MYTHICAL BIRD PENDANTWestern Zhou Dynasty or later Of flattened horizontal format, the head with a simple up-crest and hooked beak, the wings simply delineated and with muscular legs and claws and terminating in a simple notched tail, pierced three times for suspension, the stone even-toned and with traces of earth encrustation. 2 3/4in (7cm) wide

$1,000 - 1,500

西周或更晚鳥形玉珮 For other Western Zhou Dynasty or later examples see Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Jadeware I, Hong Kong, 1995, p. 109, no. 90; J.J. Lally, Oriental Art, Ancient Chinese Jades, New York, March 2018, no. 85; and Yang Boda, Chinese Archaic Jades from the Kwan Collection, Art Gallery, The Chinese University of Hong Kong, 1994, no. 93, dated late Shang dynasty.


17A FINE OLIVE-CELADON AND CALCIFIED JADE SCABBARD SLIDEHan Dynasty Of slightly curved rectangular outline and extremely well and sensitively carved in relief to one side with a sinuous chilong facing a smaller dragon, hui, within a beaded edge, the underside with the requisite rectangular loop placed off-center. 3 3/4in (9.5cm) across

$6,000 - 9,000

漢螭龍紋玉劍璏 Compare similar slides illustrated by Jessica Rawson, Chinese Jade from the Neolithic to the Qing, British Museum, London, 1995, pp.299-302, no’s 21:11 - 21:16. See also a slide with dragons carved in higher relief and dated to the Western Han illustrated by Max Loehr, Ancient Chinese Jades from the Grenville L. Winthrop Collection in the Fogg Art Museum, Harvard University, 1975, p. 395, no. 572. See another example of yellow tone sold at Christie’s, Hong Kong, ‘Adorning the Kings - A private Collection of Archaic Jade Ornaments’, 31 May 2017, lot 2706; a slide also from the Robert Youngman Collection, see Sotheby’s, Hong Kong, 3 April 2019, lot 3448 and dated to the Western Han dynasty; and another illustrated by J.J. Lally & Co., Arts of the Han Dynasty, March-April, 1998, no. 12. For a slide of slightly higher relief, dated to the Western Han era, in the Qing Court collection, see see Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Jadeware I, Hong Kong, 1995, p. 220, no.183.

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18A PAIR OF GREEN, RUSSET AND CALCIFIED JADE PIGSHan Dynasty Each simply carved from a rectangular block of nephrite with features in a stylized form using strong slanting cuts to delineate the bodies, legs and heads, three simple lines engraved behind the snouts with a pierced tab to the underside, a further pierced tab to the tail, all with a high degree of polish. 4 1/2in (11.4cm) long

$15,000 - 25,000

漢玉豬一對 Provenance Alvin Lo Oriental Art Limited, New York, 2001 Literature Alvin Lo Oriental Art Limited, Auspicious Jade Animals, New York, 2001, No. 2 來源 Alvin Lo Oriental Art Limited, 紐約, 2001年出版 Alvin Lo Oriental Art Limited, Auspicious Jade Animals, 紐約, 2001年, 圖錄編號2


For a near identical pair of pigs in size and design, see J.J. Lally & Co., Arts of the Han Dynasty, New York, 1998, No. 10, where the author refers to similarly modelled pigs illustrated by Max Loehr and Louisa G. Fitzgerald Huber, Ancient Chinese Jades from the Grenville Winthrop Collection in the Fogg Art Museum, Harvard University, Massachusetts, 1975, p. 387, no. 555, where those authors cite a very similar example found in an early Eastern Han tomb at Beizhuang, Dingxian, Hebei which was assigned on epigraphic evidence to the period 56-88 CE and illustrated in Kaogu Xuebao, 1964, no. 2, p. 148, fig. 4. Jessica Rawson illustrates another pair, similar in color to ours, Chinese Jade from the Neolithic to the Qing, British Museum, London, 1995, pp.319-320, no. 24:10 and notes that “carvings in the shape of recumbent pigs are found in many Han tombs. It has been assumed that they were weights, although they sometimes appear clasped in the hands of the dead.” James Watt, Chinese Jades from Han to Ch’ing, Asia Society, New York, cites a pig illustrated in Kaogu, 1974, no. 2, p. 121, as the earliest documented example of a pair of jade pigs found in the hands of a body in a burial tomb in Xuzhou, Jiangsu, which has been dated to the end of the third century BCE. For other examples see Zhou Nanquan (ed.) Gugong Bowyuyuan Tsan Wenwu Jenping Quanji, The Complete Collection of Treasures of the Palace Museum, Jadeware (1), Hong Kong, 1995,, p. 233, no. 194; Chinese Jade Animals, Urban Council of Hong Kong, 1996, pp.68-69, no. 38; and Wu Hung and Brian Morgan, Chinese Jades from the Mu-Fei Collection, Bluett & Sons Ltd., 1990, no. 29.

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19PALE CELADON JADE FIGURE OF A ZOOMORPHIC ARCHERLiao Dynasty or later The hare-headed archer kneeling on one leg and holding a fully drawn archer’s bow across its body and firing along its right shoulder and extended right arm, the head with long ears drawn back and centered by a tuft that reaches to the neck. 1 3/8in (3.5cm) high

$2,500 - 3,500

遼或更晚青白玉神獸射箭把件 Provenance Robert P. Youngman Collection Anunt Hengtrakul, New York Published Robert P. Youngman, The Youngman Collection of Chinese Jades from the Neolithic to Qing, Chicago, 2008, pl. 100 Sotheby’s, The Robert Youngman Collection of Chinese Jade, 3 April 2019, lot 3430 來源羅伯特·楊門珍藏 Anunt Hengtrakul, 紐約出版羅伯特·楊門，《楊門藏玉：中國玉器．新石器時代至清代》，芝加哥，2008年，圖版100 蘇富比香港，楊門中國玉器珍藏，2019年4月3日，拍品編號3430 For other Liao examples of animals and other zomorphic figures, see Jades from China, The Museum of East Asian Art, Bath, 1994, no’s 213-217. For a carved figure of an aspara bearing stylistic similarities, see Zhongguo meishu quanji: Gongyi meishu bian, yuqi, Vol. 9, Beijing, 1997, no. 244. See Zhongguo qiqi quanji, Fujian, 1998, Vol. 3, cat. no 108 for images of zoomorphic figures engaged in hunts painted on lacquer-painted funerary furniture from the Western Zhou tomb at Mawangdui of Lady Dai (ca. 213-163 BCE). Such images from the Warring States and Han Dynasty periods were appropriated over time as this later jade attests too.

Lot 19 (Two views)


20A CELADON JADE ‘PHOENIX’ CARVING17th/18th Century Finely carved in the form of a recumbent phoenix, the long curling crest feathers extending down the neck, the head turned over its back, grasping a branch bearing two ripe peaches in its beak, the upper wings each decorated in low-relief with a scrolling archaistic dragon above the long pointed pennaceous feathers, the tips resting on base of the curling tail feathers, the underside carved with the tucked legs, the whole comforming to the outline of the pebble, the pale green stone with a lustrous finish and opaque white inclusions. 4 3/8in (11.1cm) long

$3,000 - 5,000

十七/十八世紀青玉雕臥鳳獻桃把件

Provenance The Peking Gallery, Toronto, Canada, 11th February 1974 Robert P. Youngman Sotheby’s, New York, The Robert Youngman Collection of Chinese Jade, 19 March 2019, lot 213 來源 The Peking Gallery，加拿大多倫多，1974年2月11日羅伯特．楊門珍藏蘇富比香港，楊門中國玉器珍藏，2019年4月3日，拍品編號213

A similar 17th/18th century carving of a phoenix grasping a peach branch from the Robert Hatfield Ellsworth Collection was sold at Christie’s, New York, 19th March 2015, lot 622, having previously been sold at Sotheby’s, Hong Kong, 20 May 1981, lot 888. A related Ming dynasty carving of a phoenix grasping bamboo in its beak was sold in Sotheby’s, New York, 22 April 1974, lot 19. Another 17th century example, carved as a water-dropper, was sold at Sotheby’s, London, ‘Menagerie, An English Private Collection of Chinese AnimalCarvings’, 10 May 2017, lot 6 For two phoenix carvings dating to the Qianlong period and carved in a more fastidious fashion with a more regimented design rather than the freedom of our slightly earlier example, see Robert Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, Hong Kong, 1996, p.250 and p.252, no’s 199 and 201. The first of these, no.199, was later sold at Sotheby’s, Hong Kong, 8 October 201,9, lot 3666.


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PROPERTY OF VARIOUS OWNERS

21A GILT METAL BOX WITH INSET JADE PLAQUEMing Dynasty, the plaque A celadon jade openwork plaque carved as a flying goose among lotus, the plaque set into the lid of a hinged gilt metal box, the underside of the cover and exterior walls with chased decoration of immortal attributes against ruyi form clouds. 3 3/4in (9.5cm) across

$4,000 - 6,000

嵌明代青白玉鏤雕仙鶴荷花紋鎏金蓋盒

For another Yuan or Ming plaque of the same subject, see Jessica Rawson, Chinese Jades from the Neolithic to the Qing, British Museum, London, 1995, p. 335, fig. 1. For an earlier oval plaque depicting a goose set against a reticulated lotus backdrop, see Robert Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, Hong Kong, 1996, p.46, no.43. It is dated to the Jin-Yuan dynasty (1115-1368). Another similar is illustrated by James Watt, Chinese Jades from the Collection of the Seattle Art Museum, 1988, p. 65, no. 40.

A jade plaque carved with the same subject from the Xi’an Municipal Administrative Committee of Cultural Relics is illustrated by Li Bingwu in National Treasure Collection of Rare Cultural Relics of Shaanxi Province, 1999, pp.196-197. Another more similar example was sold at Christie’s New York, 14/15 September 2017, lot 1015.

22A CELADON JADE PLAQUE18th Century A circular form plaque, carved in low relief, one side with three rams, reversed with an inscription in seal script reading San Yang Kai Tai, referencing the obverse, the terminal head with clouds and a pierced opening. 2in (5cm) high

$1,000 - 1,500

十八世紀三羊開泰青玉牌 For a plaque of this type with a depiction to one side and an explanatory seal inscription to the other extolling the virtues of the scene depicted, see Jessica Rawson, Chinese Jade from the Neolithic to the Qing, British Museum, London, 1995, pp. 346-347, no. 25:34 (front and back).

Three rams or goats (sanyang) together with a rising sun (taiyang) form the rebus ‘three young beget prosperity’ or Prosperity in the springtime’ (sanyang kaitai).


23A RETICULATED WHITE JADE ‘DRAGON’ BELT PLAQUEQing Dynasty Carved with a two-clawed dragon entwined among delicate vines, leaves and magnolia blossoms, the stone of an even white hue. 3in (7.6cm) wide

$2,000 - 3,000

清白玉鏤雕龍紋腰牌 For other examples of 15-16th century precursors, see Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Jadeware III, Hong Kong, 1995, p. 13, no. 9.

For 15th/16th century precursors see Jessica Rawson, Chinese Jade from the Neolithic to the Qing, British Museum, London, 1995, p. 327, fig 8; and Sotheby’s, London, ‘Menagerie, An English Private Collection of Chinese Animal Carvings’, 10 May 2017, lot 52

24A WHITE JADE CAT GROUPQing Dynasty, 18th Century The stone an even white tone, carved as an intertwined adult and juvenile cat, their resting heads nestled against one another. 2 1/4in (5.9cm) long

$2,000 - 3,000

十八世紀白玉子母貓把件 For a similar white jade ‘cats’ group, see Sotheby’s, London, ‘Menagerie, An English Private Collection of Chinese Animal Carvings’, 10 May 2017, lot 44. For another small jade group of a cat and a kitten of greenish-white tone, see Christie’s, New York, 17 March 2017, lot 1083, where it is compared to a white jade carving of two cats and a dragonfly formerly in the T.T. Tsui Museum of Art, Hong Kong, and sold at Christie’s, New York, 15 September 2011, lot 1427.

See also Bonhams, London, Knightsbridge, 2 November 2020, lot 145, for another with two cats and a butterfly.

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25A CELADON AND RUSSET JADE CARVING OF A MYTHICAL BEAST19th Century The crouching beast carved with upturned ears, its head turned to the left over its front paws, the spine curving towards the haunches and the tail tucked underneath, the pale stone with some russet streaks and darker inclusions. 2 3/4in (7cm) long

$2,000 - 3,000

十九世紀褐斑青玉祥獸擺件 The present lot is carved in a Ming style but can be more closely related to another beast dated to the 19th century in the collection of the Asian Art Museum of San Francisco: see Michael Knight, He Li and Terese Tse Bartholomew, Later Chinese Jades: Ming Dynasty to Early Twentieth Century, San Francisco, p. 78, no. 55.


26AN INSCRIBED PALE CELADON JADE SMALL SQUARE BOX AND COVERYongzheng mark, Qing Dynasty The box and cover with rounded canted corners, the very slightly domed cover engraved with two couplets of five-characters followed by the seal wen wan, with a similarly canted square foot and recessed base centered by the raised Yongzheng four-character mark on a scoured square ground. 2 1/4in (5.7cm) across

$2,500 - 3,000

清青玉刻詩文盒蓋《雍正年製》款 The two couplets of five-characters reads mo yan xian chu le, you shi bu xiang rao which can be translated as: ‘Don’t assume happiness in the leisurely place, serene things are not always plentiful’.



27A CELADON JADE DOUBLE GOURD CARVING18th/19th Century Carved as a large double-gourd and with several smaller gourds and leaves hanging from a vine, a tightly curled tendril extending towards the base, the base with a small concave dimple, the stone a pale celadon. 3 1/2in (8.9cm) long

$6,000 - 9,000

十八/十九世紀青玉雕葫蘆擺件 For a slightly larger jade grouping of clustered gourds, see Robert Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, Hong Kong, 1996, p.255, no. 204. For another example, similarly depicting a large central gourd surrounded by vine tendrils, curling leaves and other smaller gourds, see Christie’s, New York, 22 March 2007, lot 89.

28A PRECIOUS-STONE-EMBELLISHED WHITE NEPHRITE VASE AND COVERJade probably Qing Dynasty, embellishment later The vase of pear shape with waisted neck and everted neck with short straight sides, the rounded cover surmounted by an oval knop, the stone inlaid on the body and cover with gold wire threads with alternate upright floral sprays in an Hindustani style. 4in (10.2cm) high

$4,000 - 6,000

白玉嵌寶花卉紋蓋瓶 For an imperial pre-cursor in the so-called Hindustani style, see a more slender jade vase with various colored stone insets from the Qing Court Collection illustrated in Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Jadeware III, Hong Kong, 1995, p. 286, no. 238; and a dish ibid., p. 273, no. 225.

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PROPERTY OF AN ENGLISH LADY

29A GROUP OF SIX GREY, CREAM AND CELADON JADE FIGURES OF LUOHANSMing-Qing Dyansty Comprising four individual figures of standing elderly robed luohan and two paired figures of younger acolytes, the figures variously gesticulating or with hands held under their sleeves, some with areas of calcification. 4 1/4in (10.8cm) high (6).

$5,000 - 7,000

明至清玉雕羅漢像六件

Property of an English LadyLots 29 - 54

The Collection was formed in the 1970’s and continued until 2018. The sources varied but amongst them were the renowned dealers Spink & Sons, S. Marchant & Son, Gerard Hawthorn Oriental Art, and Roger Keverne Ltd., in London and Ralph M. Chait and Alan Hartman Rare Art in New York. Many trophies were acquired at the numerous art fairs in Europe, America and Asia. Provenance was always a driving force behind purchases. This small group of items displays the exquisite taste and extraordinary eyes of the collector and mentors.

Provenance Alan Hartman, Rare Art, New York, 1982 E.H. Williams, Palm Beach 来源 Alan Hartman, Rare Art, 紐約, 1982年 E.H. Williams, 佛羅里達棕櫚灘 For a very similar partially-calcified single figure, see Transactions of the Oriental Ceramic Society, 1973-74/1974-75, London, 1976, in a special edition for the exhibition ‘Chinese Jade throughout the ages’, organised by the Arts Council of Great Britain and The Oriental Ceramic Society at the Victoria and Albert Museum, 1st May - 22nd June 1975, p. 114, no. 380.



30A RARE GREY, BLACK AND BROWN JADE FIGURE OF ZHOU YANZI17th Century or earlier The standing figure clutching a milk pail in his right hand and wearing knee-length robes tied at his waist over baggy pants, his right hand bent backwards to clutch the hoof of a deer, the skin of which he wears as a cloak, the deer’s head covering the top and back of the boys shaved head, the deer’s antler’s and ears hanging down to the neck, the four legs and hooves and tail of the animal skin delicately carved in fine details to the reverse side which is itself cut from the dark skin of the pebble. 3 1/4in (8.2cm) high

$3,000 - 5,000

十七世纪或更早灰黑玉雕鹿乳奉親

Provenance Spink and Son, Ltd., London 來源 Spink and Son, Ltd., 倫敦 For another Ming example carved from a celadon-white pebble with a russet skin, see S. Howard Hansford, The Arts of the Ming Dynasty: Carvings in Jade, Ivory, Rhinoceros Horn and Bamboo, Transactions of the Oriental Ceramic Society, 1955-56/1256-57, London, 1958, p. 55, no. 356, pl. 95 and which entered the Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC, in 1987 (accession no.S1987.759). See two others of slightly differing concept but similar size, Chinese Jade: An Important Private Collection, Spink & Son, London, 1991, no. 120; and Post-Archaic Chinese Jades from Private Collections, S. Marchant and Son, London, 2000, no. 23. Other examples have appeared at auction infrequently, all of slightly differing concept but of the same subject, the morally-instructive Chinese folk-tale and later Confucian exemplum praising filial piety. The figure of Zhou Yanzi is depicted wearing a deerskin draped over his head to hide his identity from a herd of deer in order to gather milk for his ailing father. For others, see Sotheby’s, London, 7 December 1993, lot 92; Sotheby’s, New York, 31 March 2005, lot 57; Christie’s, London, 10 May 2015, lot 20; and another similarly-sized example at Sotheby’s, New York, The Robert Youngman Collection of Chinese Jade, 19 March 2019, lot 241 and also illustrated by Robert P. Youngman, The Youngman Collection of Chinese Jades from Neolithic to Qing, Chicago, 2008, pl. 181.

Lot 30 (Three views)

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31A FINE MOTTLED GREY AND WHITE JADE RUYI-FORM BRUSHWASHER17th Century The superbly-carved and reticulated vessel of lobed ruyi shape with outward-sloping sides, the rim surmounted by two sinuous chilong with bi-furcated tails which clamber in a coiled fashion toward each other on opposite sides of the rim and over-hanging the vessel interior, the shallow sides delicately carved with a pair of confronted bats and three large fleshy chrysanthemum-heads supported on gnarly leafy branches that extend around the sides and under the foot, the stone with attractive areas of black inclusions and mottling. 4 1/2in (11.8cm) across

$7,000 - 10,000

十七世紀灰白玉如意形水盂

This extraordinary brushwasher is superbly carved with meticulous attention to detail not only of the visible areas as one would expect but also to the extremely deeply cut and reticulated brances that support the vessel. This is a treasure for the hand as well as the scholar’s table. The subject is rife with longevity symbols and blessings adding to its allure. The vessel itself forms a large ruyi-head, the fungus of longevity, and a pair of confronted bats to one side form the rebus, shaungfu, ‘may you have double blessings’. The addition of the most glorious full chrysanthem-heads below two coiling baby dragons, chilong, at the rim complete this picture. The chrysanthemum, the symbol of autumn, is another longevity symbol. During the Han dynasty people drank chrysanthemum wine on the ninth day of the ninth lunar month in order to prolong their lives, and even today its medicinal properties in tea is well-understood. See Therese Tse Bartholmew, Hidden Meanings in Chinese Art, The Asian Art Museum, San Francisco, 2006, p. 175, no. 7.11., where the author notes that the chrysanthemum is known as the ‘hermit’ among flowers and closely associated with the famous Eastern Jin poet and recluse Tao Yuanming (372-427), who wrote poetry in its honor. How perfect then as a subject on a calligraphers brushwasher.



32A PALE CELADON-WHITE AND RUSSET JADE ‘ELEPHANT AND HEHE ERXIAN’ GROUP17th/18th Century Carved from a vertical trapazoidal shaped pebble with a wrinkled old elephant with long tusks and head bowed to one side and wearing a fringed lotus blanket over his back which is surmounted by the laughing twins, Hehe Erxian, one holding a circular box, the other a lotus stem and clambering either side of tripod censer and cover ding, the toes and underside of the feet well delineated, the attractive stone with areas of skin and inclusions highlighting the scene; with a stepped stand. 3 1/2in (9cm) high

$15,000 - 20,000

十七/十八世紀青白玉帶皮太平有象把件 Provenance Ralph M. Chait Galleries, New York, 1981 來源 Ralph M. Chait Galleries, 紐約，1981年 For another celadon and russet jade carving of the same subject but of larger size, see Robert Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, Hong Kong, 1996, p.220, no. 170. Like ours, a vessel is carved atop the blanket which centers the elephant’s back and the boys clamber to the sides. For a slightly later white jade boy and elephant group, see Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Jadeware III, Hong Kong, 1995, p.117, no. 97

Lot 30 (Two views)


33A WHITE AND GREY JADE ‘DOUBLE PHOENIX’ GROUP18th Century The beige stone heavily-mottled in grey, black and even some pink inclusions to one side stone, extremely well carved as two crested phoenix seated side by side and clutching the same leafy branch in their beaks, their wing and tail feathers with neatly-channeled grooves, the underside with well-delineated legs and feet; with a wood stand. 3 3/4in (9.5cm) across

$2,500 - 4,000

十八世紀灰白玉雙鳳擺件 A pair of Phoenix flying or singing, fenghuang yufei may be understood as ‘May you have an harmonious marriage’, shuangfeng heming, see Therese Tse Bartholomew, Hidden Meanings in Chinese Art, San Francisco, 2008, p.54, no. 2.20.1. According to legend, the appearence of the phoenix augers the emergence of an able ruler, for it appeared when Confucious was born. It is also associated with the empress, often oramenting her clothing and jewelery. It’s favorite perch is the Chinese parasol tree, wutong, and it is perhaps the branch of this tree, that the pair of phoenix lovingly support, in our image.


34A WHITE GREY AND BROWN-MOTTLED JADE ‘LION AND CUB’ GROUPPossibly 17th Century Superbly detailed curly manes and entwined bushy tails, the underside also with clearly delineated legs and paws, the front legs of the cub set on a ribboned ball between them. 2 3/4in (7cm) wide

$3,000 - 4,000

灰白玉褐斑太獅少獅擺件 For another slightly larger mottled beige-toned jade carving of a lion and cub with a ribboned ball set between them and dated to the Ming Dynasty (16th Century), see Robert Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, Hong Kong, 1996, p. 66, no. 58. Another with similar markings to the stone is illustrated by Thomas Fok, The Splendour of Jade, The Songzhutang Collection of Jade, Hong Kong, 2011, pp. 106-107, no. 92.

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35A RARE OLIVE-GREEN SOAPSTONE FIGURE OF A GUANYIN ON A LOTUS BASEQing Dynasty, probably 17th Century On a separate lotus pedestal base, with naturalistically bending petal tips with russet highlights, the Guanyin figure of overall pyramidal form with wide base, seated with her hands cupped at her folded legs, her robes edged in floral and chevron hems, an under blouse tied at her chest and incised with flowers and lotus, traces of red pigment to her lips and ears, the hair neatly delineated and, like her eyes and brows, are highlighted in black and tied in a high chignon under a cowl, the reverse side with further sashes and robe folds. 10 5/8in (26.8cm) high, the figure exclusively, 12 7/8in (32.7cm) high overall

$6,000 - 10,000

清壽山石觀音坐像

Provenance Roger Keverne, London (un-dated receipt) 來源 Roger Keverne, 倫敦 A similar though smaller figure of Guanyin set in a shrine with attendant figures and dated seventeenth century and most importantly listed in the 1721 inventory of Augustus the Strong, Elector of Saxony, is illustrated by Maureen Cassidy-Geiger, in a paper entitled ‘Changing Attitudes Towards Ethnographic Material:Re-Discovering The Soapstone Collection of Augustus the Strong’ in Abhandlungen und Berichte des Staatlichen Museums fur Volkerkunde Dresden, No.48, Frankfurt/Maine, 1994, p. 54, pl. 41a & b.


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36A FINE LARGE RUSSET AND GREEN JADE ‘LUOHAN IN A GROTTO’ BOULDER18th Century Carved from one end of a much larger boulder of nephrite jade and covered almost entirely with a dark brown skin thinning in color to reveal the olive-green stone beneath, particularly in the carved areas, the stone of vertical oblong profile with one corner edge deeply cut with a small mountain niche centered by the robed and seated, bearded and moustached, louhan Bodhidharma, with eyes closed in meditation, his head covered by a cowl, a waterfall cut from a natural fissure in the stone runs nearby and continues under the grotto where he sits, the surrounding craggy rock faces are variously carved in low and high relief with knotty branches with hanging vines and wutong and pine dispersed to the reverse side. 7in (17.7cm) high

$8,000 - 12,000

十八世紀青玉帶皮羅漢山子

The Metropolitan Museum of New York has a taller though more slender boulder carving, cut from a very similar dark-toned green and brown nephrite as ours. The luohan is identified as, possibly Gopaka, as he holds a feathered fan. He is seated in a grotto carved deeply from the stone and like our example has foreshortening of the ground plain by the use of a steep rock shelf upon which he meditates. The rockwork is similarly carved with wutong or maple, see www.metmuseum.org / Jades / accession number:21.175.145. The jade entered the collection in 1921 from the famed Edmund C. Converse Bequest. The museum suggests a likely date of production in the latter part of the 18th century sometime after 1757. This was when the Qianlong emperor visited the Shengyin Monastery in Hangzhou and saw a set of sixteen luohan paintings attributed to Guanxiu (832–912), a monk-artist renowned for his eccentric depictions of Buddhist adepts. The emperor fell in love with the paintings and commissioned responses in various media, including jade carvings. Woodblock prints, like the eighteenth century catalogue, Guyu tupu depicting similar themes may also have been used as a reference for the jade carvers. A comparable boulder from the National Palace Museum, Taipei, dated to the Qianlong period and depicting Bodhidharma gazing into a grotto wall in meditation and inscribed with an Imperial poem by the Qianlong emperor, is illustrated in The Refined Taste of the Emperor:Special Exhibition of Archaic and Pictorial Jades of the Ch’ing Court, Taipei, 1997, pl. 39. An 8 inch high boulder carving of Bodhidharma seated in a grotto, of similar color but of very different scale to ours, with the central figure of the luohan taking up about half the height of the carving, was offered at Sotheby’s from the Collection of Stephen Junkunc, III, 22 September 2020, lot 213. A very slightly smaller pale green jade example was sold at Bonhams, London, 7 November 2013, lot 115. For a smaller pale celadon and russet jade boulder of the sixth luohan Bodhidharma in a grotto, see Sotheby’s, 23 September 2020, lot 653. A slightly later boulder of a similar dark stone but with less attention to the quality of the carving and its disposition was sold at Christie’s, New York, Lacquer, Jade, Bronze, Ink: The Irving Collection, Part II, 21 March 2019, lot 1119.

Lot 36 (detail)


Lot 36 (Two views)

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37A CELADON-GREEN JADE ‘SHOULAO, DEER AND PINE TRUNK’ SMALL VESSEL GROUP18th Century The group carved with a bearded robed figure of Shoulao holding a branch of fecund peaches, and seated in semi-recline against a hollowed-out pine trunk forming a small vase or vessel, and carved with pine needles, bamboo and lingzhi, a small deer kneels before him and turns to look over its back, the underside of each also realistically carved. 3 7/8in (9.7cm) across, wood stand

$2,000 - 4,000

十八世紀青玉雕福祿壽擺件 For a small celadon jade standing figure of Shoulao clutching a large peach and with a deer at his side, see Sotheby’s, New York, The Robert Youngman Collection, 19 March 2019, lot 238. A pale celadon group of more horizontal format showing Shoulao seated under a pine tree with his deer nearby, see Christie’s, London, 15 July 2005, lot 338. For another celadon jade deer and crane group with a vase or vessel formed from an old pine trunk, see Sotheby’s, London (St. George) 17 May 2019, lot 236.


38A WHITE GREY AND ‘PINK’ JADE FIGURE OF DONGFANG SHUO18th Century Of narrow profile, the figure holding a weighty peach branch in both hands which trails over his right shoulder and on to his left, wearing baggy-sleeved robes tied at his waist and a large straw hat slung across his back. 3 1/4in (8.2cm) high

$2,500 - 3,500

十八世紀玉雕東方朔像 A very similar carving in white jade and dated to the Qianlong period, depicting the same historical figure with a huge peach spray weighing-down across his shoulder and with a large straw hat hanging on his back, is illustrated by Knapton Rasti, Asian Art, London, 2002, p. 52, no. 82, where the authors cite, James C.Y. Watt, Chinese Jades from Han to Ch’ing, p. 119, pl. 101, where the figure is described as Tung-Fang Shuo (Dongfang Shuo) an historical figure from the court of the Emperor Wu-ti (Wudi) in the Western Han period, and often represented stealing the peaches of Immortality.



39A WHITE JADE ‘CRANE AND PEACHES’ GROUP18th Century The white stone with a trace of pale celadon in the tone and boldly carved in reticulated relief with a seated crane with its legs tucked neatly to the underside and its wing and tail feathers naturalistically delineated, the birds slightly curving long beak clutching a leafy peach branch with five fecund fruit that surround the birds head and back. 2 5/8in (6.6cm) high

$7,000 - 10,000

十八世紀白玉雕鶴壽把件 For a larger white jade grouping of a cranes clutching large peach branches, see Robert Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, Hong Kong, 1996, p.251, no. 200. For groups of various birds with fruiting branches in their beaks see Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Jadeware III, Hong Kong, 1995, p. 100-104, no’s 80-82, 84.

Lot 39 (Two views)

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40A SUPERB MINIATURE WHITE JADE ‘BOY ON ELEPHANT’ GROUP18th Century Carved from the finest white jade of luminescent quality and high polish, depicting a boy clambering on the back of small wrinkly elephant with head turned to it’s left side, the boy holding a ruyi scepter, his hair tied in neat buns and the ribboned belt of his robes falling down the elephants back to the tail. 1 5/8in (4.2cm) high

$4,500 - 6,500

十八世紀白玉雕童子騎象把件 For a much larger celadon and russet jade carving of a boy holding a ruyi scepter whilst clambering on the back of an elephant in the Qing Court Collection, see Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Jadeware III, Hong Kong, 1995, p. 117, no. 97.

Lot 40 (Two views)



41A MINIATURE WHITE JADE SEATED FIGURE OF A ‘ZODIAC’ ARCHER WITH PIGS HEAD18th Century The attractive semi-opaque milky-white stone modelled as a seated pig wearing voluminously-sleeved robes and holding a bow in his real left which extends out to the reverse side and holding an arrow in his raised right hand, the carving continuing to the underside. 1 1/4in (3.2cm) high

$4,500 - 6,500

十八世紀白玉豬首執弓箭者 Provenance Roger Keverne, London 來源 Roger Keverne, 倫敦 For an almost identical figure, both in modelling and size, from the Qing Court Collection, see Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Jadeware III, Hong Kong, 1995, pp. 132-133, no. 111, it forms part of a set of twelve depicting Zodiac figures. Another white jade pig archer from a zodiac group but of larger size (2 1/4 inches high), see Robert Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, Hong Kong, 1996, pp.232-233, no. 182.

Lot 41 (Three views)

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42A CELADON JADE SHOULAO, DEER AND ATTENDANT GROUP18th Century Softly carved in low relief with a standing figure of the stellar immortal dressed in voluminous robes and holding a ruyi scepter in his right hand and stroking his long beard with the other, a deer sits at his feet to one side and his youthful attendant clutching a large peach stands to the other, the stone with a few minor russet areas, the base later inset with an engraved Qianlong nian zhi spinach-green jade plaque. 3 7/8in (9.8cm) high

$6,000 - 8,000

十八世紀青玉雕童子獻壽擺件

Provenance Alan Hartman, Rare Art, New York, 1977 來源 Alan Hartman, Rare Art, 紐約, 1977年 For a small celadon jade standing figure of Shoulao clutching a large peach and with a deer at his side, see Sotheby’s, New York, The Robert Youngman Collection, 19 March 2019, lot 238. A small jade carving with Shoulao and a boy attendant by his side and a deer to the rear sold at Bonhams, Edinburgh, 8 July 2015, lot 108. For a small jade carving with Shoulao and his deer but no attendant, see Bonhams, Los Angeles, 14 December 2020, lot 139.



43A PALE CELADON JADE RETICULATED BRUSHPOT18th Century The slender cylindrical vessel deeply carved and reticulated in a continuous scene around the sides and continuing in low relief on the base, the rim gently rounded, brilliantly carved with an unusual scene depicting two elderly, presumably Daoist, scholars and attendant pointing at a flying crane above which appears to have been released from a wooden pen lodged in the rockwork behind them, whilst nearby another scholar with a water vessel at his feet directs a young attendant to scoop fresh water from the base of a gushing waterfall, all set in a busy many-layered rockwork setting with a small fenced building with a stepped pathway and a large pavilion with a bridge beside another waterfall, all dotted with various craggy pine, a large wutong tree and other hanging foliage. 4 3/4in (12cm) high

$10,000 - 15,000

十八世紀青白玉雕山水人物筆筒

Provenance Oriental Art Gallery, London, 1996 來源 Oriental Art Gallery, 倫敦, 1996年

Beyond the exemplary carving, which works so well on this small scale brushpot where the constrictions of the narrow working surface make the depiction of scale so difficult, the lapidary has also made exceptional use of a stone that has some minor faults. The uneven tonality in some areas has been cleverly hidden by judicious undercutting and intergration of fault lines into the design. The light still filters through in a most pleasing manner, highlighting the three-dimensionality of the scene.

For a very similar carved and reticulated brushpot bearing an imperial poem and depicting a gathering of ‘Five Elders’, see Sotheby’s, Hong Kong, Important Chinese Art from the Collection of Sir Quo-Wei Lee, Part II, 8 October 2019, lot 118, where comparison is drawn with another jade brushpot with a Qianlong mark exhibited in A Romance with Jade from the De An Tang Collection, Palace Museum, Bejing, 2004, Cat. no13. Other 18th century white or whitish-celadon jade brushpots intricately carved with Doaist scenes are recorded, including one formerly in the collection of Heber Bishop, and now in the collection of the Metropolitan Museum of Art, New York, www. metmuseum.org. / Jades, accession number 02.418.209; another with immortals, formerly in the famous Kitsen Collection, sold at Christie’s New York, 17th September 2008, lot 329; and another sold at Sotheby’s, Hong Kong, 7 April 2015, lot 3643. For another rare reticulated small brushpot of similar size but of rounded rectangular shape rather than the cylinder of our example, see Christie’s, New York, 22 March 2013, lot 1357. It too has a continuous mountain setting with Daoist figures.

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44A RARE BLACK ANTHRACITE CIRCULAR ‘EUROPEAN ARMORIAL’ BOX AND COVERJiaqing The lightly domed cover, carved in deep relief with a dense design of farmers at chores, and other figures boating, sitting in pavilions, riding a horse, and dangling their feet in water, all set amidst pine, maple, willow and bamboo, bordered by a wreath-like band of peony and prunus which continues on the waisted sides, the box sides with buildings and pine and the base similarly carved to the cover, though in a less-dense fashion, with agricultural, fishing and leisure scenes centered by the coat-of arms and motto ‘Pax et Copia’ (Peace and Plenty). 5 1/2in (14 cm) diameter

$2,000 - 4,000

清嘉慶炭雕人物樓閣及歐洲紋章盒蓋

Provenance Spink & Son, Ltd., London 來源 Spink & Son, Ltd., 倫敦 David Sanctuary Howard, Chinese Armorial Porcelain, London, 1974, p. 710, W3, illustrates a plate with the same motto ‘Pax et Copia’ belonging to the Samler family but with a different coat of arms (impaling Shaw) but sharing some of the heraldic symbols like the ‘three quatrefoils’. A large number of similar boxes and covers depicting the daily lives of the Chinese population, presumably in the south, and it appears specifically made for the export trade, are published, but most appear to have been made from tortoiseshell. The use of anthracite, (coal or fossilized wood), is an unusual feature of this particular box. The addition of motto’s and coat’s-of-arms on so many of these boxes clearly points to a Western commission, as does their appearance in so many Western collections. For two tortoiseshell examples, presumably from the same network of workshops, see Sotheby’s, New York, Florence and Herbert Irving Collection, 14 September 2019, lot 1297; and Gerard Hawthorn Ltd., Oriental Works of Art, Summer 2005, no. 70.

Lot 44 (Two views)



45A PAIR OF CLOISONNÉ ENAMEL RHINOCEROS19th Century Each standing foursquare with head slightly lowered, their horns, ears, mouths and tails left in gilt copper, the remaining surface decorated on a turquoise-blue ground with stylized hides and green ‘armor-plating’ at the chest and rear and divided by floral scrolling all over, the spine picked out in a thin puce ridged line, the tails flicked to one side. 8in (20cm) across, wood stands

$4,000 - 6,000

十九世紀琺瑯彩犀牛一對 For Qianlong pre-cursors of this type of animal model, see A & J Speelman, Chinese Sculpture and Works of Art, London, 2002, pp.68-69, no. 31. The pair of rams are similarly decorated with areas of green-ground panels at the chest and haunches all set on a stylized scrolling floral ground and with gilt-copper highlights to the horns, mouths and tails.


46A CHAMPLEVÉ AND GILT-COPPER REPOUSSE SEATED LOUHANQing Dynasty The figure wearing a diamond-patchwork robe enameled in rust-red, blue and turquoise patches each centered with pendant jewels and bordered by gilt lines, the hems further engraved with floral scrolls on a diaper ground, the thoughtful open-mouthed louhan with shaved head seated with arms crossed under his robes. 6 3/4in (17cm) high

$1,200 - 1,800

清掐絲銅鎏金錘揲羅漢像 A vary similar example dated to the 18th Century was offered at Cambi, Genova, Arte Orientale, 4 June 2012, lot 208. Another figure from the William Boyce Thompson Collection was offered at Sotheby’s, New York, 24 June 2020, lot 928; and two others from the Greenwald Collection were sold at Christie’s, New York, 5 April 2011, lot 372. A parcel-gilt repousse copper figure in an identical pose was offered at Christie’s, New York, 22-23 March 2012, lot 1783.

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46

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47A FINE GILT BRONZE FIGURE OF BUDDHA SAKYAMUNI17th Century Seated in vajrasana with the hands held in dhyanamudra, with wide shoulders and relatively small but naturalistically modelled head with a soft benevolent expression, with high arching brows above heavy-lidded eyes and long triangular nose above a small but full fleshy mouth, his hair tightly knotted and rising to a small domed usnisa, large pendulous ears frame the head, his robes draped over one shoulder, the other exposed, the hems delicately cast and incised with scrolling lotus, a pleated inner garment decorated with three round jewels in the Chintamani pattern, which also falls in folds between his legs, his fifth large toe on each up-turned foot slightly splayed from the other grouped toes, seated on a double lotus base cast with cloud motifs in the early Ming dynasty style beneath a beaded edge, all under a thick gilding, no base panel. 6 1/2in (16.5cm) high

$10,000 - 15,000

十七世紀鎏金銅佛坐像


For another gilt-bronze figure of Buddha Sakyamuni of similar size, see James Spencer, Buddhist Images in Gilt Metal, Chang Foundation, Taipei, 1993, pp. 38-39, no. 12. The figure is less slender in the middle torso than ours but the wide shoulders certainly bear comparison as does the treatment of the lotus base. In our figure, the petals continue around the entire circumference, unlike the Chang Foundation example. Buddha Sakyamuni was the founder of Buddhism and according to tradition he lived from circa 565 to 485 BCE in an area which now lies on the border of India and Nepal. His was known as Siddartha of the Sakya clan. The term ‘muni’ means holy man, ascetic, saint, sage, and is also interpreted as benevolent, kind and charitable. Thus Sakyamuni means “The Benevolent Holy Man of the Sakya clan.” In Mahayana Buddhism, which prevailed in China, Buddha Sakyamuni was the fourth of a series of five Manusi or earthly Buddhas and before his death he foretold the coming of the fifth earthly Buddha, Maitreya. For a larger lacquered wood figure bearing very similar facial features particularly the strong triangular nose and also with the wide shoulders prefered during the Kangxi era, see Sotheby’s, New York, Footsteps of the Buddha: Masterworks from across the Buddhist World, 3 September 2013, lot 27.

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48A SOAPSTONE FIGURE OF ‘SLEEPING’ LI BAI18th Century The drunken poet peacefully slumbering against an over-turned wine jar under his left side which raises his upper torso, the languid pose is liquidly-mirrored in the sinuous folds of his absurdly-elongated flowing sleeves, his out-stretched form, long droopy moustache and his heavy-lidded closed eyes, his robe delicately incised with blossoms on waves at the borders, waves and clouds at his plump belly, further clouds dotted around his robes and with lishui stripes at the hem. 4in (10.1cm) across

$2,500 - 3,500

十八世紀壽山石雕李白像 Provenance Ralph M. Chait Galleries, New York 來源 Ralph M. Chait Galleries, 紐約 Another figure in a darker red soapstone but again depicting the drunken poet Li Bai, was sold at Christie’s, New York, ‘Lacquer, Jade, Bronze, Ink -The Irving Collection, Part II, 21 March 2019, lot 1184. Another example, also from the Ralph M. Chait Galleries, New York, sold at Sotheby’s, New York, ‘Property from the Collection of Marion and Henry Bloch’, 24 June 2020, lot 1045; and another sold at Sotheby’s, Hong Kong, 2-3 June 2016, lot 281. For a figure in the Qing Court Collection, of slightly smaller-size and carved from jade, see Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Jadeware III, Hong Kong, 1995, p. 124, no. 104. Another soapstone recumbent figure described as a ‘big-bag mendicant, is illustrated Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Inscriptions and Sculptures, Hong Kong, 2008, p. 218, no. 204.


49A CREAM SOAPSTONE FIGURE OF BUDAI17th/18th Century The corpulent luohan in a relaxed pose with his robes falling open to expose his bare chest, his right arm resting on his raised right knee and holding rosary beads, his left arm draped lazily over his sack, with smiling expressive face, shaved head and delicately stippled moustache, all lightly incised details picked out in black pigments and gilt, the hems of his robes with blossom and lingzhi on a wave ground and with loosely-arranged flower-heads and clouds dispersed around his clothing and to the reverse. 3 7/8in (9.8cm) high

$4,000 - 6,000

十七/十八世紀壽山石雕布袋和尚像 For a similar soapstone figure of identical height dated to the Kangxi period, see J.J.Lally & Co. Oriental Art, Chinese Art from the Scholar’s Studio, March-April, 2015, no. 14. Another example, with the figure shown in mirror image to ours, was offered at Sotheby’s, Paris, 11 December 2020, lot 158.



50A SOAPSTONE FIGURE OF A SHOULAO ON ROCKWORK PEDESTALProbably late 18th Century-early 19th Century Standing on an attached rockwork pedestal, the bearded figure wearing flowing robes tied with a sash above belly level, that falls towards his feet, and incised with numerous peach groups supporting shou characters edged in a wave design, the robes at his rotund belly carved with a panel of a crane above waves, he holds a ruyi scepter with an unusually large coiled fungus head across his left arm, traces of red and black pigments to his lips, eyes and hair at the back of his head. 11in (27.9cm) high, overall

$4,000 - 6,000

清壽山石雕壽老像 Provenance Ralph M. Chait Galleries, New York 來源 Ralph M. Chait Galleries, 紐約 For another similar-sized large standing figure of Shoulao posed holding a ruyi scepter and dated 17th/18th Century, see Gerard Hawthorn Ltd., Oriental Works of Art, London, June 2001, no. 65, where it is noted that another soapstone figure of Shoulao from the Sloane Collection (which formed the inception collection of the British Museum in 1753) is illustrated in Chinese Ivories from the Shang to the Qing, British Museum, London, 1984, no. 100. Other standing figures of Shoulao, also known as Shouxing, one of the three stellar gods of Chinese mythology, Fulushou, were offered at Bonhams, London 14 May 2019, lot 791 and Christie’s, London, 15 June 1999, lot 134.


51A CREAM SOAPSTONE ‘LION WITH CUBS’ GROUP18th Century The large central figure of a seated maned-lion with its head turned to look over its back whilst five playful cubs clamber in a swirling motion over, around and under the beast. 5in (12.6cm) high, wood stand

$3,000 - 4,000

十八世紀壽山石雕太獅少獅擺件 Provenance Spink & Son Ltd., London, 1985 Literature Spink & Son, Ltd, The Minor Arts of China II, London, 1985, no. 220 來源 Spink & Son Ltd., 倫敦, 1985年出版 Spink & Son, Ltd, The Minor Arts of China II, 倫敦, 1985年, 圖錄編號220 For a smaller and later Qing example of a Buddhist lion group with cubs clambering all around the beast, see Sotheby’s, New York, 24 June 2020, lot 1044, and and even smaller carving sold at Christie’s, London, 15 May 2008, lot 320.

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52A MAGNIFICENT LARGE SOAPSTONE FIGURE OF GUANDI ON ROCKWORK PEDESTAL17th/18th Century The figure standing but attached to a separate rock pedestal in an imposing stance with his left foot turned outward and his right hand raised to carefully hold the weight of his lengthy beard to his right side, his other hand clutching his belt at his left side which dutifully skirts his ample belly which is incised and gilt with a large open-mouthed four-clawed scaly dragon amidst cloud scrolls, below his belt two confronted dragons contest a flaming pearl in a wide band and below this are large stylized rockwork groupings amidst frothing water and waves, cranes fly on his sleeves, his armor visible at his upper chest and shoulders, the reverse side has further dragons and clouds, the majestic face superbly carved with heavy lids, knotted brows and sensitive mouth, many minute details incised throughout the carving and further highlighted by black pigments and gilding. 10 1/2in (26.7cm) high, the figure only; 14 1/2in (36.8cm.) high, overall

$15,000 - 25,000

十七/十八世紀壽山石雕關帝像

For a late Ming dynasty seated ivory figure of Guandi dated to between 1580-1644, see Chinese Ivories from the Shang to the Qing, The Oriental Ceramic Society and British Museum, London, 1984, pp. 101-102, no. 110. The figure, like ours, firmly grasps his long beard with one hand. The authors note that the pose belongs to the repertory of exaggerated gestures of the Chinese theatrical tradition, which identify and amplify the emotional state of the moment. In our case he stands and strikes a formidable pose with feet well apart and pointing in opposite decorations, to give a subtle contraposto movement to the sculpture. His left hand clutches his belt in opposing movement to the pulling of his beard. See also, ibid., p. 107, no. 119, another soapstone figure of Guandi in the British Museum from the Sloane Collection (OA SL.1174). A large soapstone seated figure of Guandi, also pulling at his beard, and dated to the Kangxi period (1662-1722) was sold at Christie’s, Hong Kong, 28 November 2017, lot 2921, where it is noted that the aesthetic is reminiscent of the lengthened proportions and elongated eyes found in late Ming dynasty woodblock prints by the painter Chen Hongshou (1599-1602). It was previously published by A & J Speelman Chinese Works of Art, 2008, pp. 58-59, no. 25. A slightly smaller figure, similarly posed clutching his beard and dated to the 18th century, sold at Christie’s, London, 14 May 2015, lot 535. For another smaller standing figure of Guandi, see Ben Janssens, Oriental Art, Chinese and Asian Art, London, TEFAF 2019, no. 43, www.benjanssens.com. Another very large soapstone figure of a scholar official (52 cm. high) dated to the 17th/18th century is illustrated by M.N. Kretchetova, Carved Stone of China at the Hermitage, Leningrad, 1960, no. 44 and 45. Guandi (Guan Yu), the Chinese God of War, became a military hero during the late Eastern Han dynasty (25-220 CE.). He continued to be worshipped as a deity long after his death. He was deified during the Sui dynasty (581-618 CE.). In 1594, he was awarded the posthumous title of ‘Emperor Guan’ (Guan Di). His cult culminated in his depiction in the 14th-century historical novel attributed to Luo Guanzhong, Sanguo Yanyi (Romance of the Three Kingdoms) where his virtuos qualities, military prowess and loyalty were emphasized. Soapstone, known in Chinese as hua shi meaning literally ‘slippery stone’, is among the softest of all stones, a quality which makes it particularly suitable for intricate details. It is also known as shoushan shi, after the town in Fujian province where many carvings were produced.

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53A DAOIST DARK AMBER TREE-TRUNK-FORM MINIATURE VASE OR INCENSE-STICK HOLDERLate 18th-mid 19th Century Primarily carved as an old tree trunk forming a vessel or vase at the center and surrounded by leafy blossoming branches of prunus, peony and millet that cover the surface, a hunched figure of a bearded and robed gentleman sits to one side (possibly Xu Xian) on a rocky outcrop, his large straw hat tied on his back, before him stands a long-tailed bird whilst under nearby knotty branches a mythical three-legged toad squats almost un-noticed, above on the interior rim of the tree-trunk are two slithering snakes (possibly Bai Suzhen and Xiaoqing). 3 3/4in (9.5cm) high

$3,000 - 4,000

十八世紀晚期至十九世紀中期琥珀雕仙人花鳥瓶

The scene depicted on this delightful amber carving may well represent a passage from the Daoist myth ‘Legend of the White Snake’ (Bai She Zhuan). The two snakes on the interior of the tree trunk probably show the snake-incarnations of Bai Suzhen, a beautiful lady, and Xiaoqing, her maid. Whilst the seated figure hunched to one side may well depict Xu Xian, a young man whom Bai Suzhen falls in love with and marries. The appearance of the mythical three-legged toad further verifies the Daoist subject. The long-tailed bird, shoudainiao, standing on plum branches was another popular image and with the addition of bamboo imagery forms the rebus ‘May husband and wife enjoy longevity’ qimei zhushou. It is interesting to note, that a large number of amber carvings, and indeed amber snuff bottles, depict scenes of Daoist themes. It is possible given the wide-ranging Daoist subject matter of these carvings, that a particular workshop or part of a Daoist community, was the leading producer and that they found the mystical qualities of the ‘fossilized’ resin material somehow in balance or accordance with their alchemical leanings.



54AN UNUSUAL BUFFALO HORN FIGURE OF LI TIEGUAI18th/19th Century The seated, bearded and rather emaciated immortal with his left knee raised and tying the straps of his only sandal around his lower calf and left foot, whilst his sandal-less lame right leg rests lifeless on the ground, a small lion creeps around his right side and glares up at him with open mouth, the undaunted immortal smiles happily from an expressive face with full cheeks and bushy eyebrows, a large gourd is suspended from his back and tied with a twisting rope at his right shoulder. 4 1/4in (10.8cm) high

$3,000 - 5,000

十八/十九世紀牛角雕李鐵拐

This figure is unusual, in not depicting the immortal with his usual attribute of an iron-crutch on which he usually supports himself. Instead, rather cleverly, the artist simply suggests the lameness of the sitter by a far more subtle reference of depicting one sandle, and drawing understated attention to it by the act of tying it to his healthy foot.

The story of Li Tieguai is fairly well-known but is well condensed by Stephen Little, Taoism and the Arts of China, p.331, No 125. He notes that the Ming Dynasty compendium the Complete Biographies of the Assorted Immortals (Liexian quanzhuan; 1598) compiled by Wang Shizhen, contains the following account of Li Tieguai:

Li Tieguai had an eminent disposition. He attained the Tao at an early age. While cultivating realization in a mountain cave, Li Laojun [the deified Laozi] and Master Wenqiu [an adept of the Shang dynasty] often descended [from heaven] to his mountain retreat, where they instructed him in Taoist teachings. One day he was about to attend a meeting with Laojun on Mount Hua [the sacred peak in Shaanxi province]. Li said to his disciple, “My physical body will remain here - if my ethereal soul [hun] does not return in seven days, you may cremate my body.” On the sixth day the disciple’s mother fell ill and he had to rush home, so he cremated the body. On the seventh day Li’s spirit returned, but his body was gone and he was not pleased. He thereupon possessed the corpse of a man who had starved to death, and rose up. Because of this, his form is that of a crippled man... He is, as a result, usually depicted as a lame or crippled beggar, hence the ‘iron-crutch’, and disheveled clothing, and his gourd vessel was a symbol of the joining of heaven and earth in the adepts own body.

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55 Y

A DUAN ‘MELON-FORM’ INKSTONE IN ZITAN BOX AND COVERMid Qing Dynasty, probably 18th Century The elegant small inkstone of dark brown tone and delicately carved in low relief as a natural melon form, the reverse with leafy foliage and vine-like tendrils extending from a branch at one end, the melon lobed and flattened, the main face with a continuation of the design at one end with a beetle and an area of rotting fruit-flesh cleverly carved as the water/ink receptacle, the melon-form zitan box more simply carved. 3 1/2in (8.9cm) across, excluding the box

$2,500 - 3,500

清中期紫檀盒瓜形端硯 For a very similar purple Duan inkstone and fitted wood box dated to the Qing dynasty see, Tianjin Shi Yishu Bowuguan cang yan (Ink Stones in the Tianjin Municipal Museum), Cultural Relics Bureau, 1979, no. 74 For a slightly earlier melon-form duan inkstone from the Kangxi period (1662-1722) see The Four Treasures of the Study - Writing Paper and Inkstones, The Complete Collection of Treasures of the Palace Museum, Vol. 48, Hong Kong, 2005, p. 101, no. 64.


56AN UNUSUAL MYTHICAL DRAGON-FISH FU-SHOU INKSTONEQing Dynasty The dragon-headed fish cut from a stone of pale greenish white tone and with an aubergine-purple seam revealed at its center as a mottled circular patch, perhaps suggestive of a moon, sun or flaming pearl on the ink stone surface, the horned beast clearly delineated in soft relief and engraved with a scaly body and bearded neck; with a Japanese wood box. 6 1/2in (16.5cm) across

$2,500 - 3,500

清龍魚形硯 For an earlier Ming inkstone carved as a fish but using a similar technique of utilizing the strata within the stone, see Tianjin Shi Yishu Bowuguan cang yan (Ink Stones in the Tianjin Municipal Museum), Cultural Relics Bureau, 1979, no. 27. See Christie’s New York, 17 March 2016, lot 1338 for another ink stone of the same material but carved with a peach and bat.



57A SOFT-GREEN AND YELLOW DUAN RECTANGULAR INKSTONE WITH JICHIMU COVER AND STANDPossibly early Qing Dynasty The rectangular inkstone is carved with a smoothly polished grinding surface inclining into a lightly troughed inkwell at one end, framed on three sides with plain ridged borders, the gently sloping base and all remaining surfaces are plain. 9in (22.8cm) long

$4,000 - 6,000

雞翅木盒長方形端硯

For an earlier Northern Song Green Duan (Ka Seki) inkstone of identical shape, see Mayuyama Ryusendo, Exhibition Catalogue: Mei Ken Ten. (Exhibition of Excellent Ink Stones), Tokyo, 1987, no. 11, col. pl. 11. Inkstones form an integral part of the appreciation of the traditional scholar’s studio culture and the appreciation of furnishings, antiques, paper, seals and all other such associated objects. The inkstone, together with the ink brush, inkstick and Xuan paper, are the four writing implements traditionally known as the Wen fang si bao, 文房四寶 (Four Treasures of the Study). Water is applied onto the inkstone, using a dropper, and one end of the inkstick is placed on the grinding surface and gradually ground, usually in a circular motion, to produce the ink. During the grinding process the ink flows into the reservoir of the inkstone where it will not evaporate as quickly as on the flat grinding surface. Inkstones have existed, presumably, since the regular use of ink in the production of calligraphy and painting. They were certainly popularized during the Han Dynasty and continued through the Tang and reached a zenith in the Song. The Qianlong Emperor had his own imperial collection of inkstones catalogued into a twenty-four chapter compendium entitled Xiqing yanpu.

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58AN INSCRIBED OCTAGONAL TRIPOD NISHAN CHENGNI INKSTONEMing/Qing Dynasty The shallow octagonal stone cut with a central circular plain below a tri-lobed water-ink well, the brown and beige-mottled underside carved with a recessed circular panel with a lengthy inscription and with shallow rising sides further inscribed with three characters, with equally spaced short cylindrical legs 6in (15.2cm) across, cover

$5,000 - 10,000

明/清紅木蓋「見海」銘三足硯

The inscription on the underside of our inkstone, starts with the two characters yan ming (inkstone inscription), followed by a sixteen-character Confucian text. This followed by three characters that read, Jianhai zhu (written by Jianhai). Three further characters on the edge read Liang gong yan (Mr. Liang’s inkstone). Four kinds of inkstones are especially noted amongst serious calligraphers and painters and are popularly known as the Four Famous inkstones. They comprise Duan (from Zhaoqing, Guangdong province), She (made in She county, Anhui province), Tao(he) (from Taozhou, Gansu province), and Chengni (made of ceramic in Luoyang, Henan province). The latter are said to have been first used during the Tang dynasty. The name Ming Chengni, arose because they were thought to be made near Confucius’s home, Ni shan (Mt. Ni).The Confucian writings often found on these seem to sustain this theory. The inkstone is also referred as Nishan yan – inkstone from Nishan.

A record of ‘Liang gong yan’ can be found in Gujin Tushu Jicheng (Imperial Encyclopedia), vol. 081, (1700-1725).

An early octagonal Jin period inkstone, also signed Jianhai and with a Lianggong yan seal from the collection of Chunqiu yanshe, is known (but at time of going to press we are unable to find a usable citation).


Lot 58 (Two views)

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ANOTHER PROPERTY

59A ‘LINGBI’ SCHOLAR’S ROCKThe irregularly shaped rock wrought to stand on two points to resemble the side profile of a mythical beast, one side with furrows and protrusions, the wrinkled surface with a lustrous glossy black patina, the other side flat with knobbly reddish-brown outcroppings; with a wood stand. 18 1/2in (47cm) high (2)

$2,000 - 3,000

靈璧賞石


60A PALE SOAPSTONE SEAL AND SLATE BOX AND COVERQing Dynasty (1644-1911), Jian Chai (Studio of the Silkworm Cocoon) Mark The small soapstone (steatite) seal of square shape with rounded canted top in imitation of a Warring states or Han dynasty seal, two simple incised lines to the sides, the underside carved in intaglio with the seal Bu Lu Wen Zhang Shi Yi Jing; the seal box probably made from a red slate and then covered in a black pigment, the top carved in relief with two long-tailed birds standing on a bending branch amidst further bamboo, the base with a two-character seal, Jian Chai; with a hardwood box. 1 1/2in (3.8cm) square, the seal; 2 5/8in (6.6cm) square, the slate box

$2,500 - 3,500

清《不露文章世已驚》方印配雕竹鳥紋《繭齋》款石盒 The intaglio seal on the base of the soapstone seal which reads: Bu Lu Wen Zhang Shi Yi Jing, can be translated as: It was surprise that he doesn’t show his articles to the world The two-character seal on the slate seal box is a studio name which reads Jian Chai which can be translated as “The studio of the silkworm cocoon.”



61A CHALCEDONY AGATE QUATREFOIL DISH, WITH FITTED BOX14th-17th Century The highly attractive translucent stone superbly carved as a shallow petal-form dish with four delicately pointed petals at the cardinal points with each lobe meticulously polished to form delicate ribs on the interior sides where the petals meet, the exterior similarly treated and ending at a quatrefoil-shaped foot mirroring the rim, attractive circular and striated bands throughout the stone; with a fitted box. 8 1/4in (20.9cm) across

$10,000 - 15,000

十四至十七世紀瑪瑙花口盤 Provenance Christie’s, South Kensington, London, Oriental and Islamic Ceramics and Works of Art, 24 April 1997, lot 29, color pl. 1. 來源佳士得南肯辛頓，1997年4月24日，拍品編號29 For a rare agate ‘mallow’-shaped bowl dated to the Song Dynasty and with Ming silver mounts, see Bonhams, Hong Kong, 24 June 2017, lot 103. The stone is of the same golden-yellow, honey-brown, reddish-caramel tone with circular and striated bands throughout the stone. It also has delicately-cut lobes. For another see Compendium of Collections in the Palace Museum: Jade 5, Tang, Song, Liao, Jin and Yuan Dynasties, Beijing, 2011, pp.82-83, pls. 73-74. A similarly-sized circular petal-form agate bowl from the A. Benaki Collection, Athens, dated to the Song Dynasty, is published in International Exhibition of Chinese Art, Royal Academy of Arts, London, 1935-36, p. 100, no. 1031. Of slightly later date, a lobed octafoil agate bowl dated to the Kangxi or Yonzheng period was sold at Sotheby’s, Hong Kong, 3 October 2018, lot 3605, which bears comparison with a similar example in the collection of the National Palace Museum, Taipei and illustrated in Harmony and Integrity. The Yongzheng Emperor and his Times, Taipei, 2009, no. II-63

The quatrefoil and pentafoil shape was a popular one from the Tang dynasty onwards and appears to have reached an apogee in use during the Song and Yuan dynasty. It can be found in at least three other media, including metal, lacquer jade and ceramic. It was particularly popular in Dingyao and Yueyao kilns. For a group of late Tang and Song petal-form white wares, see J.J. Lally & Co., Early Chinese White Wares, The Ronald W. Longsdorf Collection, New York, 2015, no’s 13-16. For a larger but almost identical lozenge-shaped brown lacquer tray in the Metropolitan Museum of Art, New York, dating to the Yuan Dyansty (14th Century) with similar shallow everted rim and delicate ribs where the petals meet, see www.metmuseum.org - lacquer, accession no. 2001.535; and also exhibited in ‘Red and Black:Chinese Lacquer, 13th-16th Century’, Metropolitan Museum of Art, New York, September 2011-June 2012. Another cinnabar lacquer tixi plate of similar outline and called a ‘water-chestnut’ flower-form, see Masterpieces of Chinese Carved Lacquer Ware in the National Palace Museum, Taipei, 1971, no. 15. For another lacquer dish of similar shape that is undated but displayed with materials mostly dating to the Tang, Song and Yuan dynasties, see International Exhibition of Chinese Art, Royal Academy of Arts, London, 1935-36, p. 269, no.3011. The shape can also be compared to a Korean Lacquer dish in the Metropolitan Museum of Art, New York, see www.metmuseum.org - lacquer, accession Number: 2015.500.3.9., which dates to from the Joseon dynasty, 15th–16th century and is inlaid with mother-of-pearl floral scrolls. For a smaller Yuan Dynasty six-lobed dish carved in a similar fashion from nephrite jade from the collection of Dr and Mrs. Cheng Te-K’un, see Transactions of the Oriental Ceramic Society, 1973-74/1974-75, London, 1976, in a special edition for the exhibition ‘Chinese Jade throughout the ages’, organised by the Arts Council of Great Britain and The Oriental Ceramic Society at the Victoria and Albert Museum, 1st May - 22nd June 1975, p. 107, no. 352.


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62A BRONZE MULTI-ARMED TANTRIC FIGURE OF GUANYINLate Ming Dynasty, 16/17th Century The eighteen-armed bodhisattva seated in lalitasana with the primary hands held in abiseka mudra (annointing), the remaining arms radiating out from the body and holding ritual objects, wearing ribboned robes and jewelry, the full face with third ‘dharma eye’ to the forehead beneath an elaborate diadem. 7 1/2in (19cm) high

$4,000 - 6,000

明晚期十六/十七世紀千手觀音銅像

For a very similar eighteen-armed cast bronze Guanyin, see Bonhams, San Francisco, 20 June 2012, lot 8249. For a very similar though larger bronze figure with traces of gilt decoration, see Christie’s, New York, 13 September 2012, lot 1270. Our example has eighteen rather than the sixteen arms of that example, but is similarly seated, with primary hands held in the respectful gesture of salutation and with the remaining arms clutching ritual objects. A more elaborate figure of Guanyin (Tantric Avalokitesvara) with twenty-four arms and seven heads is illustrated by James Spencer, Buddhist Images in Gilt Metal, Taipei, 1993, pp. 86-87, no. 36.



63THREE GOLD HAIR PINSYuan/Ming Dynasty The first with a head cast from a thin gold sheet revealing a floral motif, the upper half of the long, flat tine chased with a scrolling pattern; the second with two long tines, the head with a symmetrical design; the third fashioned into a phoenix riding an auspicious cloud, the separate tine made from celadon jade. 6 1/2in (16.5cm) long, the longest

$4,000 - 6,000

元/明金釵三件 For a large grouping of gold hair ornaments dating from the Tang to the Qing, see Bonhams, New York, Elegant Embellishments, 21 September 2020; For a group of earlier Liao -Song dynasty examples, see J.J Lally & Co. Oriental Art, Silver and Gold in Ancient China, New York, 2012, No’s 41-49.

64NO LOT

65A SMALL GILT BRONZE FIGURE OF THE SEATED BUDDHA VAIROCANALate Ming-Early Qing Dynasty Seated in vajrasana, his hands held in abhisekana mudra, (annointing) his robes edged in lotus scrolling and tied at the waist, his chest bared, the face with a soft meditative expression below a large five-leaf diadem each accommodating a buddha image, Tathagatas, within a nimbus, large ribbons falling from the crown along the shoulders and down the sides, no base plate. 6 1/4in (15.8cm) high

$3,000 - 4,000

明晚期至清早期銅鎏金大日如來佛坐像

The hand gesture abhisekana mudra is not commonly applied to the Vairocana in Tibetan Buddhism but was adopted in its unique Chinese form. Other characteristics include the full-rounded face and the floral design on the garment edges. The Vairocana is one of the pricipal dieties of the Five Takagatas. The meaning of the word Vairocana is “the all pervasive light of the sun”. For much larger buddha images with the same hand gesture, see the Royal Ontario Museum example www.rom.on.ca, Buddhist sculpture, reportedly from Shijiazhuang in Hebei province and another from the Staatliche Museen Preussischer Kulturbesitz, Museum Fur Volkerkunde, Germany, is illustrated in Hai-wai Yi-chen, Chinese Art in Overseas Collection, Buddhist Sculpture II, Taipei, 1990, p. 185, no. 175.

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66A HEAVILY-CAST GILT-SPLASHED BRONZE CIRCULAR BOX AND DOMED COVER17th Century, Zhen Gong Yong Bao mark The heavily-cast box with gently curving sides and lightly domed cover under a warm copper-brown patina flecked with attractive and random gilt-splashes to both the box and cover, the base with an intaglio four-character seal mark reading Zhen Gong Yong Bao seal mark cast to the base. 4 3/4in (12cm) diameter

$4,000 - 6,000

十七世紀灑金銅圓蓋盒

The four-character seal mark reading Zhen Gong Yong Bao 珍宮永寶 cast to the base can be read as ‘To be treasured an eternity’. It is quite unusual to find a gilt-splashed domed box and cover of this large size (almost 5 inches across). Most recorded gilt-splashed bronzes tend to be open-mouthed vessels, tripod censers, bowls and vases. This may have been used as a paste box for calligraphy and possibly served as a weight as well.


ANOTHER PROPERTY

67A REPOUSSE BRONZE FIGURE OF BUDDHAQianlong period The figure standing dressed in a dhoti tied at the waist, with long, loose robes draped over the shoulder and the exposed chest displaying a wan symbol, the broad face serene with red lips, the hair in tight whorls with blue pigments, the figure with traces of gilding, set into a later lotus base. 12 3/4in (32.4cm) high, exclusive of the base

$8,000 - 10,000

清乾隆錘揲銅佛像

A nearly identical repousse figure, also Qianlong period, was sold at Christies New York, 23 March 2011, lot 1639. Another slightly larger repousse figure of standing Buddha, dated to the 18th/19th century, was sold at Christie’s, New York, The Collection of Robert Hatfield Ellsworth, 20 March 2015, lot 774. For a larger but similarly modelled copper repousse figure of the Buddhist disciple Kashyapa, dated 1800-1900, from the Avery Brundage Collection, San Fransisco Museum of Art, see www.asianart.org /Chinese Art/Sculpture - Object Number: B60B326. For a Ming pre-cursor in cast gilt-bronze see Eskanazi, Chinese Buddhist Sculpture from Northern Wei to Ming, March, 2002, pp.52-55, no. 15.

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69

68


68A CLOISONNE ENAMEL CYLINDRICAL BOX AND COVERQianlong mark, but later Of circular shape, the lightly domed cover decorated on a turquoise-blue ground with a butterfly above peonies, cockscomb and daisies or chrysanthemum rising from blue rockwork on a grassy knoll, with a two-line ten-character inscription in black alongside, all within a border of ruyi-heads and a gilt copper edge, scrolling lotus running around the short vertical sides divided by further gilt copper edges, the base with four lotus heads at the cardinal points with stylized scrolling tendrils surrounding the square seal mark and further small six-petaled flower heads between them, with a four-character cloisonne mark in a red square to the base. 3 3/4in (9.5cm) diameter

$2,500 - 3,500

掐絲琺瑯花卉紋蓋盒《乾隆年製》款 The ten-character poetic inscription reads: Feng Zi Ge Yuan Su, Ge Diao Song Biwu Qing this can be translated as: Great postures derive from different customs. The vigorous nature reflects this. The form of the box and the stylized floral scrolling to the sides and base are based on earlier Ming dynasty cloisonne boxes of the fifteenth through seventeenth centuries. For an example see a mid-sixteenth century box from the Musee des Arts Decoratifs, Paris, illustrated in Cloisonne, Chinese Enamels from the Yuan, Ming, and Qing Dynasties, Bard Graduate Center, New York, 2011, p. 245, no. 42. The rockwork landscape scene on the cover is stylistically very typical of eighteenth century production. Compare with a roundel on a Qianlong vase illustrated by Yang Boda, Zhongguo jinyin boli falang qiquan jibian jiwei yuanhui, (Collection of Chinese Goldware and Silverware, Enamelware), Vol 6, Hebei, 2004, p. 10, no. 14.


69A GILT BRONZE CENSER18th/19th Century The body of hexagonal form, cast in several sections, supported by three separately cast cabriolet legs, the panels, arms and neck with high relief landscapes and floral motifs, the body and cover further adorned with chasing, the reticulated cover topped with a mythical beast as a finial. 8 7/8in (22.5cm) high

$3,000 - 5,000

十八/十九世紀鎏金銅香爐

For an incense garniture including a censor of similar type, see Christie’s, Hong Kong, 31 October 2000, lot 1002.


71

70

70AN AMBER NECKLACEDesigned as a graduated row of twenty-seven elliptical amber beads, the opaque amber a rich honey color, the largest bead 1 in (2.5cm) long. 20 7/8in (53cm) long

$2,000 - 3,000

琥珀項鍊

71A LONG AMBER BEAD NECKLACEDesigned as a graduated row of forty-seven barrel-form amber beads, the variegated beads with splashes of orange and ocher, with a gilt metal clasp. 31 1/2in (80cm) long

$2,000 - 3,000

琥珀項鍊

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72A WOMAN’S BLUE SILK GAUZE INFORMAL ROBELate 19th/early 20th Century The blue silk gauze woven with dragon roundels, with metal buttons securing the side opening, the cream satin sleeve bands with embroidered insects amid flowers. 52in (132cm) long

$1,200 - 1,800

十九世紀晚期/二十世紀早期藍地納紗龍紋袍

73A BLUE SILK BROCADE WEAVE COURT ROBELate Qing Dynasty Woven with gold thread to create the celestial landscape, nine dragons set amid cloud scrolls and auspicious emblems above a wide stylized wave border, the collar and cuffs with brocade weave gold thread on a black ground, with gilt metal buttons. 52 3/4in (134cm) long

$2,000 - 3,000

清晚期藍地繡雲龍紋吉服


74 ¤THREE CHINESE TEXTILESLate Qing Dynasty Each framed and glazed, including a large ladies embroidered silk cloud collar; a small ladies embroidered silk collar; and a pair of mounted sleeve bands in Peking knot. 29in (73.6cm) the large collar 17 1/2in (44.5cm) the small collar 18 3/4in (47.6cm) the sleeve bands (3).

$1,000 - 1,500

清晚期繡品三樣

75TWO BROCADE WEAVE COURT ROBESLate Qing Dynasty The first of magenta silk ground, with a high lishui border, with woven with dragons amid clouds; together with a similar blue ground brocade weave silk robe. 51in (129.5cm); 53in (134cm) (2).

$2,500 - 4,000

清晚期吉服兩件

Lot 74 (Part lot)

Lot 75 (Part lot)

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76A RARE SILK AND METAL WRAPPED THREAD EMBROIDERED PANEL OF MANJUSRIEarly Qing Dynasty Embroidered on a satin ground with seed stitch, satin stitch and couched metal foil wrapped threads to portray Manjusri beneath a celestial canopy strung with ribbons, the figure seated in lalitasana on a recumbent mythical beast, with one foot on a lotus, the hands holding a scroll, the face with a solemn expression given a three-dimensional effect by the batting-filled nose, mounted with pale blue silk borders with reinforced backing, the reverse with an inked inscription reading wen su zuo. 36 3/4 x 19 3/4in (93 x 44.5cm)

$20,000 - 30,000

清早期刺繡文殊菩薩掛屏

A very similar embroidered Guanyin hanging was sold in these rooms 21 July 2020 lot 83. However here Manjusri sits alone in a pose of Royal Ease holding a scroll, presumably a Buddhist sutra, and the attendants are absent. Embroidered images such as this require a particular effort of time and skill to prepare. In some places the design has been highlighted by the use of precious metal, employed in the Chinese fashion by wrapping gold or silver leaf on paper around silk thread. The heavy stitching throughout makes a deliberate use of the sheen of silk to enhance the plasticity of the image and, on the nose, even employs three dimensional modeling to convey a life-like effect. A pair of textiles in the collection of the Metropolitan Museum, (accession no’s: 62.97.51 and 62.97.52) shows a remarkable conformity with the present example in technique, size, style, and - with minor disparities - richness of materials.

The only other comparitive embroidery of a much earlier date (Song Dynasty) is illustrated in Masterpieces of Chinese Silk Tapestry and Embroidery in the National Palace Museum, Taipei, 1971, no. 33 (fig. 4).

Property from the Collection of James and Marilynn AlsdorfLots 77 - 79 and lot 81


PROPERTY FROM THE COLLECTION OF JAMES AND MARILYNN ALSDORF

77A FINE PAIR OF BRONZE TAOTIE-MASK LOOSE-RING HANDLESWarring States (475-221 BCE) Each crisply cast in low relief with multi-ridged eyebrows centered by an unusual chequered-pattern cylinder below two curling horns, the beak curled under to support the solid ring, the side edges of the masks with tightly-scrolled tufts and crests, the reverse with a thick projecting pin from the center of the back for mounting, all under a soft silvery-green patina. 3 1/8in (7.8cm) high, the Taotie, 5in (12.6cm) high overall (2).

$7,000 - 10,000

戰國青銅舖首衔環一對

For another much larger bronze single taotie-mask handle and ring, see J.J. Lally, Oriental Art, Archaic Chinese Bronzes, Jades and Works of Art, June 1994, New York, no. 64. Whilst the scale is completely different the detailing is not. Both exhibit carefully and crisply cast and incised fur-like markings around the face. A pair of smaller gilt-bronze mask handles closer in overall profile to ours were sold at Sotheby’s, Hong Kong, 28/29th November 2019, The inclusion of cylinder-like ornamentation between the eyebrows appears to be unique. For a single example see Andre Leth, Kinesisk Kunst (Catalogue of Selected Objects of Chinese Art in the Museum of Decorative Art, Copenhagen), 1959, no. 22.

See also another pair sold at Sotheby’s, New York, 1 June 1994, lot 439 and later illustrated as an example of archaic types in regard to a pair of important silver door handles made in the Palace Workshops for the Qianlong emperor’s study in the Yuanmingyuan complex, see Sotheby’s, Hong Kong, 27 April 2003, lot 34, fig.1.

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78A GREY LIMESTONE HEAD OF A BODHISATTVAPossibly Late Northern Wei Dynasty, 6th Century The fragment wearing a faceted crown fronted with an image of a seated Amitabha and stylized leaf sprays at the corners, his striated hair parted at the center and framing the rectangular face with incised urna on the forehead above arching brows, deep-set eyes and a cleft chin below the full lips. 9 1/4in (23.5cm) high

$60,000 - 80,000

北魏晚期或更晚六世紀石灰岩菩薩頭像 Provenance Parke-Bernet Galleries, Inc., New York sale, 22 October 1971 Property of the Estate of Cornelius Vanderstarr, New York Exhibited and Published New York, C. T. Loo & Co., An Exhibition of Stone Sculpture, 1940, pl. VIII, no. 15

來源 Parke-Bernet Galleries, Inc., 紐約, 1971年10月22日 Cornelius Vanderstarr舊藏, 紐約展覽及出版 C. T. Loo & Co., An Exhibition of Stone Sculpture, 紐約，1940年, 圖版VIII, 編號15

The figure of Amitabha seated at the front of the crown usually identifies the image as the bodhisattva Guanyin. However, see the grey stone head dated to the Northern Wei dynasty, identified as from the Longmen caves and possibly a figure of Maitreya, sold in Christie’s, New York, Fine Chinese Art from the Arthur M. Sackler Collection, 17 March 2009, lot 348. Of similar size (9 5/8in. [24.5cm high]) to the Alsdorf head, the crown on its head also displays simplified leaf sprays of fleur-de-lys form that separate the seated Buddha at the front from the rosette preserved on the side. The Sackler head also displays more delicate features, flat ears and smoothly parted hair in contrast to the articulated ears and striated hair visible on the Alsdorf head. See also a the rare limestone ‘Longmen’ relief fragmentary head of Guanyin, dated to the Northern Wei dynasty, sold at Sotheby’s, Hong Kong, Chinese Art through the Eye of Sakamoto Goro, 8 October 2013, lot 111. Although of much smaller size (4 3/8in. [11.3cm. high], the crown on the head displays the simplified leaf sprays of fleur-de-lys form seen on the Sackler head. See also the head of larger size (18 3/4in. [47.6cm] high) in the collection of the Freer Gallery of Art (F1913.71, Gift of Charles Lang Freer: https://asia.si.edu/object/F1913.71/. Identified as Guanyin, from the Longmen Grottoes, and dated 493-534, its towering crown also displays a seated Amitabha between elaborate leaf scrolls that recall the Alsdorf head. Also like the Alsdorf head, the ears on the Freer figure appear to be articulated; but its slender face and features, as well as the smoothly finished hair more strongly resemble the Sackler Collection head sold by Christies.

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79A RARE BLACK STONE FIGURE OF MAITREYANorthern Wei Dynasty, Longmen Caves, 5th/6th Century The slender figure depicted as an Indian prince, a tall crown rising above his smiling face with angular features, a flat necklace around his neck and a long scarf that falls downward from his narrow shoulders to frame the upper hem of his dhoti secured with a bow-tied sash, the sharply-cut folds of the material cascading across and around his pendant legs crossed at the ankles as he sits with his right hand raised palm-outward in a gesture of reassurance (abhayamudra) and his lowered left hand holding an object balanced on his knee. 17 1/4in (44cm) high

$70,000 - 100,000

北魏五/六世紀交腳菩薩石像龍門石窟 Provenance C. T. Loo (Frank Caro, successor), New York, 22 September 1953 來源蘆芹齋 (Frank Caro)，紐約，1953年9月22日 The Northern Wei dynasty was a period of political turbulence and intense social and cultural change. The messianic figure of Maitreya was believed to return to earth to preach the dharma once the teachings of the historical Buddha have been forgotten in those troubled times and to bring a new era of peace. The popularity of Maitreya among Buddhist patrons inspired arresting images in various poses. One format displays his right leg crossed over the left knee, the right arm raised with one hand touching the cheek of his head leaning slightly in the same direction, as documented in the stone Maitreya sold in our New York rooms, 19 March 2018, lot 8028. A second variation in the format has the figure of Maitreya with his pendant legs crossed at the ankles and his head leaning slightly downward to rest on the hand of his raised left arm: see the Maitreya of dark grey stone characteristic of the Longmen caves in Henan, dated to the early sixth century, from the collection of the Albright Knox Gallery sold, at Sotheby’s, 19-20 March 2007, lot 503 (23 3/8 in. [59cm] high).

The third format, represented by the Alsdorf Maitreya, maintains the legs crossed at the ankles but the right had raised palm-outward in a gesture of reassurance. However there is some disagreement as to whether this pose is limited to Maitreya. Denise Patry Leidy discusses the problem in relation to two majestic painted sandstone images from late 5th century caves at Yungang, Shanxi: the larger image from Cave 25 (cat. no. 3a, 57 ½ in. [146.1 cm.] high) with a seated Amitabha Buddha to the front of his crown considered as probably the bodhisattva Guanyin, while the undecorated crown on the slightly smaller image possibly meant as Maitreya (cat. no. 3b 51 in. [129.5 cm.] high) : see Denise Patry Leidy and Donna Strahan, Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, 2010, pp. 53-56. However a dark grey bodhisattva also in the collection of the Metropolitan Museum of Art (39.190, Fletcher Fund), with pose similar to the Alsdorf figure but seated between two lions, is considered as possibly Maitreya, datable to the early sixth century and probably from the Guyang cave site in the Longmen complex (see p. 169, cat. no A2). For other sculptures of similar size and pose comparable to the Alsdorf figure, see the bodhisattva, identified as Maitreya, with his hand raised in abhayamudra (24 in. [61 cm.] high) from the Longmen complex acquired by the Art Museum of the University of Pennsylvania in 1940 from Yamanaka & Company: www.penn.museum/collections/object/208586. The site from which the relief was taken supposedly had a dedicatory inscription corresponding to 512. Also of note is the seated bodhisattva in the collection of the Asian Art Museum of San Francisco (B60S573, The Avery Brundage Collection, 22 ¾ in. [57.8cm] high), originally published in the 1974 catalog Chinese, Korean and Japanese Sculpture in the Avery Brundage Collection. However photographs now available on the website show both the thinness of relief and the reinforcement on the reverse of possible fragments, comparable to the Alsdorf sculpture and other examples, that occurred with their removal from the Longmen site in the early years of the 20th century.

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80A BLUE-GROUND SANCAI-GLAZED IMPRESSED PALE POTTERY JARTang Dynasty Of globular outline, the body primarily blue-glazed with areas of resist decoration with straw and ochre spotting, a molded line below the rounded shoulder which is impressed with eight five-petalled half-flowerheads, the waisted everted neck under an ochre glaze which continues to the neck interior. 8 1/2in (21.5cm) diam.

$6,000 - 8,000

唐三彩罐 Provenance Japanese Private Collection 來源日本私人珍藏

For a similar sized jar with a speckled blue glaze from the Baur Collection, Geneva, Switzerland, no. 596, see William Watson, Tang and Liao Ceramics, P. 165, fig 157, where it is assigned to manufacture in Henan or Shaanxi Provence around the first half of the 8th century, and where the unusual combination of colors, reserved passages of cream and dabs of brown set on a blue ground, are remarked on. A smaller blue and sancai-glazed jar with applied medallions rather than impressed ones is illustrated by Ben Janssens, TEFAF 2015 Catalogue, and www.benjanssens.com - Pottery, un-numbered. Another sold at Christie’s, New York, 15 September 2011, lot 1451. For a plain blue-glazed jar, see Sotheby’s, London, Tang Sancai-The Sze Yaun Tang Collection, 4 November 2020, lot 212.


81A MAGNIFICENT LARGE PAINTED GREY POTTERY SADDLED HORSEEarly Tang Dynasty, 7th Century Standing foresquare on a rectangular base, the powerful head and neck raised and looking slightly to its real left, the strong face naturalistically-modelled and knife-pared with rippling mouth, flared nostrils, hooded eyes pricked ears and taught muscled neck with neatly hogged mane, the saddle and double-saddle cloth delicately incised and drilled with a single grooved line at the edges and a line of holes at the back of the saddle imitating the leather prototype, the body and legs of the horse further knife-pared and incised with the rippling skin and muscular structure of a thoroughbred, the short tail docked. 22 1/2in (57.3 cm) high

$10,000 - 15,000

唐早期七世紀彩繪陶馬

For a slightly smaller example of a prancing horse with head bowed and left leg raised, dated to the Late Six Dynasties-early Tang period, 6th/7th century, see Eskenazi, Early Chinese Art from Tombs and Temples, London, 1993, pp. 106-107, no. 35. That horse, like ours, displays great attention to the naturalism of these magnificent beasts, quite unlike that found on the later red, buff and white pottery examples of the Tang period that were produced primarily in molds in greater numbers. The exceedingly heavy weight of our horse also suggests that an iron armature may well have been embedded within the legs of our horse before firing. For another large figure of a horse dated Northern Wei Dynasty, first half of 6th Century CE, from the MOA Museum of Art, Shizuoka, see Special Exhibition Chinese Ceramics, Tokyo National Museum, October-November, 1994, p. 62, no. 88.

82NO LOT

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83A RARE CIZHOU GREEN-GLAZED AND IRON-BLACK-BROWN-PAINTED AND INCISED ‘PEONY’ BALUSTER VASENorthern Song-Jin Dynasty, 12th CenturyThe globular body with high shoulders below a tall widely flaring trumpet neck and supported on a spreading circular foot, brilliantly incised and painted in an iron-black-brown oxide to opposite sides of the body with a full blossoming peony flowerhead borne on a leafy scrolling stem at the mid body culminating in a large palmette-like leaf on the neck, the spreading foot incised with a band of feathery scrolls, all under an apple-green crackled-glaze which pools just above the unglazed foot rim and base interior. 11 5/8in (29.5cm) high

$40,000 - 60,000

北宋至金十二世紀磁州窯綠釉黑花牡丹紋瓶

A number of analogous vases of this type have been published. These include, perhaps most importantly, a fragmentary vase illustrated in Guantai Cizhou Yaozhi (The Cizhou Kiln Site at Guantai), Beijing, 1997, pl. 70, fig. 1; another illustrated by Hasebe Gakuji, Toki Zenshu, 13, So no Jishuyo (Ceramics Anthology, 13, Song Cizhou ware), Tokyo, 1958, no. 46; and three illustrated by Yukato Mino, Freedom of Clay and Brush through Seven Centuries in Northern China: Tz’u-chou Type Wares, 960-1600 A.D., Indianapolis Museum of Art, 1980. One in the Fogg Art Museum, Harvard University, ibid., pp. 214-5. pl. 95; another in the Burrell Collection at the Camphill Museum, Glasgow, fig 278; and one from a Japanese collection, fig. 277. Another in the Museum Yamato Bunkakan, Nara, Japan, which is identical in height is illustrated in Mayuyama Seventy Years, Volume One, p.188, no. 557. Another of identical form but slightly smaller is illustrated in Catalogue of Selected Masterpieces from the Nezu Collections, Tokyo, 2001, p. 59, col. pl. 56.

An important example sold at Christie’s, New York, Masterworks of Ancient and Imperial China, 17 September 2008, lot 583. Another was exhibited at Christie’s, Hong Kong , New York and London in a travelling exhibtion in 2012-2013 and published in The Classic Age of Chinese Ceramics, An Exhibition of Song Treasures from the Linyushanren Collection, 2012, pp. 130-131, no. 52.

See also two illustrated in Sekai toji zenshu, vol. 10, Tokyo, 1955, pls. 121 and 122; one illustrated in The Handbook of the Mr. and Mrs. John D. Rockfeller 3rd Collection, The Asia Society, New York, p. 66 (left), and another in The Nelson-Atkins Museum of Art: A Handbook of the Collection, New York, 1993, p. l295 (top). A comparable type is illustrated by Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 3 (II), London, 2006, p. 544, no. 1541 (fig. 1). A meiping belonging to this select group of green-glazed wares formerly in the George Eumorfopoulos collection and now in the British Museum, London, is illustrated by R.L. Hobson, The George Eumorfopoulos Collection, vol. 3, London, 1926, pl. LII. In Cizhou wares of this distinctive type the motif most frequently depicted is an upright peony flowerhead borne on a scrolling stem spreading around the body whilst one large palmette-like leaf rises up the neck towards the rim. The pale pottery body is washed in a white slip which is then incised, oxide-painted and further incised and lastly covered with a green lead glaze.

Cizhou wares are more commonly famed for their carved or painted creamy-white and brown slip decoration that is carved away to reveal the paler body beneath, and this type too was occasionally covered with a green lead glaze. It seems that both these rare green-glazed wares; the slip-carved and the incised oxide-painted type, appear to have been exclusively made at the Guantai kilns as evidenced in the finds listed in Guantai Cizhou Yaozhi (The Cizhou Kiln Site at Guantai), Beijing, 1997, col. pl. 9, fig. 2; pl. 13, fig. 3 center; pl. 23, figs. 1 and 2; pl. 70, fig. 1; p. 123, fig. 52 (1 and 4); p. 127, fig. 54 (2). For a vase of similar form but decorated in the ubiquitous slip-carved technique see Rosemary Scott, ‘Chinese Classic Wares from a Japanese Collection: Song Ceramics from the Linyushanren Collection’, Arts of Asia, March-April 2014, pp. 97-108, fig. 24 and also illustrated Christie’s, The Classic Age of Chinese Ceramics: An Exhibition of Song Treasures from the Linyushanren Collection, Hong Kong, 2012, pp. 130-131, no. 52, and later sold at Christie’s, New York, 22 March 2018, lot 517. See also Sotheby’s, Hong Kong, 29-30 November 2018, lot 631 for another from the Xinyangtang collection.

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84A KIDNEY-SHAPED CIZHOU ‘PEONY’ PILLOWNorthern Song Dynasty Of ogival outline, the lobed top carved through a cream glaze in reserve with a very boldly conceived single peony spray with three large leaves exposing the clear-glazed dark beige body below within a cartouche which mirrors the pillow form, the glaze covering the top and sides and stopping unevenly above the shaped un-glazed base. 11in (28cm) across

$3,000 - 5,000

北宋磁州窯牡丹紋枕 For another so-called Kidney-shaped pillow carved with a single flower-head with lotus pads reserved on a dark beige ground, see Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (The Complete Collection of Treasures of the Palace Museum) Porcelain of the Song Dynasty (I),Hong Kong, 1996, p. 195, no. 177. For another example with two peony flower-heads reserved on a similar ground, see Christie’s, Hong Kong, 11 October 2017, lot 344 and also published in Dream Quest: The Mark Lam Collection of Chinese Ceramic Pillows, Shanghai, 2008, pl. 25.



85A FINELY CARVED CIZHOU CREAM-GLAZED GREY STONEWARE ‘LOTUS’ BOWLSong-Jin Dynasty (960-1234) The exterior rounded sides plain under a creamy-white glaze, the interior with an engraved and combed design of two blossoming lotus and two pads at the well above a multi-petalled flower head within a double circle at the center, the glaze pooling above the tall grey stoneware foot and revealing the white chalky pigment under the clear glaze, the foot neatly cut and unglazed. 8 1/2in (21.6cm) diameter

$6,000 - 8,000

宋至金磁州窯白釉刻蓮花紋盌 For a similar sized bowl with lotus decoration incised on a combed ground but lacking the central flower-head, see Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Porcelain of the Song Dynasty (II), Hong Kong, 1996, p. 233, no. 210. For a very similar bowl dated Jin-Yuan dynasty formerly in the Stephen Junkunc, III, (1904-1978) collection, see Christie’s, New York, 13-14 September 2018, lot 1158; for another similar bowl with a single lotus spray dated Northern Song-Jin Dynasty see Christie’s, New York, Masterpieces of Cizhou Ware: The Linyushanren Collection, Part IV, 13 September 2020, lot 840.

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Property from the Collection of Rosalind Ching Pastor Lot 86

Born in Shanghai and raised in a family of collectors and foreign diplomats, Rosalind Ching travelled by herself to Chicago in 1950 as part of a world tour to visit a trade show at the Navy Pier. She was captivated by the city and established herself there as an entrepreneur and businesswoman, residing in Chicago for the rest of her life. Under the guidance of Zhuang Yan and Na Zhiliang of the Taipei National Palace Museum, and her uncle, C. F. Yao, the owner of the prestigious Tonying & Company, Rosalind Ching Pastor formed her sizable art collection which later became the subject of a published exhibition at the Honolulu Academy of Art in 2005.

Rosalind Ching Pastor is remembered and commemorated in countless newspapers, press, and by her friends as a vibrant socialite and philanthropist, a staunch, generous friend and a beloved Chicago figure.

PROPERTY FROM THE COLLECTION OF ROSALIND CHING PASTOR

86A RARE IMPERIALLY-INSCRIBED WHITE-GLAZED INGOT-SHAPED PILLOWThe Pillow Song Dynasty (960-1279), the inscribed poem dated 1746 The Cizhou-type pillow molded in two halves along its length, the join visible as a simple molded line that runs entirely around the pillow, the pottery washed with a cream slip and then covered in a lightly crackled glaze that thins and frits at the edges of the square ends and at a few points on the longer edges, one end with four kiln spur marks, one face very carefully and neatly engraved through the fragile glaze in clerical script with a one-hundred-character poem composed by the Qianlong Emperor and split into twelve eight-character lines and one four-character line followed by the inscription Qianlong Bingyin Yuzhi followed by two seals Qian and Long, some glaze staining. 8 5/16in (21.2cm) across

$50,000 - 80,000

宋白瓷錠形枕 1746年乾隆御製詩詞

Provenance Yamanaka & Company, Inc, Parke-Bernet Galleries, 1943, lot 715 The Rosalind Ching Pastor Collection, Chicago Literature Parke-Bernet Galleries, ‘Yamanaka & Company, Inc.’ Catalogue, 1943, illustrated on 3rd shelf (center) of six shelves Stephen Little, Masterworks of Chinese Art, The Rosalind Ching Pastor Collection, Honolulu Academy of Arts, 2005, pp. 12-13, full page illustration Exhibited Art Institute of Chicago, Loan exhibition, 1997 Honolulu Academy of Arts, 2005 來源 Yamanaka & Company, Inc., Parke-Bernet Galleries, Inc, 1943年, 拍品編號715 The Rosalind Ching Pastor Collection, 芝加哥出版 Parke-Bernet Galleries, Inc, ‘Yamanaka & Company, Inc.,’ Catalogue, 1943年, 圖錄拍品編號715 Stephen Little, Masterworks of Chinese Art, The Rosalind Ching Pastor Collection, Honolulu Academy of Arts, 2005年, 頁12-13 展覽 Art Institute of Chicago，芝加哥，1997年 Honolulu Academy of Arts，夏威夷檀香山，2005年

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The sale of the entire stock from the three US. stores of Yamanaka & Company (New York, Boston and Chicago), was offered under the supervision of the Alien Property Custodian of the United States of America, during the Second World War. The item, illustrated as lot 715, was catalogued as a ‘porcellanous pillow of Yu-yao ware bearing on one side an ode composed by the Emperor Ch’ien-lung. Length-8”, Sung Dynasty’ (See Figs. 1-3). See also a letter (Fig. 4) from the (then) Curator of Chinese Paintings at the National Palace Musum, Taipei, Na Chih-Liang to Rosalind Ching Pastor in 1974, with regard to the calligraphic poem on her pillow. This at least gives us a terminus ante quem for the pillow entering the Pastor collection.

In our poem, the Qianlong Emperor praises the beauty and fineness of the pillow, describing its whiteness, shiny surface, and its jade-like strength and firmness and expressing his great admiration for the artistic sophistication that the Song artists achieved. More interestingly, perhaps, the emperor even imagined having conversations with ancient sages while sleeping on the pillow. The poem is followed by the Imperial designation and date.

The poem on our pillow reads:枕石不如流，漱流不如石，瓷枕堅且潔，堪贈如茲客，既質玉之質，復白雪之白，磨涅不磷緇，拂拭多光澤，恍挹神仙人，精神盍內積，豈伴窈窕女，粉黛汙顏色，可薦床之東，亦宜牖以北，張氏榴應羞，錢家石豈特，虛堂夏午間，松濤泛幽席，竭此夢羲皇，古風如可即。乾隆丙寅御題「乾」、「隆」。

It is recorded in the Siku Quanshu, vol 31 (See Fig. 5).

Fig. 1 Fig. 2

Fig. 3

Fig. 5 (SKQS Image)Fig. 4

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For another incised Cizhou-type pillow of oval shape in the National Palace Museum, Taipei, inscribed and gilt to the underside with the same Imperial Poem by the Qianlong Emperor dated to 1746 but written in a regular script rather than clerical script, see Peijin Yu, De jia qu: Qianlong huang di de tao ci pin wei - Obtaining Refined Enjoyment : The Qianlong Emperor’s Taste in Ceramics , Taipei: National Palace Museum, 2012, p.66-67, no.9 (See Figs. 6-7). The same publication, pp. 162-163, no. 63, also illustrates a brown-glazed porcelain zither dated to the 18th century, which imitates the earlier lacquer versions from the Imperial collection, and which also bears a poem written by the Qianlong Emperor in 1746. This clearly demonstrates that poetic inscriptions inscribed on many items in the collection began early in the Qianlong reign despite the plethora of examples that date from the 1760’s onwards.

Moreover, in an article published in Orientations, November-December 2011, pp.80-88, entitled ‘Consummate Images: Emperor Qianlong’s Vision of the ‘’Ideal” Kiln’ by Yu Peichin, Curator at the Department of Antiquities, National Palace Museum, Taipei, the author notes that writing poems was a passion for the Qianlong Emperor. He was the most prolific of all the emperors in Chinese history, with over 40,000 imperial poems ascribed to him. Of these 190 are in praise of ceramics. He notes that Qianlong believed that ancient utensils could be used in everyday life and that he used early ceramics to commune with the ancient sages. Yu Peichin then references the poem ‘The white ceramic pillow’, 1746, (collected in Qinggaozong yuzhishiwenquanji [The Complete Collection of Imperial Poems by Emperor Ch’ien-lung], Taipei, 1976, ji 1, juan 31). This is the same poem written on our plain white ingot pillow and also on the underside of the florally decorated pillow in the National Palace Museum, Taipei (fig. 6-7). He continues, that in the poem, the Qianlong emperor writes that by lying on the pillow, he can attempt to meet with the ancient leader Fuxi in his dreams, be close to his grace, and learn his style. As this poem reveals, not only did Qianlong view the ceramic pillow from the Northern Song dynasty as ‘solid and clean’ but that he may also have used it in his daily life. Yu Peichin then considers that in ordering the poem to be carved, he was actually imbuing the artifact with new meaning including the profound sense of communing with the ancient sages.

According to the author (citing records in the Palace Workshop Employment Archives of the Imperial Household Department (Neiwufu Zaobanchu gezuochengzuo huojiqingdang) there had to be direct instructions from the emperor before an order to carve each artifact was passed to the painting academy at Ruyiguan (‘The Palace of Fulfilled Wishes’) or Maoqindian (‘The Hall of Great Diligence’).

An ingot-shaped pillow (then called Yu-yao ware) of the Southern Song Dynasty is illustrated in Can jia Lundun Zhongguo yi shu guo jia zhan lan hui chu pin tu shou (Illustrated Catalogue of Chinese Government, Exhibits for the International Exhibition of Chinese Art in London, Vol. II. Porcelain), Shanghai, 1936, p.90, no. 101. It bears an Imperial Qianlong poem with the date 1765 (See Figs 8-9).

The same pillow is also illustrated in the British publication Catalogue of the International Exhibition of Chinese Art, 1935-36, Royal Academy of Arts, London, 1935, p. 125, no. 1284 (Lent by the Chinese Government). Interestingly, this pillow is now correctly described as Qingbai ware, or ‘blue-glazed’ ware from Jingdezhen, rather than Yueyao from Zhejiang, see Peijin Yu, op. cit., pp. 64-65, fig. 8.

Yet another ingot-shaped pillow, a pale-blue-glazed Jun ware example dated 1764, illustrated in the same National Palace Musem publication, pp. 142-143, no. 52, shows detailed images of the finely engraved clerical script, which highlights the dexterity of tool-work neccessary to engrave such a fragile porcellanous surface without causing damage, and bears very close comparison with the calligraphy on ours, in texture and quality.

The Freer Gallery of Art and Arthur M. Sackler Gallery have a near identical Cizhou-type white-glazed ingot-shaped pillow with a poem by the Qianlong Emperor, also of one-hundred-characters split into the same twelve vertical lines but cyclically dated to 1768. It is illustrated on the Smithsonian website, asia.si.edu/object/F1942.21.

It is also illustrated by Chuimei Ho and Bennet Bronson, Splendors of China’s Forbidden City, The Glorious Reign of Emperor Qianlong, The Field Museum, Chicago, 2004, p. 233, no. 293. Chapter VI entitled ‘The Emperor as a Private Person’ has various academic entries including one by Jan Stuart; ‘Qianlong as a Collector of Ceramics’. Here she discusses the emperor’s habit of adding his inscriptions and seals to not only paintings but also to jades, lacquers and ceramics. Using their pillow as an example she notes that the inscriptions give us an insight into his complexities as an art critic. In their poem, which is shorter but similar in content to ours, she states that the emperor starts with an art historical judgement, naming the pillow Ding ware. This is an understandable misidentification of this pristine white antique pillow. He then references two classical allusions to dreaming on pillows. At the heart of his text however is another allusion that takes the plainness of the ceramic as its greatest virtue and connects simplicity with human integrity.

Another Song dynasty ingot-shaped pillow (9 1/2 inches across) with a carved design (boys) under a greenish-white glaze is illustrated in Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Porcelain of the Song Dynasty (II), Hong Kong, 1996, p. 191, no. 173; whilst the earlier volume (I), ibid., p. 201, no. 182., illustrates an oval Cizhou pillow with carved peony decoration and a Qianlong Imperial poem with yuzhi mark and cyclical date of 1768.

Fig. 6 Fig. 7

Fig. 8 Fig. 9

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87A CARVED AND MOLDED DINGYAO HEXAFOIL ‘GOOSE, LOTUS AND FISH’ DISH,Song/Jin Dynasty With deep rounded sides under an ivory-white glaze, the well with six shallow molded ribs forming panels carved with alternate scenes of a goose amidst reeds and waves and single lotus sprays, all executed in a seemingly easy knife-stroke above two fish impressed at the center on a rippling wave ground, the rim bound in copper, the exterior plain and the glaze trailing over the foot ring in places and mostly covering the base. 7 5/8in (19.3cm) diameter

$4,000 - 6,000

宋/金定窯白釉蓮塘紋盌

For another Ding ware dish with molded ribs with carved design of geese and lotus, see Gugong Bowuyuan Cang Wenwu Zhenpin Quanji, Liang Song Ciqi, shang (The Complete Collection of Treasures of the Palace Museum, Porcelain of the Song Dynasty I), Vol. 32, Hong Kong, 1996, p. 70, no. 61. For another with six molded floral panels molded to the cavetto and with twin-fish at the center, see Chinese Antiquities from the Brian S. McElney Collection, Hong Kong Museum of Art, 1987, p. 73, no. 35.

88NO LOT



89A NORTHERN BLACK-WARE CIZHOU-TYPE PALE STONEWARE ‘PARTRIDGE-FEATHER’ CONICAL BOWLNorthern Song/Jin Dynasty, late 11th-early 12th Century Of deep conical shape, the interior with a lustrous black glaze thinning to brown at the rim, liberally splashed in russet with ‘partridge feather’ mottling that splashes outward from the center, the exterior with a russet brown glaze almost entirely covering the black glaze beneath save for the edge of the rim and near the foot, the foot ring and shallowly-cut base un-glazed and revealing the buff stoneware. 5 1/8in (13cm) diameter

$6,000 - 8,000

北宋/金十一世紀晚期/十二世紀早期磁州系鷓鴣斑釉盌 Four bowls of varying size, though similar in diameter to ours, are illustrated by Robert D. Mowry, Hare’s Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown- and Black-glazed Ceramics, 400-1400, Harvard University Art Museums, 1996, pp.140-144, no’s 37 a & b and 38 a & b. Each are also covered with a mottled ‘Partridge-Feather’ glaze to the interiors and russet glazes to the exteriors. All form part of the Arthur M. Sackler Museum, Harvard University. Another is illustrated by J.J. Lally, Oriental Art, Song Dynasty Ceramics, The Ronald W. Longsdorf Collection, New York, March-April, 2013, no. 57, where the author notes that similarly glazed tea bowls of this form excavated from the Northern Song stratum of the Cizhou kiln site at Guanti, Cixian, Hebei province are illustrated in the excavation report, Guantai Cizhou yaozhi (The Cizhou Kiln Site at Guantai), Beijing,1997, pl. 65-1, with line drawings illustrating the profile of the distinctive shape (p. 268). Another conical bowl with russet mottling to both the exterior and interior and of slightly smaller size sold at Christie’s, New York, 17 March 2016, lot 1495.

Lot 89 (Two views)

90 | BONHAMS


90A JIANYAO HARE’S-FUR TEA BOWL WITH SILVER RIMSong Dynasty, 12/13th Century The sides of the deep conical bowl turning more vertical below the silver-mounted rim, covered with a lustrous blackish-brown glaze lightly streaked with russet ‘hare’s-fur’ markings below the unglazed russet-brown rim to the exterior and interior and pooling irregularly above the pale-gray stoneware shallowly-cut foot; with a Japanese box. 4 3/4in (12cm) diameter

$1,500 - 2,500

宋十二/十三世紀建窯兔毫盞 For a similar example from the kilns at Shuiji, Jinyang county, Fujian province, see Robert D. Mowry, Hare’s Fur, Tortoiseshell, and Partridge Feathers, Chinese Brown- and Black-Glazed Ceramics, 400-1400, Harvard University Art Museums, 1996, pp.220-222, no. 84.


91A PAIR OF NORTHERN BLACK-WARE CIZHOU-TYPE CONJOINED CUPS AND CUP STANDSSong/Jin Dynasties The deep rounded cups with wavy petal-form rims, the interiors white glazed, the exteriors under a mottled gray glaze and standing on unusual conjoined saucer-shaped cup-stands glazed in a brown-black glaze revealing the hire-fired grey body at the foot of each. 3 1/2in (8.9cm) diameter

$5,000 - 7,000

宋/金黑褐釉盞托一對 For a single Cizhou bowl covered with a black glaze to the exterior and white glaze to the interior and dating to the Song dynasty, see Christie’s, London, 13 May 2014, lot 283, formerly in the Carl Kempe collection. For a Cizhou Black-glazed cup-stand dating to the Northern Song era, see Bonhams, London, 7 November 2005, lot 34.



92A CARVED CIZHOU BROWN-GLAZED BUFF STONEWARE VASE, YUHUCHUNPINGJin-Yuan Dynasty The pear-shaped vase with a waisted neck and everted roll rim, all under a brown glaze that is carved and reserve-decorated to reveal the pale buff body beneath in a wide band with scrolling leafy foliage below a similar smaller band, the glaze stopping above the unglazed foot and base. 9 1/4in (23.5cm) high

$12,000 - 18,000

金至元磁州窯褐釉剔花玉壺春瓶

For a similar though slightly larger example see Mayuyama, Seventy Years, Vol. I, Tokyo, 1976 p. 199, no. 595; for another of similar type, see Christie’s, New York, Masterpieces of Cizhou Ware: The Linyushanren Collection, Part IV, 13 September 2020, lot 824; and another was sold at Christie’s, Hong Kong, Important Chinese Ceramics and Works of Art, 27 November 2013, lot 3284. See another illustrated by Margaret Medley, Yuan Porcelain and Stoneware, London, 1974, pl. 107 from the St. Louis Museum of Art.

Another example can be found at the Freer Sackler Museum of Art, Washington DC, www.asia.si.edu, Chinese Art, accession no. F2003.1ae.

92 | BONHAMS


93A LARGE IRON-BROWN-SLIP-PAINTED NORTHERN BLACK WARE OVIFORM JARJin to Yuan Dynasty, 12th/13th Century Of Cizhou type, the tall slender oviform jar with simple lug handles at the waisted and molded neck, the shoulder and upper body loosely painted in iron-brown in broad strokes with leafy foliage over a glossy black glaze, the recessed base glazed at its center. 12in (30.5cm) high

$2,000 - 4,000

金至元十二/十三世紀黑釉鐵銹花雙系罐 Similar jars without handles are illustrated by Robert D. Mowry, Hare’s Fur, Tortoiseshell, and Patridge Feathers: Chinese Brown and Black Glazed Ceramics, 400-1400, Harvard University Art Museum, 1995, pp.161-166, nos. 53, 55 and 56 For a smaller example see Sotheby’s London, 11 May 2016, lot 27 and another sold at Christie’s, New York, The Robert Hatfield Ellsworth Collection, 17 March 2015, lot 19


94A SQUAT CIZHOU BLACK STONEWARE VASE, MEIPING13/15th Century The globular meiping with rounded shoulders and wide body, painted in iron-brown in a continuous scene with a bird amidst bamboo sprays, all below leaf lappets on the shoulder and a cylindrical neck with everted rim, the high-fired stoneware base unglazed. 7 3/4in (19.6cm) high

$2,000 - 3,000

十三/十五世紀磁州窯竹鳥紋梅瓶

For two 13th century vases both black-glazed and with iron-oxide painted decoration with birds, one a meiping, the other a yuchunping, see Robert D. Mowry, Hare’s Fur, Tortoiseshell, and Partrudge Feathers, Chinese Brown and Black-glazed Ceramics, 400-1400, Harvard University Art Museums, 1996, pp. 159-163, no’s 52 and 53.



95A CIZHOU CARVED BROWN-GLAZED BUFF-STONEWARE GLOBULAR JARJin-Yuan Dynasty, 13/14th Century The dark black-brown glaze carved in a wide band around the body with neatly delineated scrolling foliage between simple double lines exposing the pale stoneware body beneath, below a slender waisted neck with slightly everted rim, the glaze pooling unevenly above the foot revealing the grey stoneware body and knife-cut foot rim, the base interior glazed. 7in (17.7cm) high

$3,000 - 5,000

金至元十三/十四世紀磁州窯黑褐釉刻花罐 For a more squat example also carved through a rich glaze with stylized leafy scroll band around the body, see J.J. Lally, Oriental Art, Chinese Ceramics and Works of Art, The Collection of Dr. and Mrs. Marvin L. Gordon, New York, March-April, 2009, no. 47. For others similarly carved jars with a band of decoration above a plain brown band nearer the foot, see Illustrated Catalogues of Tokyo National Museum, Chinese Ceramics:I, Tokyo, 1988, p. 156, no. 628; Regina Krahl, Chinese Ceramics from the Meiyintang Collection, Volume One, London, 1994, p. 250, no. 453; and Mary Treaggear, Song Ceramics, London, 1982, p. 95, pl. 99 in the Ashmolean Museum, Oxford.


96A CARVED AND COMBED YAOZHOU GREEN-WARE TEA BOWLNorthern Song Dynasty Of gently-rounded conical shape, the interior carved at the center with a thick coiling leafy-tendrils below gently-combed concentric-arcs in a continuous petal-like design around the center, the whole perhaps depicting a single large flowerhead, all under a pale celadon-green glaze which continues on the plain exterior, save for a single incised line at the mid-body, and thins unevenly to a grey and pale brown at the foot edge, the foot and base firing to a reddish-brown with a few random spots of glaze. 5 1/8in (13cm) diameter

$1,500 - 2,500

北宋耀州窯青釉刻花紋盌 Other Yaozhou examples of the same pattern and shape in the Palace Museum, Beijing are illustrated in Gugong Bowuyuan Cang Wenwu Zhenpin Quanji, Liang Song Ciqi, The Complete Collection of Treasures of the Palace Museum, Porcelain of the Song Dynasty), Vol. 32, Hong Kong, 1996, p. 120, no. 106 For a very similar example formerly in the George De Menasce collection, see J.J. Lally, Oriental Art, Early Chinese Ceramics, An American Private Collection, March-April, 2005, no. 52. See also Sotheby’s New York, 23 September 2020, lot 704, for a very similar Yaozhou bowl; and Christie’s, New York, Online sale, 13-20 July 2017, lot 165.

94 | BONHAMS


97A FINELY-CARVED YAOZHOU CELADON DEEP BOWLNorthern Song/Jin Dynasty Of gently rounded shape, the interior carved with a lotus and combed feathery foliage below a single incised line toward the rim, the exterior with simple knife-cut cut stylized petals between single incised lines, all under an even glaze pooling at areas of the carving and just above the unglazed reddish buff stoneware foot, the base glazed. 7in (17.8cm) diameter

$4,000 - 6,000

北宋/金耀州窑青釉刻花盌

For other Yaozhou bowls of similar type, see Priestley & Ferraro Chinese Art, Kilns & Conquerors, London, 2001, no.14; the same firm, Chinese and Korean Ceramics and Works of Art, London, 2019, no. 12; and Yutaka Mino and Kathrine R. Tsiang, Ice and Green Clouds, Traditions of Chinese Celadon, Indianapolis Museum of Art, 1986, pp.156-157, no. 60. For another example see Sotheby’s, New York, 22 September 2020, lot 705.


98A RARE MOLDED QINGBAI OCTOFOIL COSMETIC BOX AND COVERSong Dynasty Of lightly lobed circular shape, the cover molded with a dense design of slender scrolling chrysanthemum sprays and stems within an octofoil-lobed medallion that mirrors the vertical molded sides of the cover, the rim unglazed, the box similarly lobed, the flat base with areas of uneven glaze, the interior with three cup-shaped containers divided by a leafy lotus stems spreading out from a central seed pod. 5 1/2in (14cm) diameter

$1,800 - 2,500

宋影青刻花粉盒 A Qingbai cosmetic box of similar form was excavated in 1994 at Tiling village, Yuexi county, Anqing city, Anhui provence and is illustrated by Zhang (ed.) in Zhongguo chutu ciqi quanji (8) Anhui (Complete Collection of Ceramic Art Unearthed in China, Vol. 8, Anhui), Beijing, 2008, p. 107, no. 107. For another example of this unusual type in the Joslyn Art Museum, Omaha, Nebraska see the website, www.joslyn.org, inv. 2004.4a-b, dated to the early fourteenth century, where it is noted that women of status used such cosmetic boxes with lotus flower interiors (a Buddhist symbol of purity) and that the containers within held face powders made of rice flour and calcium. Other examples are illustrated in Transactions of the Oriental Ceramic Society, 1969-70/1970-71, London, 1972, in an edition for the exhibition ‘The Ceramic Art of China’, organised by the Arts Council of Great Britain and The Oriental Ceramic Society at the Victoria and Albert Museum, 9th June-25th July, 1971, no. 124, pl. 85; and J.J. Lally, Oriental Art, Song Dynasty Ceramics, The Ronald W. Longsdorf Collection, New York, March-April, 2013, no. 20.



99A RARE LONGQUAN CELADON TWO-HANDLED SLENDER PEAR-SHAPED VASE,YUHUCHUNPINGSong/Yuan Dynasty The pear-shaped body plain save for two incised horizontal lines at the mid neck between the vertical ‘bat’, fu, or ‘water caltrop’-form, lingjiao, handles, all below the everted rim, the even celadon-green glaze stopping neatly above the orange-fired grey stoneware foot ring, the base interior glazed. 9in (22.8cm) high

$2,500 - 4,000

宋/元龍泉青釉雙耳瓶

The potters at the Longquan kilns in the Southern Song dynasty began to embellish vases by adding decorative handles on either side of the columnar neck. Most commonly seen are the phoenix handles on mallet-shaped vases. Much rarer, it seems are Longquan pear-shaped vases, yuhuchunping, with the type of ‘water caltrop’ handles seen on the current vessel. This example may be unique. Others with the more common dragon-head handles or even upright cylinders (arrow vases) prevailed. For a Southern Song dynasty arrow vase of pear shape, see Bonhams, New York, 21 July 2020, lot 145; an example with dragon-mask handles sold at Sotheby’s, London, 7 November 2018, lot 60; and a bottle vase with dragon-fish handles sold at Christie’s New York, 20-21 March 2014 lot 2103.


100A LONGQUAN CELADON ‘LOTUS’ BOWLSouthern Song Dynasty The rounded exterior molded and incised with overlapping lotus petals under a sea-green ‘Kinuta’-like glaze which stops at the base of the slightly tapering foot, revealing the burnt-orange body beneath, the interior plain. 6 1/2in (16.5cm) diameter

$2,500 - 4,500

南宋龍泉窰青釉蓮瓣盌 For another example, see Priestly & Ferraro, Chinese Art, Longquan Celadon, Southern Song to Early Ming, London, 2006, no. 6.

For a Southern Song dynasty Longquan bowl of the same type in the Gemeentemuseum, The Haque, see Mary Tregear, Song Ceramics, Friborg, 1982, p. 167, no. 228. See also another illustrated by T. Misugi, Chinese Porcelain Collections in the Near East, Topkapi and Ardebil, Volume Three, (The Topkapi Palace Museum), Hong Kong University Press, 1981, p. 237, no. T.137.

96 | BONHAMS


101A LONGQUAN CELADON ‘BOW-STRING’ VASE, XIANWENPINGSouthern Song-Yuan Dynasty The tall-necked pear-shaped vase with seven horizontal bow-string raised lines, three together just above the widest point of the body, two together at the shoulder, and two single lines equally distanced to the neck, below a shallow cup-shaped mouth, all under a luminescent even celadon glaze pooling at the bow-string bands and stopping fairly-evenly above the short gray stoneware foot with brown-dressing, Japanese gilt repair at rim. 11 3/4in (29.8cm) high

$3,000 - 5,000

南宋至元龍泉青釉弦紋瓶 The fine, raised lines on vases of this type give the shape one of its Chinese names, xianwenping, ‘string pattern vase’. These tall-necked vases with ‘bow-string’ bands were very much admired in Japan for their elegance of form and beauty of their glazes. This was evidenced when the wreck of a ship, (‘Sinan Wreck’), which had foundered off the coast of Korea on its way to Japan, in AD 1323, was found to contain such items amongst its cargo of celadon wares. See National Museum of Korea, Sinan Wreck Exhibition, Seoul, 1977, no. 15.

Vases of this form have also been excavated from kiln sites in the Longquan area, such as the example illustrated in Longquan Qingci Yanjiu, Beijing, 1989, pl. 41, fig. 1. For other examples, Sekai toji zenshu, vol. 12, Tokyo, 1977, no. 81, from the Nezu Museum; another in the Percival David Foundation of Chinese Art is published by Margaret Medley, Illustrated Catalogue of Celadon Wares, London, 1977, pl. V, no. 50. Others are also illustrated in Newly Discovered Southern Song Ceramics - A Thirteenth-Century “Time Capsule”, Japan, 1998, pp. 14-16, nos. 2-4, from a remarkable Southern Song hoard excavated at Jinyucun, Suining City, Sichuan province in 1991. A slightly smaller example was sold at Christie’s, New York, 19 September 2013, lot 1276. Another example is illustrated in Transactions of the Oriental Ceramic Society, 1969-70/1970-71, London, 1972, in an edition for the exhibition ‘The Ceramic Art of China’, organised by the Arts Council of Great Britain and The Oriental Ceramic Society at the Victoria and Albert Museum, 9th June-25th July, 1971, no. 113, pl. 77; more recently, another sold at Christie’s, New York, 22 March 2019, lot 1739.


102A LONGQUAN CELADON HORIZONTALLY-RIBBED CYLINDRICAL SLEEVE VASESong/Yuan Dynasty The vase tapering gradually from the shallow shoulder to the foot and with fourteen horizontal concave bands formed from raised ribs, the waisted neck plain under a lightly everted rim, the olive-green glaze stopping neatly above the orange-fired grey stoneware foot, the base interior glazed. 10 3/4in (27.3cm) high

$5,000 - 7,000

宋/元龍泉青釉筒瓶 For two other slightly smaller examples, see Kuan Ware of the Sung Dynasty, Porcelain of the National Palace Museum, Taipei, CAFA, 1963, pls. 12 & 13. For a later Imperial Yongzheng-marked example based on a Song/Yuan precursor, see Christie’s, Hong Kong, 25 November 2014, lot 3266

101

102



103A SMALL INSCRIBED LONGQUAN CELADON MINIATURE TABLE-SCREEN INCENSE-STICK-HOLDERMing Dynasty, possibly 16/17th Century The rectangular screen supported on an arched-block foot and the pierced tablet with supporting brackets to each side and pierced with shaped panels, one side with a lengthy molded inscription with seal, the other with two short cylindrical incense-stick holders, all under a crackled green glaze save patches at the feet. 6in (15.2cm) high

$2,500 - 3,500

明龍泉青釉插屏式香插 For a larger example under an attractive olive-green glaze but molded with mythical beasts on the central panel, see Green-Longquan Celadon of the Ming Dynasty, National Palace Museum, Taipei, 2014 pp. 210-211, no. 113. Another was offered at Sotheby’s New York, 16/17 September 2014, lot 146 depicting a xiniu (mythical beast) gazing at the moon, replacing the inscription of our example.


104AN UNUSUAL LONGQUAN CELADON PIERCED CENSER OR VESSEL STANDYuan or Early Ming Dynasty, 14/15th Century The lower section of bombe shape and pierced with five linked oval shaped apertures dividing five carved palmette-leaf-form legs on a spreading circular foot and below a waisted rim with pie-crust edge below a conical cylindrical spreading neck with three rows of hexagonal piercings, fitted with a later copper pricket. 4 1/2in (11.4cm) high (without copper pricket)

$2,500 - 3,500

元/明早期十四/十五世紀龍泉青釉鏤雕香爐/燭台 For another example of a stand similar in decoration to ours and of bombe shape see Priestley and Ferraro, London, at www.priestleyandferraro, inv. no. 968, where the authors note that this type of object became popular during the fourteenth century, was used as a stand for a type of slender-based, high-mouthed vase called in Chinese a ‘ji character’ vase, after the shape of the character ji, meaning ‘good fortune’. They cite two examples of stands related to their example supporting such vases, see Zhu Boqian, Celadons from Longquan Kiln, Yishujia Chubanshe, Taipei, 1998, pp. 192,193, nos. 165 and 166; and for a larger example in the Topkapi Saray, Istanbul, see Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, A Complete Catalogue, I, Yuan and Ming Dynasty Celadon Wares, Sotheby’s Publications, London 1986, no. 542. For a near identical (complete) vessel, though dated to the 15th/16th century, see Christie’s, New York, 25 March 2011, lot 1648, where it is noted that openwork Longquan celadon vessels of this type are very rare. A very similar Longquan celadon example, illustrated by J. Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, pp. 474-5, no. 16:34, where it is dated c. 1450-1550, is also cited. Finally two others of the same (complete) form, one without the pierced decoration, the other with some only in the upper section are also cited by Harrison-Hall, op. cit., the first in the Eisei Bunko, Japan, the other in the Itsuo Bijitsukan, Japan. Our example, with its more conical pierced upper-section suggests that it may not have followed the exact shape of the Christie’s example and may well have been a more truncated type.

103

104

98 | BONHAMS


105A LARGE BARBED, MOLDED AND CARVED LONGQUAN CELADON ‘PEONY’ CHARGEREarly Ming Dynasty, late 14th/early 15th Century Incised at the center with a large peony flowerhead borne on a thick stem with dense foliage all within incised double lines and further molded at the cavetto with petals spreading out to the everted barbed rim, the exterior with further molded petals, all under an olive-green celadon glaze which continues over the foot rim and the base, a large single unglazed ring for firing to the base. 15in (38.1cm) diameter

$3,000 - 5,000

明早期十四世紀晚期/十五世紀早期龍泉青釉牡丹纹花口盤

For a slightly larger barbed dish with radially-fluted cavetto but incised with a more cursorily incised lotus flower, see John Alexander Pope, Chinese Porcelains from the Ardebil Shrine, Smithsonian Institution, Freer Gallery of Art, Washington, 1956, p. 155, pl. 121:29.617. Another of almost identical size with impressed peony at the center, rather than incised like ours, see T. Misugi, Chinese Porcelain Collections in the Near East, Topkapi and Ardebil, Volume Two, (The Ardebil Shrine Collection), Hong Kong University Press, 1981, p. 320, no. A232.

See also an important barbed dish from the Mughal Royal Household, 1657 inventory, also with tree peony at the center and a fluted cavetto, which sold at Sotheby’s, Hong Kong, 3 October 2013, lot 221.

The Mee-Din and Robert W. Moore Collection of Chinese LacquerLots 106 - 145

100 | BONHAMS

Robert W. Moore is a collector, consultant and dealer in Asian Art. He is perhaps best known for the high quality Korean collections that he has built over the past 50 years. However, he should also receive a great deal of credit for his robust contribution to our knowledge of Chinese and Ryukyuan lacquer through judicious collecting that has continued quietly alongside his main Korean interest. His private library of these subjects rivals most. His first Collection of Korean art was offered in a groundbreaking sale at Christie’s in New York in 1986. A second collection was acquired

by the Los Angeles County Museum of Art in 2000 and serves as the core of that collection today. The long list of institutions that have purchased or taken on loan objects from the Robert W. Moore collection, besides the aforementioned, include The Santa Barbara Museum of Art, The Asian Art Museum of San Francisco, The Seattle Art Museum, The Cleveland Museum of Art, The Brooklyn Museum of Art, The Asia Society and the Idemitsu Collection in Tokyo.

PROPERTY FROM THE MEE-DIN AND ROBERT W. MOORE COLLECTION OF CHINESE LACQUER

106A RARE EARLY PENTAFOIL CINNABAR TIXI LACQUER DISH,13th-15th Century The interior carved in low relief through layers of differing tones of cinnabar ranging from deep-purple-red, orange and a pale green, with a radiating design of two pentafoil-cartouches of petal and star shape within the petal-form rim, centered by a five-petal flowerhead within two bands of spirals bordered by ruyi-heads within the first pentafoil cartouche itself set on a five-pointed star cartouche with a scroll ground and whose points merge at the rim bisecting further scrolls below the petal-form rim, the shallow rounded exterior sides carved to mirror the interior design, the base lacquered in a black (age cracks at stress points). 7 1/2in (19 cm) across

$12,000 - 18,000

十三至十五世紀剔犀如意雲紋葵口盤

Mee-Din and Robert W. Moore at their Los Angeles residence, 2020.


For a slightly larger circular dish with a comparable scroll and stylized ruyi design with central quatrefoil and circular cartouches set on an eight-pointed star cartouche dated to the Southern Song Dynasty, see The Colours and Forms of Song and Yuan China, Nezu Institute of Fine Arts, Tokyo, 2004, p. 138, col. pl. 50. Dishes of this type appear to prefigure our example. For other pre-cursors, see Karamono, Imported Lacquerwork-Chinese, Korean and Ryukyuan (Okinawa), Selections From The Tokugawa Art Museum, No. 2, Nagoya, Japan, 1997, see pp. 10-11, no’s 1 and 2; and Asian Art, Arthur M. Sackler Gallery, Smithsonian Institution, Vol. 1, No. 1, Fall/Winter 1987-1988, Oxford, 1987, pp.34-35, Fig. 5.

106

102 | BONHAMS


107A FINELY CARVED TIXI CINNABAR LACQUER THREE-COLOR CIRCULAR SHALLOW-DOMED BOX AND COVERYuan/Early Ming Dynasty, 14th-15th Century The shallowly rounded domed cover deeply carved through multiple layers of cinnabar, ochre and black layers with fluid swirling scrolls comprising three larger scrolls with three smaller scroll tails, the exterior sides with a single continuous register of scrolls above a simple circular countersunk black-lacquered base, the interior similarly black lacquered; with a Japanese box. 3in (7.6cm) diameter

$8,000 - 12,000

元/明早期十四至十五世紀剔犀如意雲紋圓盒

The deeply-cut decoration which exposes the multiple layers of red, black and ochre lacquer is generally characteristic of Yuan lacquers but does continue into the early Ming period. Another box with similar carved design also employing three colors of lacquer is illustrated in Ancient Chinese Arts in the Idemitsu Collection, Tokyo, 1989, no. 381. Another slightly larger box was sold at Christie’s, Hong Kong, 30 April 2000, lot 642, which bore the signature of Yang Mao, who is mentioned in the Gegu yao lun as being a pupil of Yang Hui of Xitang at the end of the Yuan dynasty. Another similarly carved box of larger size is illustrated by Jing Pei Fang, Treasures of the Chinese Scholar, New York/Tokyo, 1997, p. 145, fig. 147. The box has an inscription indicating that it was made by a great Yuan lacquer artist, Zhang Cheng. See also James C.Y. Watt and Barbara Brennan Ford, East Asian Lacquer, The Florence and Herbert Irving Collection, New York, 1991, p. 60, no. 14, a small incense box dated 14th-16th century with the unusual inclusion of green lacquer layers perhaps suggesting the latter end of the date range indicated.



108A TIXI BLACK AND CINNABAR LACQUER SMALL CIRCULAR DISH14th-15th Century The shallow rounded sides carved in low relief to the interior, through primarily thick black lacquer layers divided by thinner cinnabar layers, with two rows of radiating ‘pommel-scrolls’ below a central pointed motif, the rim rounded and the exterior sides with a wide classic-scroll-like motif, a large circular countersunk base. 5 3/8in (13.7 cm) diameter

$3,500 - 5,500

十四至十五世紀剔犀如意雲紋圓盒 The Chinese term tixi can be literally translated as ‘carved rhinoceros’, whilst Japanese term guri, refers to ‘pommel’ scrolls. According to Harry Garner, Chinese Lacquer, London, 1979, p.70, the earliest recorded description of it (printed in 1366) explains that the term arose because of the similarities with a rider’s leather saddle, which over time changes from black to red to brown and finally becomes a combination of all three colours. Known to have been used as early as the Tang Dynasty, it rose to popularity during the Song and Yuan periods. Most publications state that the ‘pommel’ refers to the type found as sword furnishings but actually it makes as much sense to refer to the shape of pommels on horse saddles, and actually more in keeping with the Garner reference. Compare another similar but larger cinnabar lacquer dish, also with two registers of ruyi-heads dated to the Southern Song period, illustrated in The Colours and Forms of Song and Yuan China, Nezu Institute of Fine Arts, Tokyo, 2004, p. 142, col. pl. 68. A comparable dish in the Tokyo National Palace Museum is illustrated in Toyo no shikkogei:Tokubetsu ten (Far Eastern Lacquer Arts: Special Exhibition), 1977, no. 468. A Cinnabar red lacquer dish of similar size and design, dated Song/Yuan dynasty, is illustrated by Lee King Tsi and Hu Shih Chang, Drache Und Phoenix, Lackarbeiten aus China, The Lee Family Collection, Tokyo (Dragon And Phoenix, Chinese Lacquer Ware), The Museum of East Asian Art, Cologne, 1990, pp.42-43, no. 7. For a slightly earlier and larger Tixi black lacquer dish with three concentric rings of ‘pommel-scrolls’ see Bonhams, London, 11 November 2010, lot 424.


109A SMALL TIXI CINNABAR LACQUER CIRCULAR BOX AND COVERYuan or possibly Early Ming Dynasty (13th-15th Century) The shallow domed cover carved through thick cinnabar layers divided by thin black layers with five ‘pommel-scrolls surrounding five c-cloud lappets centered by a single small circle, the underside with five further pommel-scrolls and centered by a circular countersunk base lacquered in black (some cracks at stress points). 3 1/8in (7.8 cm) diameter

$4,000 - 6,000

元或明早期十三至十五世紀剔犀如意雲紋圓盒 For another box and cover dated to the 13th-14th century but of flatter profile with a single band of pommel-scrolls around a similar central design, see www.metmuseum.org, accession no. 29.100.713, where it is noted that the pommel scroll design can be found as early as the Song period (960-1279) and refers to the pommel of a sword, an unexpected prototype for a design in another material (see the footnote to lot 108 in this sale). It is also illustrated by James C.Y. Watt, The World of Khubilai Khan, Chinese Art in the Yuan Dynasty, Metropolitan Museum of Art, New York, 2010, p. 291, fig. 339. For a very similar design on two 13th to 14th century cinnabar lacquer dishes, see Sotheby’s London, 15 May 2019, lot 65; and Christie’s London, 7 November 2006, lot 55. For a slightly later Ming dynasty example in black lacquer, see Christie’s, New York, 17 September 2008, lot 130.

104 | BONHAMS


110A TIXI BLACK AND CINNABAR LACQUER CIRCULAR SHALLOW-DOMED BOX AND COVERMing Dynasty, 15th/16th Century With steep rising sides and almost flat upper surface, the cover carved in low rounded relief with three graduated rows of pommel scrolls radiating outward from a four-pointed central motif, the box with a single register of differing ruyi-shaped pommel-like scrolls above a tall foot ring, the base plain and centered by a red-lacquered number shisan (thirteen). 7in (17.7cm) diameter

$3,000 - 5,000

明十五/十六世紀剔犀如意雲紋圓盒 The style of carving on our box combined with the use of only a single layer of cinnabar lacquer to highlight the design of the pommel-scrolls, can be compared to that on a tixi black lacquer box of octagonal shape, dated 14th-15th century, in the Florence and Herbert Irving Collection illustrated by James C. Watt and Barbara B. Ford, East Asian Lacquer, The Metropolitan Museum of Art, New York, 1991, pp. 57-58, no. 12. However, the authors note that the gentle curvature of the relief design, which is also mirrored in ours, distinguishes the box from the standard Yuan style of carving, which exhibts deeply-cut rounded scrolls in high relief and often deeper V-shaped grooving rather than the shallow U-shape exhibited in the Metroplitan Museum example and ours. They continue, that this type of tixi carving style is generally assigned a Ming date, and indeed it does bear the same relationship to Yuan tixi that early Ming blue-and-white porcelain bears to its Yuan predecessor. For a very slightly larger cinquefoil box and cover of similar design but with two layers (the more usual combination) of cinnabar lacquer to highlight the pommel scrolls, and dated to the fifteenth century, see Christie’s, New York, 21 March 2007, lot 172. Another very similar, but slightly larger, example dated 15th/16th century is illustrated by Klaus J. Brandt, Chinesische Lackarbeiten, Linden-Museum Stuttgart, 1988, pp. 72-73, no. 27. For a very slightly larger and slightly later box and cover dated to the 16th Century with additional thin layers of cinnabar to highlight the design, see Christie’s, London, 5 November 2012, lot 179 and another sold at Christie’s, Hong Kong, 30 May 2012, lot 4225.


111A TIXI BLACK AND CINNABAR LACQUER ALMS BOWL OE WEIQI BOXMing Dynasty The deep steep-sided tapering bowl (or possibly counter box) with a rounded shoulder and deeply carved with V-shaped channels through multiple layers of black and cinnabar lacquer with two registers of large pommel scrolls stopping neatly at a plain band at the incurving rim and above a single register of smaller tailed-scrolls and a plain band at the incurving foot. 5in (12.7cm) across, later Japanese silver cover

$3,000 - 4,000

明剔犀如意雲紋小罐後配日本銀蓋 For early 15th century alms bowls in cloisonne, see Sotheby’s, Hong Kong, The Speelman Collection II, 3 October 2018, lot 3411 and another sold at Christie’s, Hong Kong, The Imperial Sale, 28 May 2007, lot 1435. For other later lacquer alms bowls of differing design, see Sotheby’s, Hong Kong, The Water, Pine and Stone Retreat, 8 October 2009, lot 1828, itself related to another illustrated in Carved Lacquer In the Palce Museum, Beijing, 1985, pp. 354-355, fig. 1. For a later imperial blue and white porcelain alms bowl with a register of ruyi-heads at the shoulder which bear a passing resemblance to the pommel-scrolls on ours, see Christie’s, New York, 23 March 2011, lot 1678. By Buddhist law, the ‘alms’ bowl is the only item a monk is allowed to possess. The begging bowl (bo) was a monk’s necessity. A number of Chinese emperor’s were devout Buddhists, and numerous Buddhist implements and artworks were created under their direction. Many examples of alms bowls made during these different reigns in materials as different as jade, cloisonné enamel and lacquer are well recorded. The shape of this elegant, volumetric bowl, with its simple, bold form is probably derived from metalwork introduced from Persia or Central Asia. The style of bowl was originally used in Indian Buddhist practice. The possibility that this may indeed be a weiqi counter box rather than an alms bowl should not be discounted however, as evidenced by the the addition of a simple cover, in this case a Japanese silver one that can simply transform its use.



112A MING CARVED CINNABAR CIRCULAR ‘CRANE OR EGRET’ DISH15th Century The shallow rounded sides carved to the interior in low relief with a crane or egret with out-stretched wings amidst large full-faced peony flower-heads and peony buds on a curiously spiky and wavy-edged leaf backdrop with large gaps revealing the pale honey-beige ground beneath, the exterior with composite floral ground with peony, chrysanthemum, lotus and plum blossom, also with large channelling revealing the honey-beige layer beneath, and above a sixteen-sided polygon edge at the base (missing foot). 7 7/8in (20cm) diameter

$2,000 - 4,000

明十五世紀剔紅花鳥紋圓盤 For a larger black lacquer dish dated to the Yuan dynasty, see Klaus J. Brandt, Chinesische Lackarbeiten, Linden-Museum Stuttgart, 1988, pp. 74-75, no. 28. It also shares some of the idiosyncratic treatment of some of the leaves of our example, which also forms a wave-like edge below the plain rounded rim. It is centered by two crane or egrets set amongst dense peony sprays. The reverse side however has a design of classic scroll and not the composite floral scroll of ours. A circular box and cover in cinnabar lacquer also decorated with two crane or egrets amidst peony is illustrated in 2000 Years of Chinese Lacquer, The Oriental Ceramic Society of Hong Kong and the Art Gallery, The Chinese University of Hong Kong, 1993, pp. 78-79, no. 34, and bears comparison. See also, James C.Y. Watt and Barbara Brennan Ford, East Asian Lacquer, The Florence and Herbert Irving Collection, The Metropolitan Museum of Art, New York, 1991, pp.72-73, no. 21, for a larger cinnabar lacquer dish dated to the late 14th-early 15th century carved in a similar style with two peacocks amidst peony, though lacking the wavy-edge leaves of the aforementioned items.


113AN TIXI BLACK AND CINNABAR LACQUER SQUARE DISHEarly Ming Dynasty, 15th Century With rounded corners, carved in low relief through layers of primarily black lacquer and a thin layer of cinnabar red with three registers of radiating pommel scrolls surrounding a central pointed cross-like motif, all below a rounded rim, the exterior sides with a continuous register of carved scrolls issuing from a central wavy line, a simple rounded square foot rim and plain black-lacquered base. 6 3/4in (17.2cm) across

$4,000 - 7,000

明早期十五世紀剔犀如意雲紋盤

For an early lacquer square box and cover, dated Yuan-Ming dynasty, with the tixi decoration carved in slightly deeper relief than ours but with a very similar central motif and ‘pommel-scroll’ surrounds, see Christie’s, New York, The Florence and Herbert Irving Collection, Part II, 20 March 2019, lot 1123. For a tixi lacquer square dish of similar outline and near identical registers, see Bonhams, London, 4 November 2019, lot 291. For another tray of rectangular shape but dated Song-Yuan dynasty, see Christie’s, Hong Kong, Important Chinese Lacquer from the Lee Family Collection, Part II, 1 December 2009, lot 1804.

106 | BONHAMS


114A MING CARVED CINNABAR LACQUER CIRCULAR COVER (AND BOX)The cover 15th Century, the replacement Japanese box possibly Muromachi period The cover carved in deep dense relief with a flowering peony at the center and surrounded by leafy foliage and buds and revealing a yellow lacquer below, the Japanese lacquer bottom-half with Muromachi-type mottled ‘merging’ red and black lacquer carved with low-relif foliage. 2 1/2in (6.3cm) diameter

$1,500 - 2,500

明十五世紀剔紅牡丹紋圓蓋配日本作盒身 For another similar (box and) cover, see Sotheby’s, Hong Kong, The Baoyizhai Collection of Chinese Lacquer, Part I, 8 April 2014, lot 34 where the flower is described as a camillia. Compare two closely related examples, both described as depicting peony, one illustrated in Imported Lacquerwork – Chinese, Korean and Ryukyuan (Okinawa), Selections From The Tokugawa Art Museum, Nagoya, 1997, p. 42, no. 59 and another published in Masterpieces of Chinese Lacquer Ware in the National Palace Museum, Taipei, 1971, pp.85-86, no. 18, col. pl. 18. For a 15th century Muromachi box with classic ‘merging’ red and black lacquer, see Ann Yonemura, ‘The Art of Chinese Lacquer’, Asian Art, Arthur M. Sackler Gallery, Smithsonian Institution, Fall/Winter Issue, 1987-1988, pp. 38-39, fig. 13.


115A FINE CARVED CINNABAR LACQUER CIRCULAR BOX AND FLAT COVERMing Dynasty, 16th Century Delicately carved in relief with a seated figure of Budai resting on his travelling bag with a fly whisk in his left hand on a rising knoll with dense floral-cell-ground beneath a gnarled pine itself set against a ground of horizontal grooves with vertical ticks to describe the sky, the straight sides of the box and cover very neatly carved with a finely-channelled key-pattern band, a simple rounded foot ring and black-lacquered flat base. 2 1/2in (6.3cm) diameter

$4,000 - 6,000

明十六世紀剔紅布袋圖蓋盒 For a slightly smaller circular box and cover dated to the sixteenth century and simialrly carved with a seated figure of Budai on a rising knoll but beneath a blossoming prunus, rather than the pine of our example, and accompanied by children, see Christie’s, Hong Kong, 1 June 2011, lot 3840. For another very similar-sized box and flat cover with identically treated channelled-key-pattern at the sides but with an elegant female and child, rather than Budai, but set against the same sky treatment, see Masterpieces of Chinese Lacquer Ware in the National Palace Museum, Taipei, 1971, p. 85, no. 17, col. pl. 17. For a similar depiction of this amusing scene on a small box and cover dated to the late Ming dynasty, see Zhu Jiajin and Xia Gengqi, Zhongguo qiqi quanji. Ming [Lacquer treasures from China. Ming dynasty], vol. 5, Fuzhou, Fujian, 1995, pp. 170-171, no. 161; and a similar-sized example also depicting the seated Budai and children dated to the late sixteenth or early seventeenth century was sold at Sotheby’s Hong Kong, 4 May 1994, lot 289. A hexagonal tired box and cover carved with a scene of Budai in a landscape is illustrated by Derek Clifford, Chinese Carved Lacquer, London, 1992, p. 61, no. 37.



116FIVE CARVED CINNABAR LACQUER SMALL DISHESMing Dynasty, 16th Century Four depicting long-tailed birds amidst blossoming and fruiting peach rising from jardinières on a cell ground at the center, the other with egrets amidst lotus rising from an identically shaped jardinière below identically decorated bands of key-pattern, lotus petals and a diaper cell at the well, the exteriors with scrolling floral decoration. 4 7/8in (12.4cm) diameter, each (5).

$2,500 - 3,500

明十六世紀剔紅花鳥圖小碟五件


117A CARVED CINNABAR LACQUER CIRCULAR BOX AND COVERMing Dynasty, 15th/16th Century The very-shallowly domed cover, carved in low rounded relief with a central standing figure of the traveling monk Bodhidharma, crossing a natural rockwork bridge above a dense wave design representing water, the monk holding his only belongs on a staff thrown across his shoulder, all set within a surround of craggy rocks to each side and with trees above, including pine, the straight sides of the cover and the box with a simple but wide key-pattern register, the base flat and lacquered black. 4 1/2in (11.4cm) diameter

$4,000 - 6,000

明十五/十六世紀剔紅達摩圖圓盒 The monk, Bodhidharma, a semi-historical figure, was said to have traveled to China from India sometime in the 5th or 6th century CE. He is considered the first patriarch of Chan (Zen) Buddhism in China, and while there is some evidence for his historical existence, very little contemporary biographical information on Bodhidharma is extant, and subsequent accounts became layered with legend. It was said that he was from a Brahman family in southern India and possibly of royal lineage and scholars have concluded his place of birth to be Kanchipuram in Tamil Nadu, India. After becoming a Buddhist monk, Bodhidharma traveled to China Various accounts from the life of Bodhidharma have become embedded in the imagery of this saintly figure. After being refused entry to the Shaolin Monastery, he retreated to meditate in a nearby cave, staring at the cave wall in total silence for nine years. A popular image in Chinese painting during the Ming and Qing dynasties. Three years after the death and burial of Bodhidharma, an official from a nearby kingdom (who had not heard of the monk’s death) encountered the old patriarch walking back to India with one sandal in his hand. On the re-telling of this encounter, a disbelieving audience opened Bodhidharmas tomb and found it empty save for the other sandal. This too became a popular subject and possibly the one depicted on our box. For a smaller but similar circular cinnabar box, dated 16th/17th century, see Sotheby’s, New York, 17 September 2014, lot 551. For a later eighteenth century example depicting Bodhidharma under pine, see Littleton & Hennessy, Asian Art, London, www.littletonandhennessy.com, Lacquer, un-numbered.

116

117

108 | BONHAMS


118A CARVED CINNABAR LACQUER ‘SPRING-BLOSSOM COLLECTING’ RECTANGULAR TRAYMing Dynasty, 16th Century With shallow rounded sides and canted corners, carved in a flat-surfaced low-relief at the center with a scholar and his assistant carrying an early prunus blossom branch in a rocky setting with pine, bamboo and prunus blossoms set within an ogival central panel which is reserved against a larger rectangular panel with a cloud motif on a cell ground, the interior up-curving sides carved in a more dense relief with channelled grooving to emphasize the trailing floral design, the exterior with a continuous single register of key-pattern above a thin line of simply-scooped semi-circle lappets, a short footrim and a plain black-lacquered base 14in (35.5cm) across

$4,000 - 6,000

明十六世紀剔紅如意花卉紋人物長方盤

For another Ming vessel displaying the same rather unusual ‘channelled’ carving of the floral design displayed on the interior sides of our example, see Zhu Jiajin and Xia Gengqi, Zhongguo qiqi quanji. Ming [Lacquer treasures from China. Ming dynasty], vol. 5, Fuzhou, Fujian, 1995, p. 90, no. 88. For a polychrome lacquer painted tray bearing a Wanli reign mark (1573-1620), with identical layout of the design, with a central ogival panel reserved on a cell-ground and bordered with scrolling foliage, see also James C.Y. Watt and Barbara Brennan Ford, East Asian Lacquer, The Florence and Herbert Irving Collection, New York, 1991, pp. 120-121, no. 51.



119A CARVED CINNABAR LACQUER ‘SCHOLAR’S EXCURSION’ RECTANGULAR BOX AND FLAT COVERMing Dynasty, 16th Century The cover carved in relief with a delightful lakeside setting depicting a scholar in the foreground clutching a staff and crossing a simple rustic bridge with his young attendant following close behind weighed down by picnic apparatus, all surrounded by mighty craggy rocks and trees including a willow, maple and others, in the near distance a boy sits on a balcony before a large screen and other furniture on the balcony of a pavilion in the distance, all set within a plain border, the deep vertical sides of the cover carved in deep-relief with a single register of tree peony on a cell ground, the box with a simple broad flat foot ring and plain black-lacquered base with vertical rectangular sides that slide inside the cover. 10 x 9 x 3in (25.4 x 22.8 x 7.6cm)

$6,000 - 8,000

明十六世紀剔紅樓閣人物圖方盒

The design can be compared to two other mid-Ming dynasty examples in the Palace Museum, Beijing, one, a box carved with scholars gathering in a courtyard with trees and rockwork, the other, a tray with scholars below pine pointing to a figure seated in a pavilion beyond, illustrated by Zhu Jiajin and Xia Gengqi, Zhongguo qiqi quanji. Ming [Lacquer treasures from China. Ming dynasty], vol. 5, Fujian, 1997, p. 66, pl. 64 and p.77, pl. 77, respectively. For another sixteenth century large cinnabar lacquer rectangular box and cover also carved with a scholar and attendants preparing a picnic in a rustic lakeside setting with craggy rockwork and trees all set on a multi-cell ground, with the vertical sides similarly carved with flowering peony registers, see Sotheby’s, New York, 14 September 2016, lot 349. For a cinnabar rectangular tray differing in composition but stylistically similar, see Christie’s Hong Kong, 1 December 2010, lot 3083, where it is compared in style and decorative design on a box and cover in the Kaisendo Museum, Yamagata prefecture, Japan, illustrated in the exhibition catalogue, Carved Lacquer, Tokugawa and Nezu Museums, 1984, p. 110, no. 151.

110 | BONHAMS


120A CINNABAR LACQUER TALL CYLINDRICAL BOX AND COVERMing Dynasty, 16th Century The cover of tall cylindrical shape, the flat top carved in a slightly rounded relief with two seated scholars in discourse amidst craggy rockwork and old pine trees on a diaper cell ground, the tall sides further carved with a flowerhead diaper ground, the box with plain cylindrical sides that fits neatly inside the cover sides, lacquered red on the exterior, foot edge and black lacquered to the interior and flat base. 2 3/4in (7 cm) diameter

$3,000 - 5,000

明十六世紀剔紅高仕圖蓋盒 For another larger 16th/17th century tiered cylindrical box in cinnabar lacquer also depicting a bucolic scene with a scholar amidst rockwork and under pine on the circular flat cover, see Karamono, Imported Lacquerwork-Chinese, Korean and Ryukyuan (Okinawa), Selections From The Tokugawa Art Museum, No. 2, Nagoya, Japan, 1997, p. 62, no. 109.


121A CARVED CINNABAR LACQUER ‘FOUR BUDDHIST LIONS’ CIRCULAR DISH16th/17th Century The shallow circular dish carved in very low-relief with a lightly ‘channelled’ design depicting four Buddhist lions encircling a large central ribboned ball, the ribbons securely held in their mouths and set against a dense ground of flame-like clouds and seed-like small ovals, the rounded rim plain, the rounded exterior sides with a continuous ‘channelled’ register of various flower-heads, a black-laquered short foot ring and plain base. 6 1/16in (15.3 cm) diameter

$1,200 - 1,800

十六/十七世紀剔紅獅球圖盤

For a near identical ‘four Buddhist lions’ dish dated to the 16th century and called ‘Yunnan-type’, and also carved with composite floral scrolls to the exterior, see Christie’s, Hong Kong, Important Chinese Lacquer from the Lee Family Collection, Part III, 28 November 2012, lot 2099.

Lot 120 (Two views)



122A TIXI CINNABAR LACQUER CIRCULAR SHALLOW-DOMED BOX AND COVERLate Ming Dynasty, 16th /17th Century deeply carved with V-shaped channels through mutiple layers of differently-toned cinnabar lacquer and thinner layers of black lacquer with four interlocking scrolls to the very shallowly domed cover, the vertical short sides with a simplified key-pattern, a low plain foot ring with a countersunk base revealing an orange-green marbled effect 2 3/4in (7cm) diameter

$1,500 - 2,500

明晚期十六/十七世紀剔犀圓盒 Whilst based on Yuan pre-cursors; for example see Robert D. Jacobson, Appreciating China: Gifts from Ruth and Bruce Dayton, Minniapolis, 2002, p. 112, no.57; and another sold at Christie’s, New York, 16 September 2008, lot 129; the carving style and material are here more closely akin to later Ming cinnabar examples, see Christie’s, Hong Kong, 28 April 2020, lot 79 and another Christie’s, London, 9 May 2011, lot 62.


123A CARVED CINNABAR LACQUER POURING VESSEL, YIMing Dynasty, 16/17th Century The sides decorated in a continuous band with leafy branches of lychee on a diaper-cell ground, between wavy lotus petals above the foot and further diaper-cell at the rim, a simple animal-headed loop handle at one end (a later small metal ladle). 4 1/2in (11.4cm) across (2).

$2,000 - 3,000

明十六/十七世紀剔紅荔枝紋匜後配金屬勺 For a very similar cup see Gerard Hawthorn Ltd., Oriental Art, Oriental Works of Art, London, June 2000, no. 77, with lingzi rather than lychee decoration to the sides. See also another sold at Bonhams, San Francisco, 25 June 2019, lot 149. See also another with Mifu in a landscape, A Special Exhibit of Collections from Mr. Robert Chang’s ‘Studio of Lotus Fragrance’, Suzhou Museum, 2009, pl 134.


124A TIXI CINNABAR LACQUER RECTANGULAR PEN TRAY16th/17th Century With shallow rounded sides with canted corners, the interior carved with low-relief pommel scrolls, comprising an inner grouping of two registers of opposing pommel scrolls surrounded by an outward-facing register of pommel scrolls below a rounded plain rim, the exterior sides with a dense classic-scroll design, the base black lacquered. 14 3/4in (37.4cm) long

$3,000 - 4,000

十六/十七世紀剔犀如意云紋軸盒 A slightly larger tixi cinnabar lacquer tray dated to the first half of the 17th century was sold at Christie’s, New York, 12 September 2019, lot 917. Whilst more square in format than ours it presents a very similar profile, a design of opposing and outward-facing pommel scrolls to the interior and classic scroll to the exterior. A similar tray in black and cinnabar lacquer but with a different arrangement of pommel scrolls, see Bonhams, New York, 16 March 2015, lot 8066, where it is compared to another published in 2000 Years of Chinese Lacquer, the Oriental Ceramic Society of Hong Kong, and the Chinese University of Hong Kong, 1993, no. 30.


125A MING-STYLE BLACK AND CINNABAR LACQUER SQUARE TRAYQing Dynasty (1644-1911) Reserved in low-relief black lacquer to the central square panel with two birds amidst four large peony flower-heads and leafy sprays rising from rockwork on a cinnabar lacquer diaper-cell ground, all below gently out-curving sides decorated with a dense ground of peony sprays which is mirrored to the exterior, the base plain 11in (28cm) across

$2,000 - 3,000

清明式花鳥紋漆盤 For a Yuan pre-cursor of this style of black lacquer reserved on a cinnabar ground, see James C.Y.Watt and Barbara Brennan Ford, East Asian Lacquer, The Florence and Herbert Irving Collection, The Metroplitan Museum of Art, New York, 1991, pp.66-67, no. 18. For another dated 16th/17th century, see see Karamono, Imported Lacquerwork-Chinese, Korean and Ryukyuan (Okinawa), Selections From The Tokugawa Art Museum, No. 2, Nagoya, Japan, 1997, see p. 64, no. 114.

112 | BONHAMS

124

125



126A MING-STYLE CINNABAR LACQUER ‘LYCHEE’ CYLINDRICAL BOX AND COVER18th Century The cover carved in deep relief with a dense design of leafy foliage and gnarly branches supporting fecund lychee fruit each individually carved, some with cell-grounds, others more realistically, the continuous design continuing down the vertical cylindrical sides and stopping at a thin band above the plain short foot of the box which is very neatly carved to the base with a geometric T-shaped pattern divided by small wan symbols, the box with indented vertical cylidrical sides which neatly slide within the domed cover 3in (7.6cm) diameter

$4,000 - 6,000

十八世紀剔紅荔枝紋圓盒

The Chinese word for ‘lychee’ is homophonous with ‘establishing a son’, lizi, meaning to have a son so as to continue the family name. The word is also a pun for ‘clever’, li. See Terese Tse Bartholomew, Hidden Meanings in Chinese Art, Asian Art Museum of San Francisco, 2006, p. 73, 3.19., where it is noted that from the Han dynasty onwards, the rulers of China demanded it as tribute. Legend has it that lychees were rushed by ‘pony express’ up to the capital (present-day Xian) to satisfy the whims of Yang Guifei, the favorite concubine of the Emperor Minghuang (713-756 CE.). It is synonymous with fertility, and even today, dried lychee fruit are scattered on the wedding bed. It was particularly popular on Ming dynasty lacquerware. For an eigtheenth century lobed cinnabar example with lychee carved in three colors to the cover and with vertical sides carved identically to the base of our example with a T-pattern ground, see Chiswick Auctions, London, 23 February 2016, lot 33. For a Ming pre-cursor see see Masterpieces of Chinese Carved Lacquer Ware in the National Palace Museum, Taipei, 1971, no. 19. Two very similar boxes also carved with lychee fruits, dating to the 16th century are illustrated in Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, May-July 2008, no’s 48 and 49. For another Ming dynasty example, see Christie’s, New York, 16-17 September 2010, lot 1417.

114 | BONHAMS


127A LARGE CARVED CINNABAR LACQUER TWO-SIDED CIRCULAR DOMED BOX AND COVERLate Ming or early Qing Dynasty, 17th Century carved in deep rounded relief on both the box and cover, one side depicting nine boys playing around a large stone fish basin in a garden setting with a majestic pine, maple, plantain and other saplings on a dense cell ground, an elegant ladies watches the activity from a rectangular window in a brick building nearby, the other side with two scholars and their attendants under a sprawling wutong and amidst other trees and saplings including maple on a raised promontory with surrounding rockwork, the interior rim edges lacquered red and the interiors black-lacquered. 7 1/8in (18.1cm) diameter

$4,500 - 6,500

明晚期/清早期十七世紀剔紅嬰戲圖蓋盒

Another two-sided circular box and cover with equestrian warriors in a rocky pine landscape to one side and deer under pine on the other dated to the Ming dynasty is illustrated by Zhu Jiajin and Xia Gengqi, Zhongguo qiqi quanji. Ming [Lacquer treasures from China. Ming dynasty], vol. 5, Fujian, 1997, p. 58, no. 57. A Qianlong-marked cinnabar cylindrical box with flat top and decorated on both top and bottom with boys at play and various other pursuits in a pavilion garden setting, is illustrated in Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Lacquer Wares of the Qing Dynasty, Hong Kong, 2006, pp. 18-19, no. 10.



128AN EARLY GILT AND RED LACQUER CUP STANDSong/Jin Dynasty With a flat everted foliate edge divided into nine lobes edged in gilt, and mirrored in the cavetto, a simple cup support at the center, the spreading foot echoing the lobed design. 6in (15.2cm) across

$3,000 - 5,000

宋/金漆鎏金花瓣形盞托 For a similar dish, see Eskanazi, Chinese Lacquer from the Jean-Pierre Dubosc Collection and others, London, 1992, pp.34-35, no. 8. Compare also with a black-lacquered tray of similar foliate shape dated to the Song-Yuan dynasty, included in the Exhibition of Eastern Art celebrating the opening of the Gallery of Eastern Antiquities, Tokyo National Museum, 1968, no. 479. For a Song dynasty example with a raised cup support at the center, see The Colors and Forms of Song and Yuan China featuring Laquerwares, Ceramics and Metalwares, Nezu Institute of Fine Arts, Tokyo, 2004, no. 155 from the Museum of Oriental Ceramics, Osaka, Japan. Another dated to the Yuan dynasty in plain black lacquer is illustrated by Lee King Tsi and Hu Shih Chang, Drache Und Phoenix, Lackarbeiten aus China, The Lee Family Collection, Tokyo (Dragon And Phoenix, Chinese Lacquer Ware), The Museum of East Asian Art, Cologne, 1990, pp.42-43, no. 7.

116 | BONHAMS


129AN EARLY RED AND ENGRAVED GILT (QIANGJIN) LACQUER THREE-TIER OCTAGONAL BOX AND COVERSong/Yuan Dynasty The stepped domed cover incised and gilt with a scene depicting two scholarly figures on horseback with attendants arriving at a terraced lakeside building with a newly-leaved willow nearby, the sides with panels depicting various animals, floral sprays, birds and figural groups on cell-grounds, comprising two collars, a base, an individual liner tray and cover. 11in (28cm) high, 12in (30.5cm) across

$15,000 - 25,000

宋/元朱漆戗金人物花鳥圖八角蓋盒 For a circular box and cover dated to the Song dynasty (960-1279) depicting an extremely similar scene, with a rider paying a visit to four sages set within an ogival panel and reserved on a similar densely-hatched ground, see 2000 Years of Chinese Lacquer, The Oriental Ceramic Society of Hong Kong and Art Gallery, The Chinese University of Hong Kong, 1993, pp.150-151, no. 78. The scene itself depicts a scene from Shiji, Liuhou shijia (Biography of Zhang Liang, Marquis of Liu) about the prince Liu Ying paying a visit to the four sages, Shangshan Sihao, in the Shang mountains after they turned down the offer of the Emperor, Liu Bang, to serve at the Han court. Like our box, the side includes animals within shaped panels and the lower section has seasonal flower panels. It is also illustrated by Lee King Tsi and Hu Shih Chang, Drache Und Phoenix, Lackarbeiten aus China, The Lee Family Collection, Tokyo (Dragon And Phoenix, Chinese Lacquer Ware), The Museum of East Asian Art, Cologne, 1990, pp.176-177, no. 76. Another covered box of the same period with sages on a moored vessel is illustrated in the same publication, pp.174-175, no. 75. See also a square dish dated to the twelfth century decorated with two pheasants on rockwork amidst peony sprays illustrated by Lee Yu-kuan, Oriental Lacquer Art, New York and Tokyo, 1972, pp.106-107, no. 44. For an octagonal tiered box dated to the Yuan dynasty with identically-domed cover, molded edges and waisted foot but with one less section and depicting floral decoration only, see Ann Yonemura, ‘The Art of Chinese Lacquer’, Asian Art, Arthur M. Sackler Gallery, Smithsonian Institution, Fall/Winter Issue, 1987-1988, pp. 31-49, fig. 18, where it is described as one of the most exquisite lacquers in the Sackler Gallery. The author notes that the lacquer surfaces of qiangjin lacquers are relatively thin and that the comparatively weak adhesion of the primary material between the wood surface and the final lacquer layers make these pieces especially fragile and few have survived. qiangjin lacquers were highly regarded both in China, where they appear among the objects in imperial tombs, and in Japan, where they were exported and have been preserved for centuries in Buddhist temples and in private collections.

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130A MAGNIFICENT MOTHER-OF-PEARL-INLAID BLACK LACQUER (BAO LUODIAN) OCTAGONAL OBLONG TRAYMing Dynasty, 15th-16th Century The center of the tray decorated in the Yuan style with a pavilion terrace scene with two gentlemen seated at a table whilst being served wine by an attendant and listening to female musicians alongside, all under the eaves of a pavilion on a fenced terrace surrounded by a lotus pond with a pair of mandarin ducks, rockwork, willow, bamboo and encroaching mist, the well decorated with a composite floral scroll of thirty-four flower-heads which is echoed on the exterior above small lappets. 22 1/2 x 14in (57 x 35.5cm)

$25,000 - 35,000

明十五至十六世紀黑漆嵌螺鈿人物樓閣圖八角盤

For another octagonal dish dated to the second half of the 15th Century but also displaying certain Yuan characteristics such as the scrolling floral border with individual flower-heads and with the central scene of a gathering in a courtly setting, and very similar handling of drifting mist-clouds and striated rockwork, see James C. Y. Watt and Barbara Brennan Ford, East Asian Lacquer, The Florence and Herbert Irving Collection, The Metropolitan Museum of Art, New York, 1991, pp.131-132, no. 58. See also ibid., pp.124-125, no. 54 and pp. 135-136, no. 60, the first, a Yuan dynasty nine-sided dish with similar border treatment, the second, a dish dated to the sixteenth century with elegant ladies with similarly-treated coiffered hair and facial features. See Karamano, Imported Lacquerwork-Chinese, Korean and Ryukyuan (Okinawa), Selections From The Tokugawa Art Museum, No. 2, Nagoya, 1997, pp. 69-74, no’s 125-135, for a group of Ming lacquer wares with similar courtly pavilions and figural scenes dated to the 15/16th Centuries. However an earlier tray with an almost identical border decoration bearing an added Huang-Qing (Ming era) painted mark but dated to the Yuan Dynasty does bear very close comparison. Indeed based on the border-decoration alone, both exterior and interior, a Yuan date for our tray would


not be out of the question. However, the central design of our tray, and in particular the treatment of inlay and incised details, (rather more detailed and precise than the loosely-incised markings on the Yuan antecedent) found on the figures themselves, the clothing, architectural details and areas of rockwork, suggests a Ming dating, whilst still clearly in an overall Yuan style. For other Yuan and early Ming dynasty dishes with similar courtly pavilion scenes and scrolling multi-flowerhead borders, see the Catalogue, Special Exhibition, Oriental Lacquer Arts, Tokyo National Museum, Tokyo, 1977, no. 492, for a circular dish (13 1/2 inches diam.) dated Yuan/early Ming Dynasty, from the Hakutsuru Art Museum, Hyogo; and also The Colors and Forms of Song and Yuan China, Featuring Lacquerwares, Ceramics and Metalwares, Nezu Institute of Fine Arts, Tokyo, 2004, no’s 124-125, the latter box also octagonal in shape, a popular one during the Yuan dynasty. Another example, nine-sided, is illustrated by Denise Patry Leidy, Mother-of-Pearl, A Tradition in Asian Lacquer, The Metropolitan Museum of Art, New York, 2006, pp.26-31, figs 22-24.

130 (detail)

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131A COMPOSITE MOTHER-OF-PEARL-INLAID BLACK LACQUER PANEL INSET BASKET-WEAVE TRAYthe panel 14/15th Century, the sides 16th Century The panel with a scene of a gnarled prunus branch of five-petalled flowers with rockwork and tufts of grasses to the lower left corner, the panel inset to a later Ming dynasty tray with four basket-weave panels to the straight everted sides. 8 1/2in (21.6cm) across

$2,500 - 3,500

十六世紀盤十四/十五世紀嵌螺鈿盤心黑漆嵌螺鈿梅花圖盤 For a similar panel on the cover of a mother-of-pearl inlaid inkstone box dated to the Yuan dynasty, see Lee Yu-kuan, Oriental Lacquer Art, New York and Tokyo, 1972, pp.138-140, no. 71.

For a fourteenth century black lacquer tray with mother-of-pearl inlay of birds on a flowering plum at the center, see James C.Y. Watt and Barbara Brennan Ford, East Asian Lacquer, The Florence and Herbert Irving Collection, The Metropolitan Museum of Art, New York, 1992, pp.126-127, no. 55.


132A MING MOTHER-OF-PEARL AND BROWN AND BLACK LACQUER SQUARE TRAY16th/17th Century A plain ogival medallion to the center on a cell ground below shallow curving sides decorated shaped panels with phoenix clutching flowering tendrils, reserved on a diaper cell ground, the corners canted, the exterior and base plain. 7 ½ in (19.3cm) across

$2,500 - 3,500

明十六/十七世紀黑漆嵌螺鈿飾鳳鳥紋倭角盤



133A MING MOTHER-OF-PEARL-INLAID BLACK LACQUER RECTANGULAR BOX AND COVER16th/17th Century The cover attractively inset with large pieces of mother-of-pearl depicting two leafy branches each with a large single peony flower-head silhoutted against the black lacquer ground, bordered at the edge with a single band made from many sections, the sides with groups of single horizontal flower-head sprays. 13 1/4 x 7in (33.6 x 17cm)

$4,000 - 7,000

明十六/十七世紀黑漆螺鈿牡丹紋蓋盒


134A MING MOTHER-OF-PEARL-INLAID BLACK LACQUER SMALL OCTAGONAL BOX AND COVER16/17th Century The flat top inlaid with a single camellia spray within an octagonal black lacquer panel above sloping basket-weave panels on a dense cell ground, the straight sides with further dense cell pattern, and the box mirroring the shape and decoration of the cover. 3in (7.6cm) across

$2,500 - 4,500

明十六/十七世紀黑漆嵌螺鈿山茶花八角蓋盒

133

134

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135A MOTHER-OF-PEARL-INLAID BLACK LACQUER TIERED SQUARE BOX AND COVERMing Dynasty, 16th Century Decorated on the flat cover with a seated elegant woman with attendants in a flower-filled garden setting with bushes and rockwork with a pavilion entrance nearby, three sides of the box and cover with a continuous scene of birds and fruiting and blossoming branches in three tiers, the exception to the front where the design is interrupted by a single drawer with five-petalled flowers on a leafy tendril. 4 1/2 x 8 x 8in (11.4 x 20.3 x 20.3cm)

$6,000 - 9,000

明十六世紀黑漆螺鈿人物花鳥屜盒

For a foliate dish dated to the sixteenth century and decorated with a scene of elagant ladies with attendants in a garden pavilion setting, see see James C. Y. Watt and Barbara Brennan Ford, East Asian Lacquer, The Florence and Herbert Irving Collection, The Metropolitan Museum of Art, New York, 1991, pp.135-136, no. 60. The authors draw attention to the open-work cutting of the ladies dresses (reserve-decorated), suggesting that this may turn out to be one of the technical hallmarks of this period (16th Century).



136A MOTHER-OF-PEARL AND BLACK LACQUER RECTANGULAR TRAYLate Ming/early Qing Dynasty The center with a large peony spray dividing four smaller and differing leafy flower sprays at the quadrants, bordered by a thin band that also bisects the corners, terminating in cloud lappets, the rounded everted rim further inlaid with various single flowerhead sprays, mirrored to the exterior, the base lacquered red. 14 3/4in (37.4cm) across

$2,800 - 4,500

明晚期/清早期黑漆嵌螺鈿牡丹圖長方盤

For an extremely similar tray of identical size and using the same cloud lappets at the corners in the Palace Museum, see Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum), Lacquer Wares of the Yuan and Ming Dynasties, Hong Kong, 2006, p.139, no. 102.

For a cabinet dated Ming dynasty, 16th/17th century, and utilizing remarkably similar inlays on its border edges and large pieces of shell on the central flower sprays, see Gerard Hawthorne Ltd,, Oriental Art, Oriental Works of Art, London, 2007, no. 3.


137 Y

A MOTHER-OF-PEARL AND BROWN LACQUER RECTANGULAR TRAY17th Century A lengthy inscription, a section from an essay, inlaid to the tray and signed Gu Lin (Old Forest), possibly an art name, all below a sloping rim with basket-weave panels divided by an inlaid flower-head design, the exterior plain. 15in (38.1cm) across

$2,000 - 3,000

十七世紀漆嵌螺鈿詩文長方盤 A square tray inlaid in mother-of-pearl with scholars under bamboo is illustrated by Edward F. Strange, Catalogue of Chinese Lacquer, Victoria and Albert Museum, London, 1925, pl. VII, no. 17. A tray of slightly smaller size but with identical borders is illustrated By Michael C. Hughes, An Important Collection of Chinese, Korean and Ryukyuan Lacquer, New York, 2006, p. 56, no. 41.

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138A RED LACQUER AND ENGRAVED GILT (QIANGJIN) LACQUER DISHEarly-mid 17th Century Painted in a circular medallion at the center with two scholar’s in a pine landscape surrounded by a band of whorls below a basket-weave design at the cavetto which extends to the rim, the exterior red lacquered, the base with a painted character ban, (made), below an obscured inscription. 5 1/4in (13.3cm) diameter

$700 - 900

十七世紀早至中期戧金松下高仕圖盤


139A BLACK AND RED LACQUER BASKET-WEAVE DOMED SQUARE BOX AND COVEREarly-mid 17th Century Painted with two cats amidst a host of flowering plants including peony, chrysanthemum and nandina set within four red-lacquered basket-weave panels on the domed sides and mirrored on the two-tiered box below and bordered by grooved bands and gilt decoration, the base painted with a two-character inscription, de ye, (which can be read as ‘Tis the heart’). 7 1/2in (19cm) across

$3,500 - 5,500

十七世紀早至中期漆繪狸貓圖盒蓋 For other examples of similar form but with varying decoration, see James C.Y. Watt, The Sumptuous Basket: Chinese Lacquer with Basketry Panels, China Institute in America, New York, 1985. For an example dated to 1610 in the Nelson-Atkins Museum of Art, Kansas City, see Sheila Riddell, Dated Chinese Antiquities, London and Boston, 1979, p.219, where she also illustrates another dated to 1620 in the British Museum. See also Zhu Jiajin and Xia Gengqi, Zhongguo qiqi quanji, Ming ( Lacquer treasures from China, Ming Dynasty). vol. 5, Fujian, 1997, p.198, pl.184, for an example without the central section.



140A MOTHER-OF-PEARL-INLAID BLACK LACQUER TEA-CEREMONY CUPBOARD17th/18th Century The detachable door with a scene of Su Dongpo’s visit to the Red Cliff on the exterior and two geese amidst reeds to the reverse side, the side and back panels of the cupboard with further scenes of exotic birds and flowering branches and bamboo, the top forming a shelf and inlaid with a large crane above waves near pine and with four posts in each corner supporting a top-shelf inlaid with numerous water birds and reeds below a full moon, the interior with a half-shelf inlaid with flower-heads, a later addition of an eighteenth century cloisonne enamel gourd-shaped handle to the door. 20 1/4 x 11 1/4in (51.4 x 28.5cm)

$6,000 - 10,000

十七/十八世紀黑漆嵌螺鈿赤壁賦圖箱

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141A MOTHER-OF-PEARL-INLAID BLACK LACQUER THREE-TIER RECTANGULAR BOX AND COVER17th/18th Century The top with dense scrolling asymmetric leafy foliage centered by a large incised multi-petaled flower-head, set within a cell-ground border band, the sides with three tiers of differing sizes decorated with scattered single flowers, flower sprays, fruiting branches and clouds, all within cell-ground bands. 13 x 7 1/2in (33 x 18.4cm)

$3,500 - 5,500

十七/十八世紀黑漆嵌螺鈿花卉紋蓋盒


142AN INSCRIBED AND DATED PAINTED BLACK AND RED LACQUER AND BASKET-WEAVE CIRCULAR BOX AND DOMED COVERQianlong cyclical date dinghai (1767) and Hall mark Guang Yu Tang (Hall of Abundant brightness) The circular lightly-domed cover painted in bright colors and fine details with white and pink prunus blossoms on a leafless spring branch that rises upwards below a hanging spray of orange-red five-petaled blossoms on a full-leafy spray, possibly pomegranate, all on the black lacquer ground circular panel with molded edge above a red-lacquered basket-weave wide band to the rounded sides, which is mirrored in a thinner band on the box which is supported on a tall cylindrical foot, the same red lacquer inscription to the cover interior and the base. 15in (38.1cm) diameter

$3,500 - 5,500

1767年漆彩繪梅花圖捧盒《十六乾隆丁亥光裕堂辦》款 For a very slightly larger basket-weave and lacquer circular box and cover, of near identical type but painted in different shades of gilt with figures amidst pine, see 2000 Years of Chinese Lacquer, The Oriental Ceramic Society of Hong Kong and Art Gallery, The Chinese University of Hong Kong, 1993, pp.194-195, no. 102. It is also painted to the underside of the cover and the base with a Qianlong inscription and it is dated to 1741.



143A MOTHER-OF-PEARL-INLAID BLACK LACQUER LOW TABLE, KANGZHUO17th/18th Century The top finely decorated with five boys in a pine landscape set within an ogival panel on a dense cell ground, the boys variously holding a large fan, a staff, musical gongs, and an umbrella, on a garden terrace with rockwork and smaller trees, possibly maple, three birds flying above, simple flowerhead tendrils at the waist above a shaped apron with dense flower-head sprays on shaped panels on a cell ground, supported on four short cabriole legs. 21 1/2 x 15 1/2 x 6 1/4in (54.6 x 39.3 x 15.8cm)

$6,000 - 8,000

十七/十八世紀黑漆嵌螺鈿松下童子圖炕桌 For another low table, kang with a similar decorative scheme but depicting eight immortals and dated to the Kangxi period, see Christie’s, London, 10 November 2015, lot 170.

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144A QING RED LACQUER AND PAINTED LOW RECTANGULAR STAND18th Century Painted to the top with two long-tailed birds, possibly bulbul, baitouweng, amidst rockwork and flowering camillia or hollyhock within a border of flowers and melon, with further flower-heads, tendrils, grasses and fruit to the shaped apron and legs which stand on a simple strut support. 15 3/4 x 10 1/2 x 3in (40 x 26.6 x 7.6cm)

$2,500 - 4,000

清十八世紀朱漆繪花鳥紋長方幾

For a taller side table with a purple-red lacquered top panel painted with flowers and grasses from the Qing Court Collection, see Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Furniture of the Ming and Qing Dynasties (II), Hong Kong, 2002, p. 133, no. 118. For a red lacquered chest from the southern Shanxi region dated to the 17th century and painted in a similar fashion and color combinations, although a different subject, see Liu Chuansheng, Classical Chinese Lacquered Furniture, Beijing, 2013, pp. 290-291, no. 54. For an extraordinarily early red lacquer table attributed to the sixth century and which became a standardized form for so many later low tables and a type which shares great similarity in profile to ours, see Lee Yu-kuan, Oriental Lacquer Art, New York and Tokyo, 1972, p. 292, no. 222.



145A MOTHER-OF-PEARL-INLAID BLACK LACQUER LOW TABLE, KANGZHUO18th Century Of Ming dynasty form, the top decorated with multiple conjoined or single stylized flower-head, bat and bird medallions within floral scrolls at the borders and a key-pattern design at the corners, the sides, waist, apron and short solid cabriole legs with further fruit and flower sprays. 40 x 24 x 12in (101.6 x 60.9 x 30.5cm)

$10,000 - 15,000

十八世紀黑漆嵌螺鈿花鳥圖炕桌 Early mother-of-pearl inlaid lacquer furniture is relatively scarce. Our example which can safely be dated to the 18th century might also date to the second-half of the 17th century, following so closely, as it does, the construction favored by the late Ming and early Qing cabinet makers. For other examples of furniture, see an earlier throne with similar ‘loose’ flower sprays on its apron and legs dated to the Ming dynasty illustrated by Zhu Jiajin and Xia Gengqi, Zhongguo qiqi quanji. Ming [Lacquer treasures from China. Ming dynasty], vol. 5, Fujian, 1997, p. 209, pl. 192; and a large enclosed four-post bed with more stylised flowerhead medallions bordering the back panel is illustrated Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Furniture of the Ming and Qing Dynasties (I), Hong Kong, 2002, pp.10-13, no. 3. For an early Qing period inlaid mother-of-pearl altar table in the Palace Museum, Beijing, that has similar floral inlays to those on the sides of our table, see Hu Desheng, The Palace Museum Collection, A Treasury of Ming and Qing Dynasty Palace Furniture, Vol. I, Beijing, 2007, pp.272-273, fig. 312.

Comparable examples of lacquer ware with inlaid ‘flora and fauna’ roundels can be found but they are limited, see two boxes in the Qing Court Collection, one red lacquered, and one black, with exquisite mother-of-pearl inlays illustrated Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Lacquer Wares of the Qing Dynasty, Hong Kong, 2006, pp. 234-235, no’s 176-177 respectively. Another Black lacquer example is illustrated Gugong Bowuyuan Cang Wenwu Zhenpin Quanji (Complete Collection of Treasures of the Palace Museum) Qing Lacquer Ware, Hong Kong, 2002, pp.159, no. 177.

For another box and cover with similar single and grouped floral medallions dated to the 18th century, see Sotheby’s, Hong Kong, 4 May 1994, lot 295. See also ibid., pp. 76-77, no. 52 for a cinnabar lacquer box in the form of a slipcase decorated in relief with similar floral roundels some single and some conjoined over almost the the entire surface. The same publication also illustrates, a small kang table with mother-of-pearl decoration of loose flower sprays dotted around the apron and sides which resemble the treatment on ours. It is dated Mid Qing Dynasty.

For a black lacquer display cabinet dated to the 17th century and painted, rather than inlaid, with floral medallions, see Zhang Rong (Ed.), The Creation of Natural Immensity and Grandeur, The Yang Ming Shan Fang Collection of Lacquer from Song, Yuan, Ming and Qing Dynasties, Beijing, 2020, pp. 146-147, no. 44.

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ANOTHER PROPERTY

146A PAIR OF RARE LARGE CINNABAR LACQUER DOUBLE-GOURD ‘DAJI’ VASESQianlong Both vases with slightly flattened sides and narrow waists, rising from rectangular flared feet, the cinnabar lacquer finely carved with scrolling lotus on a diaper ground, with gilt medallions inset to both the the upper lower bulbs with the characters da “Great” and ji “Auspiciousness”. 18 7/8in (47.9cm) high (2).

$30,000 - 50,000

清乾隆剔紅纏枝花卉紋「大吉」葫蘆瓶一對

Compare with a related cinnabar-lacquer ‘double-gourd’ vase, late 18th century, decorated with medallions enclosing the Da Ji characters in gilt metal on a blue enamel ground in the Victoria and Albert Museum, London, illustrated by E.F. Strange, Catalogue of Chinese Lacquer, London, 1925, no.33, pl.XV. Other similar examples of cinnabar ‘Da ji’ vases were sold in our London salesroom, 5 November 2020, lot 106, and a single cinnabar vase, 18th century, was sold at Christie’s, New York, 13-14 September 2012, lot 1298. See also Zhang Rong (Chief Editor) The Creation of Natural Immensity and Grandeur, The Yang Shan Fang Collection of Lacquer from Song, Yuan, Ming and Qing Dynasties, Beijing, 2020, pp.206-207, no. 61, for another superb pair with inlays of mother-of-pearl da and ji characters and chrysanthemum flowerheads replacing the lotus of our example. The characters Da Ji express the wish for good fortune and are frequently used to decorate objects bearing a double-gourd shape. The bottle gourd itself is associated with the Daoist Immortals, particularly with Li Tieguai who used the gourd as a container for medicine. The pairing of the bottle gourd with the Da Ji characters thus creates a particularly auspicious object.



147A RARE BLUE AND WHITE DEEP TAPERING SQUARE ‘FOUR-SEASONS’ VESSEL, MIZUSASHIWanli/Tianqi (1573-1627) The deep square vessel with rounded sides tapering to the simply-cut foot, strongly painted in rich blue tones with a separate plant on each side rising from rockwork, a cherry blossom, orchid or lily, bamboo and chrysanthemum, all between double-line borders below a wide band of wavy lines at the brown-dressed rim, with a well-fitted Japanese lacquer cover. 6in (15.2cm) high

$5,000 - 7,000

明萬曆青花四季花卉圖水指

A Mizusashi is a lidded container for fresh cold water used during the tea ceremony and usually made from ceramic, though wood, glass and metal could be used. This is a rare example of its kind depicting as it does four seasonal plant sprays.

A Group of Chinese Wares for use in the Japanese Tea CeremonyLots 147 - 161

Lot 147 (Two views)

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148A BLUE AND WHITE ‘LOTUS’ PETAL-RIMMED LIGHTLY-MOLDED DISHChenghua Mark, Wanli/Tianqi (1573-1627) Painted at the center with a full-faced lotus flowerhead bordered with a reserve-painted trailing scroll on a blue ground between double lines, the cavetto lightly molded and painted with two rows of radiating lotus petals divided at the tips of the upper row with wan (swastika) symbols below the petal-form blue-painted rim, the exterior sides mirroring this, a double-encircled Chenghua mark to the base. 8 3/4in (22.2cm) diameter

$1,800 - 2,500

明萬曆/天啟青花蓮瓣盤 A near identical dish can be found in the Tokyo National Museum Collection, Catalogue, Tokyo, p.91, no’s 343-344. This particular low-relief molded ‘lotus’ dish is clearly related to another group of Wanli-marked high-relif molded ‘lotus’ dishes centered by a Buddhist-text character and with further Tibetan lanca characters to the exterior. For examples, see Illustrated Catalogue of Ming Dynasty Porcelain, National Palace Museum, Taipei, 1978, pl. 90; and Oriental Ceramics, the World’s Great Collections, vol.11, Metropolitan Museum of Art, New York, 1982, no. 91; and another sold at Christie’s, Hong Kong, 27 May 2009, lot 1868.


149A BLUE AND WHITE ‘LOTUS’ PETAL-RIMMED LIGHTLY-MOLDED DISHChenghua Mark, Wanli/Tianqi (1573-1627) Similar but paler to the previous dish, painted at the center with a full-faced lotus flowerhead bordered with a reserve-painted trailing scroll on a blue ground between double lines, the cavetto lightly molded and painted with two rows of radiating lotus petals divided at the tips of the upper row with wan (swastika) symbols below the petal-form blue-painted rim, the exterior sides mirroring this, a double-encircled Chenghua mark to the base. 8 3/4in (22.2cm) diameter

$1,500 - 2,000

明萬曆/天啟青花蓮瓣盤 See Previous footnote



150A BLUE AND WHITE LOTUS-PETAL-MOLDED ‘PINE AND BOAT’ DISHChenghua Mark, Wanli/Tianqi (1573-1627) Painted at the center with a figure in a boat beneath a pine and near bamboo watching a flock of birds skimming above water, the scene set within a blue-ground foliate border below a cavetto with two rows of fifteen lightly molded and painted radiating lotus petals divided at the tips of the upper row with wan (swastika) symbols and each petal painted with individual flower and fruit sprays, all below the petal-form blue-painted rim, the exterior sides with two rows of lotus petals below alternating roundels of wan characters and lingzhi sprays, unmarked double circle to the base. 8 3/4in (22.2cm) diameter

$2,500 - 3,500

明萬曆/天啟青花松下高仕圖蓮瓣盤 See another very similar dish illustrated by Stephen Little, in an article ‘Ko-sometsuke in the Asian Art Museum of San Francisco’ from Orientations, February 1982 and re-published in Chinese Ceramics, Selected articles from Orientations, 1982-1998, Hong Kong, 1999, p. 19, fig 10. For a scene, similar in concept to ours, but with a figure in a canopied boat beneath willow rather than the pine of our example, see five Ko-sometsuke kaiseki serving dishes sold at Christie’s, London, The Peony Pavilion Collection: Chinese Tea Ceramics for Japan (c.1580-1650), 12 June 1989, lot 345.


151A BLUE AND WHITE AND ENAMELED ‘BIRDS AND BLOSSOM’ LOBED OCTAGONAL JAR AND COVER16th/17th Century The lobed sides painted with a continuous scene of two stocky large-eyed birds, possibly shrikes, standing on alternate descending and ascending prunus blossoms, possibly quince, painted in underglaze cobalt-blue and over-glaze enamels of green, black and a rusty-blood-red, all between simple leaf lappets at the foot and a ruyi-head collar at the shoulder, the mouth edge partially glazed, the matching cover possibly an addition. 4in (10.1cm) high

$2,500 - 4,000

十六/十七世紀青花五彩花鳥紋蓋罐

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152A BLUE AND WHITE SHONZUI STYLE CIRCULAR ‘HARE’ SERVING DISHTianqi (1621-1627) Painted at the center with a hare with a lingzhi in its mouth reserved on a blue-ground circular medallion which is itself reserved on a larger quartered medallion with scales, Y-pattern, diaper-cell and key-fret with wan below conjoined cash symbol at the well and a classic scroll reserved on the border, the exterior with blossoms and foliage. 8 1/4in (21cm) diameter

$2,000 - 3,000

明天啟青花祥瑞式玉兔盤 For a very similar example see Christie’s, London, The Peony Pavilion Collection: Chinese Tea Ceramics for Japan (c.1580-1650), 12 June 1989, lot 219 and also illustrated by M. Kawahara, Ko-sometsuke, 2 Vols. 1977, p. 160, no. 632. Other examples of this rare design can be found in Chinese Porcelain, The Transitional Period (1620-1683): a selection from the Michael Butler Collection, Princesshof Museum, Leeuwarden, Netherlands, 1986, p. 29, no. 17. and another in the full shonzui style with the same type of elaborate trellis-pattern ground centered by a hare but with elaborate roundels at the border, see The 15th Anniversary Catalogue, Idemitsu Museum of Arts, Tokyo, 1981, p.211, no. 929.


153A BLUE AND WHITE SHONZUI STYLE CIRCULAR ‘MELON’ SERVING DISHTianqi (1621-1627) Painted at the center with a large single melon borne on a leafy vine that bi-furcates a T-cell-pattern ground on the lower-half of the dish, all within a pale-blue-ground key-pattern band at the rim, the exterior with flowerheads and tendrils. 8 1/4in (21cm) diameter

$2,000 - 3,000

明天啟青花祥瑞式瓜紋盤



154TWO BLUE AND WHITE CIRCULAR SERVING DISHES, ONE WITH FRUIT, ONE WITH CHRYSANTHEMUM; TOGETHER WITH AN ENAMELED BLUE AND WHITE SERVING DISH WITH FANSTianqi/Chongzhen periods (1621-1644) The first dish painted with a leafy single branch bearing ripe speckled fruit to the right side below a wisp of cloud and a fourteen-character poem in two vertical lines to the left, the exterior with two wispy lotus tendrils; the second with a single leafy branch with three chrysanthemum flowerheads with a butterfly nearby and with traces of incised lotus decoration to the ground below, the exterior painted with two groups of delicately drawn bamboo, prunus blossom and a tree trunk, presumably pine, and lingzhi; the third with three ribboned-fans, one with a dismounted horsemen, one with deer and another, the central fan, with a poetic inscription, all within a chevron border, the exterior with five equally-spaced ribboned emblems, (frits to all and breaks to one). (3) 8 1/4in (21cm) diameter the first two; 10 1/2in (26.6cm) diameter, the latter

$2,000 - 4,000

明天啟/崇禎青花花果紋盤兩件及五彩扇面圖盤 First Dish: For a very similar dish painted with a similar fruit branch but a different poem, see Christie’s, London, The Peony Pavilion Collection: Chinese Tea Ceramics for Japan (c.1580-1650), 12 June 1989, lot 260. For another example see Exhibition of Ko-sometsuke from the Sato Collection, Atami Museum of Art, June 1984, no. 61. Third Dish: See Mayuyama Seventy Years, Vol. I, Tokyo, 1976, p.333, no. 996, for a near identical dish with the same inscription.


155A REVERSE-DECORATED BLUE AND WHITE AND POWDER-BLUE GROUND PETAL-LOBED CIRCULAR ‘DEER AND PINE’ SERVING DISHTianqi/Chongzhen periods (1621-1644) Precisely painted in a penciled blue on an attractively-blown powder-blue-cobalt circular medallion, depicting a deer standing beside the roots of a pine tree that rises amidst leafy bamboo spray, an un-painted border of white within a further concentric ring of powder-blue below a plain lobed cavetto and brown-dressed petal-form rim, the exterior plain, the base with an encircled six-character Chenghua mark. 7 3/4in (19.6cm) diameter

$1,200 - 1,800

明天啟/崇禎青花松鹿圖花口盤 For a near identical example, see Christie’s, London, The Peony Pavilion Collection: Chinese Tea Ceramics for Japan (c.1580-1650), 12 June 1989, lot 235 and illustrated by Richard Kilburn, ‘Transitional Wares and Their Forerunners’, Hong Kong Oriental Ceramic Society, Catalogue, 1981, p. 167, no. 132 and also published by Mashiko Kawahara, Ko-sometsuke, 2 Vols, Japan, 1977, Color Section, p. 163, no. 134 and Monochrome Section, p. 156, no. 617. For other related examples see Stephen Little, Chinese Ceramics of the Transitional Period: 1620-1683, China Institute in America, New York, 1983, no. 34 and The Effie B. Allison Collection: Ko-sometsuke and other Chinese Blue-and-White Porcelain, Asian Art Museum of San Francisco, March-June 1982, no. 34

(part lot)

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156A BLUE AND WHITE AND ENAMELED CIRCULAR ‘KAISEKI’ SERVING DISH CENTERED BY BODHIDHARMAChenghua mark, Tianqi period (1621-1627) With shallow rounded sides, the interior painted in blue and white and bright enamels with a figure of Bodhidharma seated on a mat above a lotus in meditation with a sun-like halo behind his head and set amidst six cloud groupings, the border with a simple chevron band, the exterior plain, the base with a four-character Chenghua mark within a single circle. 6 3/4in (17.1cm) diameter

$2,500 - 4,500

明天啟五彩羅漢盤 See another circular serving dish also depicting a bare-chested luohan, probably Bodhidharma, sold at Christie’s, London, The Peony Pavilion Collection: Chinese Tea Ceramics for Japan (c.1580-1650), 12 June 1989, lot 311, where two others are cited in One Hundred Selected Red-enamelled Wares, Part 1, no’s, 18 and 43.


157A BLUE AND WHITE ‘CORPULENT MOON HARE’ DEEP ROUNDED BOWLChenghua mark, Late Ming, Circa 1643 With deep rounded conical sides painted at the center within a double circle with a corpulent hare seated in a night landscape below an osmanthus (guihua) tree with scudding clouds and a full moon, and further chrysanthemum and bamboo sprays, the cavetto plain and a wide key-pattern band at the rim, the exterior with three evenly-spaced butterflies on a plain ground below the rim and between double-line borders, double encircled Chenghua mark to the base. 7in (17.7cm) diameter

$1,200 - 1,800

明晚期約1643年青花玉兔盌 For a group of twelve almost identical rounded conical bowls from the famed “Hatcher Cargo” recovered from an Asian vessel in the South China Sea by Captain Michael Hatcher, see Christie’s, Amsterdam, 14 March 1984, lots 203 and 204. The Moon Hare or Rabbit is associated with the Moon goddess Chang’e, and is often depicted pounding the elixir of life with a pestle and mortar or making rice cakes. Here the connection is less obvious but nevertheless inherent in the depiction of the hare, moon and osmanthus. For a description of osmanthus and it’s connection with lunar legends, see Terese Tse Bartholomew, Hidden Meanings in Chinese Art, San Francisco, 2006, p.287 no. 10.24. Also known as sweet olive, it is the flower of the eighth moon, it blooms around the time of the moon festival. They are often depicted with rabbits or hares as a result of the moon hare connection. The author depicts an example, one of a set of twelve Kangxi month cups (the eighth month) with a hare or rabbit seated beneath a blossoming osmanthus tree.



158A SET OF FIVE BLUE AND WHITE KO-SOMETSUKE ‘COASTAL PINE’ SERVING DISHESChongzhen (1628-1644) Of shallow form, painted in a dark cobalt with a large central circular panel depicting a gnarled pine silhouetted against an open sky and lake or coastal scene with a single-sailed boat, all below a shallow rounded cavetto with prunus blossom and bamboo panels divided by cell-pattern below the petal-form brown-dressed rim, four exteriors with trailing prunus blossom, one with bamboo sprays, all with double-encircled Chenghua six-character marks. 5 3/4in (14.6cm) diameter (5).

$1,500 - 2,000

明崇禎古染付海邊松風圖碟五件《大明成化年製》款


159A BLUE AND WHITE AND ENAMELED ‘CHILDREN-AT-PLAY’ BOWLChenghua mark, Wanli (1573-1619) The rounded conical sides painted in a continuous scene between underglaze cobalt blue double lines with various groupings of boys at various pursuits, including playing musical instruments, kite-flying and flag-waving above clumps of grassy outcrops and between larger rockwork groups issuing plants including palm and plantain, interspersed with clouds and other patterns, all with penciled underglaze-blue areas filled in with bright enamels of yellow, green, red and black. 5 5/8in (14.3cm) diameter

$2,000 - 4,000

明萬曆青花五彩嬰戲盌《大明成化年製》款

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160A LARGE INSCRIBED BLUE AND WHITE ‘RED CLIFF VISIT’ DEEP BOWLLate Ming-Early Qing (1640-1670) The deep rounded sides painted to the exterior with a panel enclosing a scene with the poet Su Shi and two companions in a boat seated at a low table under a canopy enjoying wine, an oarsman standing at the helm, the scene enclosed by a larger continuous calligraphy panel with an excerpt from Su Shi’s Ode to the Red Cliff, the interior painted with two encircled bands of lotus flower-heads and water fronds, one at the rim, the other at the well, all centered by a Chenghua four-character mark. 8 3/4in (22.2cm) diameter

$2,500 - 3,500

明末清初青花赤壁賦圖大盌

The bowl illustrates a scene and the text from the famous Ode to the Red Cliff, composed by the celebrated Northern Song poet, Su Shi (1037-1096), to commemorate his trips to the historical battlefield of Red Nose Cliffs Chibifu during his political exile. Another example of the same size but painted with a different section of the ode and bearing a Yongle mark at the interior center, rather than the Chenghua of our example, was sold at Rob Michiels Auctions, Bruges, Belgium, 9 December 2018, lot 488. Another similar ‘Red Cliff’ bowl with a Yongle mark was published by Stephen Little, Chinese Ceramics of the Transitional Period (1620-1683), China Institute of America, New York, 1989, pp.36-37, pl.1a For a group of five smaller bowls, of the cruder export variety, but painted with the same subject and poetic inscription and from the famed “Hatcher Cargo”, see Christie’s, Amsterdam, 21 June 2011, lot 495 and previously offered in the preceding sales of the Hatcher Cargo at Christie’s, Amsterdam in 1984. The famous cargo was recovered from the wreck of an Asian vessel in the South China Sea by Captain Michael Hatcher in 1983. A slightly later Kangxi marked brushpot decorated with a closely related scene and inscription, in the Palace Museum, Beijing, is illustrated by Chen Runmin, Qing Shunzhi Kangxi chao qinghua ci [Qing blue and white porcelain from the Shunzhi and Kangxi periods], Beijing, 2005, pl. 206



161A BLUE AND WHITE AND ENAMELED SHONZUI-STYLE CIRCULAR DEEP BASINChongzhen (1628-1644) Painted at the center in a mix of underglaze blue and overglaze enamels and iron-red with five small circular medallions each painted with a differing flowerhead, all reserved on a larger quartered cell-ground medallion picked out in iron-red with Y-pattern, hexagonal diaper, blossoms on scales and a square star-burst diaper, the deep cavetto further decorated in a mix of underglaze blue and overglaze enamels with branches of flowering peony, chrysanthemum, prunus blossom and pomegranate divided by single birds in flight and a butterfly, the everted rim painted in iron-red with further flowerheads and cell pattern, the exterior sides painted in enamels of green, brown, black and iron-red with two groupings of the so-called ‘three-friends-of-winter’, pine, bamboo and cherry blossom each divided by a flying bird, the rim-edge dressed in an iron-brown glaze. 10in (25.4cm) diameter

$6,000 - 8,000

明崇禎五彩祥瑞式折沿大盤

For a dish of similar shonzui type painted with five medallions reserved on a multi-cell ground and similarly dressed at the rim in iron-brown, see Christie’s, London, The Peony Pavilion Collection: Chinese Tea Ceramics for Japan (c.1580-1650), 12 June 1989, lot 318, where attention is drawn to the likelihood that such pieces were a ‘special commission’ ordered from China by the Japanese for the tea-ceremony, which in view of the bold coloring may have been destined for the ‘daimyo-cha’ or ‘pretty’ tea (kirei-sabi) for aristocratic ladies, where such bright pieces would be more acceptable than in Rikyu-style austere tea

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162A SMALL GUANYAO RU-TYPE BRUSH WASHERQing Dynasty The brush-washer of alms-bowl-form and imitating Song dynasty ruyao, the pale celadon glaze with a bluish tinge and and overall light crackle of differing tones, the glaze covering the entire body, including the rounded everted foot rim, the base with ‘sesame-seed’ spurs. 5 1/2in (14cm) across

$4,000 - 7,000

清仿汝窯水洗 During the eighteenth century the Jingdezhen kilns produced a wide range of Song-inspired ceramics. For a Guan-type alms bowl of the 18th century, see Bonhams, London, 3 November 2014, lot 31. For an example of a Ru Guanyao brush washer from the Northern Song Dynasty, see Sotheby’s, Hong Kong, 28 September 2017, lot 5.


163AN UNUSUAL ENAMELED CRACKED-ICE-GROUND ‘BUTTERFLIES AND FLOWERS’ SLENDER OVIFORM VASEJiaqing underglaze-blue six-character mark and possibly of the Period (1796-1820) The entire exterior painted in multi-color enamels over an iron-red cracked-ice-pattern ground, with butterflies, peony, magnolia, plum blossom, and other flowers in bright colors including iron-red, green, yellow, turquoise and aubergine, a thin molded ridge at the base of the neck, the foot rim unglazed and the base with a vertical under-glaze-blue mark in regular script. 9 1/2in (24.1cm) high

$4,000 - 6,000

五彩冰梅蝴蝶紋瓶《大清嘉慶年製》款 For an underglaze-copper-red and blue and white vase with a pattern of cracked-ice with prunus flowerheads dated to the 18th/19th century, see Bonhams, New York, 19 March 2018, lot 8084. For a Ming Dynasty gourd-shaped ewer with polychrome decoration of cracked-ice-pattern and floral sprays in smaller panels, see A & J Speelman, Chinese Sculpture and Works of Art, London, 2002, pp.60-61, no. 27.


VARIOUS PROPERTIES

164A ROBINS-EGG-GLAZED BOMBE CENSERImpressed Yongzheng seal mark and possibly of the Period The wide swelling body of compressed form and standing on a spreading cylindrical foot ring and below a slightly flared rim, a horizontal U-loop handle attached on either side below the rim and at the mid-body, all under a viscous turquoise glaze over a deep manganese-red, which continues to the interior and across the base and over the impressed six-character horizontal-format seal mark, only the brown-dressed foot rim exposed. 7 3/4in (19.6cm) across the handles

$6,000 - 10,000

爐鈞釉雙耳香爐《大清雍正年製》款 Provenance Acquired by the present owners grandfather in London in the 1960’s (by repute) Label of Bluett & Sons, London to base 來源據藏家，其祖父於上世紀六十年代購於倫敦底部標籤Bluett & Sons, 倫敦

An identically-shaped robin’s-egg-glazed censer from the Edward T. Chow Collection was sold at Sotheby’s, Hong Kong, Edward T. Chow Collection, Part Three, Ming and Qing Porcelain, 19 May 1981, lot 502,

also with the same purplish manganese-red feathery mottling seen in our example. Another Yongzheng-marked ‘robin’s-egg’ censer of this form was included in Min qiu jing she (Monochrome Ceramics of the Ming and Ch’ing Dynasties), Hong Kong Museum of Art, 1977, no. 108. A Yongzheng example more recently sold at Christie’s, Hong Kong, 25 November 2014, lot 2950. Another, of so-called Peacock-feather glaze, was illustrated by Chiaki Oshima, The Collection of Chinese Art, Tenth Anniversary Special Exhibition, Senshutey, Tokyo, 2006, p. 90, no. 125. Another very similarly glazed example sold at Sotheby’s, Hong Kong, 8 October 2010, lot 2665. The striking effect of this glaze is seemingly achieved by applying an opaque turquoise glaze colored with copper. For further discussion, see Rose Kerr, Chinese Ceramics, Porcelain of the Qing Dynasty, London, 1986, p. 88, where it is noted that that there are two distinctive types of robin’s-egg glaze, one with blotches of turquoise and dark blue, and another, like ours, streaked with copper-red. Regina Krahl in Chinese Ceramics from the Meiyintang Collection, vol. II, London, 1994, p. 252, notes that Robin’s egg glaze first appeared during the Yongzheng reign, as a re-interpretation of the Song dynasty Jun wares and was an innovation of the Imperial kiln potters. Court records reveal that censers made to imitate Jun wares had gained an elevated level of recognition and admiration from the Emperor. The form of the present censer may have been inspired by those made in bronze during the Ming dynasty, see A Special Exhibition of Incense Burners and Perfumers Throughout the Dynasties, National Palace Museum, Taipei, 1994, pp. 197-198, nos. 52 and 53. It is also possible that the brown-dressed foot-rim of our censer, in a nod to the archaizing sensibility prevalent at court, is meant to mimic its bronze prototype.

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PROPERTY FROM THE MICHAEL BARBER COLLECTION

165A LIVER-RED-GLAZED ‘OLIVE-STONE’ VASE, GANLANPINGQianlong underglaze-blue seal mark and of the Period The unusual shape of pleasing bombe profile at the mid-section above a waisted foot and beneath an elegantly spreading trumpet neck, glazed in an attractive liver-red glaze that is a strong and vibrant tone to one side but thinning to a more grey-toned red on the other side, the interior neck also with some liver-red bleeding of the glaze, the white-glazed base centered by a six-character horizontal-format seal. 12 1/4in (31.1cm) high

$7,000 - 10,000

清乾隆紅釉橄欖瓶《大清乾隆年製》款

ProvenanceWilliam Staines, Weymouth, England, UK (by repute)

A label to the underside with the (possible) initials MT may be those of a member of Thornhill family of England, UK.

來源據藏家，William Staines, 麻省韋茅斯

Vases of this unusual shape, ganlanping, or ‘olive-stone’ are rare. The form itself was much admired in all three of the great imperial reigns of the Qing dynasty - Kangxi, Yongzheng and Qianlong. During the Kangxi period the shape was more attenuated, as exemplified by a pale-blue-glazed vase illustrated by John Ayers, The Baur Collection, vol. 3, Geneva, 1972, no. A 328, which has a tall slender neck rising to a slightly everted mouth rim. Another with a copper-red glaze from the Meiyintang Collection, Part IV was sold at Sotheby’s Hong Kong, 9 October 2012, lot 2; and another with an apple-green glaze and Qianlong seal mark engraved to the base, and formerly in the Edward T. Chow Collection is illustrated in, Chinese Porcelain, The S.C. Ko Tianminlou Collection, Part II, Hong Kong Museum of Art, 1987, p. 222, no. 154. The somewhat more robust shape seen in the Yongzheng and Qianlong periods has a shorter neck and more widely flared mouth, as well as a slight flare at the foot. Such Yongzheng-marked vases include a blue and white example in the Palace Collection, Beijing, illustrated in Qingdai Yuyao ciqi, vol. 1, Beijing 2005, pp. 80-1, no. 29; another with a copper-red glaze ibid., pp. 38-39, no. 9, which is almost the same height as our example; and a blue-glazed example from the Gordon Collection, sold at Christies New York, 24 March 2011, lot 1157. Another superb and slightly larger example under a brilliant blue glaze and with a Yongzheng mark, see Sotheby’s, London, Important Chinese Porcelain, 8 July 1974, lot 336. For a rare Yongzheng seal-marked olive-shaped vase with a superb lustrous celadon glaze but with the unusual additon of tubular handles at the neck, see Bonhams, Hong Kong, 3 December 2015, lot 22.


PROPERTY FROM THE COLLECTION OF ERIC WESENBERG, CALIFORNIA

166A GILT-DECORATED BLUE-GLAZED VASE, TIANQIUPINGUnderglaze-blue Guangxu six-character regular mark and of the Period Glazed over the entire globular body, tall waisted neck, base and interior with an attractive cobalt blue which is further painted with extraordinarily-detailed and well-executed gilt roundels on the body and neck between stylized gilt leaf-lappets at the foot and ruyi-lappets below the rim and divided by wide molded band at the shoulder with gilt Shou-characters amidst scrolling lotus, the multi-subject roundels variously depicting grasses, grasshoppers, phoenix, crabs, fish and stylized flower groupings on the neck and with birds, monkey’s, twin-fish, bats, dragons musical stones and floral groups on the body, the dark-cobalt- underglaze-blue mark written vertically on the blue-glazed base. 15 1/8in (38.2cm) high

$9,000 - 12,000

清光緒藍釉描金團花長頸瓶《大清光緒年製》款

Provenance Sotheby’s New York, 18 September 2007, lot 275 來源蘇富比紐約，2007年9月18日，拍品編號275

A near identical example is illustrated in National Museum of History:Major Holdings of the National Museum of History, Taipei, 1988, p. 72 and another from the Kwan Collection was exhibited in Imperial Porcelain of Late Qing, The Chinese University of Hong Kong, August-September, 1983, p. 125, no. 126. For other examples of this type of deep-blue-ground vase with particularly-well-detailed gilt roundels painted with great attention to detail and scale and also bearing Guangxu marks, see a pair sold at Christie’s, London, 13 May 2019, lot 328; another at Christie’s, London, 4 November 2019, lot 201; and a pair sold at Christie’s, New York, 17 March 2017, lot 1268.

See also an example illustrated in The Wonders of the Potter’s Palette: Qing Ceramics from the Collection of the Hong Kong Museum of Art, Hong Kong Museum of Art, 1984, no.128.

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ANOTHER PROPERTY

167A LARGE FLAMBE-GLAZED MOONFLASKQianlong impressed six-character seal mark but probably later The heavily-potted body with a spherical profile molded with gentle convex panels within a molded border on each main face and narrow panels to the sides with a large circular boss at the widest point, supported on a spreading rectangular foot, the S-curved handles joined at the upper gourd and ending in molded ruyi-shaped appliques on the shoulders, the body primarily under a copper-red glaze with purple feathered mottling, the upper gourd and narrow sides with unctuous pale turquoise-green mushroom-toned splashes thinning to brown on the molded shoulder appliques, the deep recessed rectangular base centered by the impressed Qianlong mark and under a patchy iron-brown wash. 16 1/4in (41.2cm) high

$10,000 - 15,000

窰變釉杏圓抱月瓶《大清乾隆年製》款

Inspired by early Ming Dynasty flasks, this Qing example is unusual in the treatment of the neck . Most 18th century moonflasks have either a simple waisted neck with flaring rim or, when they are surmounted by a smaller gourd at the mouth, usually have a sort waisted neck left plain or with a single moulded band. The swelling section below the upper gourd in our vase appears rarely. For one other identically-shaped Qianlong-marked example painted in underglaze blue and white from the Qing Court Collection, see Blue and White Porcelain with underglazed Red (III), The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2010, p. 153, no. 139.

Another rare example of slightly larger size and under a celadon glaze and with the additional of lightly moulded lotus scrolling to the mouth and sides, see Christie’s, Hong Kong, 31 October 2010, lot 899.



168A GEYAO CRACKLED-GLAZED TWO-HANDLED VASE, HUUnderglaze-blue six-character Yongzheng seal mark, late Qing Dynasty Of rectangular section and pear shape, with molded bow-string lines at three points on the body and dividing simple lug handles on the narrow sides beneath a lipped rim. 12 1/4in (31.1cm) high

$2,000 - 4,000

清晚期哥窯貫耳壺《大清雍正年製》款 For a similar-sized Yongzheng-marked precursor of Ru or Guan-type and hu-shape, see Sotheby’s, Hong Kong, 23 October 2005, lot 319. Compare also to a Yongzheng precursor of this shape covered in a ge-type glaze, illustrated in The Special Exhibition of K’ang-hsi, Yung-cheng and Ch’ien-lung Porcelain Ware from the Ch’ing Dynasty in the National Palace Museum, Taipei, 1986, no. 63. This form of vase reflects the Yongzheng Emperor’s deep interest in archaism. The crackled celadon glaze is the outcome of the attempt to reproduce the lustrous glaze found on ge wares made for the Southern Song (AD 1127-1279) court, while its shape is modelled after that of archaic bronze vessels of the Zhou Dynasty (C.1100-256 BCE).


169AN UNDERGLAZE-COPPER-RED AND ENAMELED PORCELAIN WATER POTKangxi six-character under-glaze-blue mark but later The tapering, globular body with short neck and lipped rim, finely decorated with two blossoming rose branches rising from the countersunk base, each bearing a large under-glaze copper-red bloom of deep tone, the supporting branches picked out in a lime-green enamel with the leaves in a more turquoise green and all outlined in a black enamel, the base with a Kangxi mark. 3 1/2in (8.9cm) high

$1,800 - 2,500

釉里紅牡丹紋小罐《大清康熙年製》款 Kangxi water pots of this type exist in a number of museum collections, including one in the Beijing Palace Museum, illustrated in Kangxi Yongzheng Qianlong, Hong Kong, 1989, p. 40, no. 23; another illustrated by John Ayers in The Baur Collection, vol. IV, Geneva, 1974, no. A 539; and in the Percival David Foundation, Catalogue, section 3, no. B702.

146 | BONHAMS


170A SMALL FALANGCAI-ENAMELED ‘BUTTERFLY MEDALLION’ BOWLDouble-encircled underglaze-blue Yongzheng six-character mark, Late Qing Dynasty/early Republic period (1900-1916) With rounded sides, brilliantly painted in rich enamels with four roundels of paired butterflies painted primarily in tones of stippled brown and yellow with pink highlights, with one in green, all within circular roundels formed by their wings and curling floral sprays of pinks, chrysanthemums, aster, peony, lotus, and prunus blossoms, the interior plain. 4 3/4in (12.1cm) diameter

$3,000 - 5,000

清晚期/民國早期琺瑯彩蝴蝶圖盌《大清雍正年製》款 For two very similarly enameled bowls bearing Yongzheng marks, listed as Qing Dynasty but with spurious marks and with decoration possibly added later, gifted to the Institute in 1930 by Mr. Lee Ling Yun, see The Art Institute of Chicago, website www.artic.edu, accession no. 1930.261. This bowl well-illustrates the masterfully-devised design of perfectly circular, un-bordered medallions harmoniously formed from a combination of seemingly unsuitable shapes: stems, curled leaves, petalled-blossoms combined with either butterfly or bats wings as a framework for the medallions, that was introduced during the reign of the Yongzheng emperor. For a Yongzheng pre-cursor with very similar decoration, see Christie’s, Hong Kong, Important Qing Porcelain from the Yuen Family Collection, 30 April 2000, lot 588. For an illustration of Republic copies that illustrate the difficulty of creating coherent roundels from such disparate elements; see Ye Peilan, Appraising Ancient Chinese Ceramics, Taipei, 1994, pp. 175-176.

170

170



171A LARGE FAMILLE ROSE ENAMELLED PORCELAIN CHARGERLate Qing Dynasty The heavily potted dish with fencai enamels depicting nine fruiting peaches issuing from a single tree, amid a leafy ground with two iron red bats, the trunk of the tree crossing over the rim to the outer wall, with lingzhi fungus and two bats in flight. 17 5/8in (44.5cm) diameter

$2,000 - 3,000

清晚期粉彩福壽盤

172A PORCELAIN LIDDED JAR WITH FAMILLE ROSE ENAMELSLinzhi Chengxiang mark, Republic Period The four sided vessel tapering to the foot, with an everted lip, the domed lid snuggly inside, the vessel with fencai enamels depicting a continuous scene of aristocratic boys at play in garden with three rams, the lid with a second garden scene, absent of figures, with touches of gilding and overglaze iron red enamels, the lid with an animated coral glazed tiger, the base with an overglaze iron red mark within a double square reading lin zhi cheng xiang. 10 1/4in (26cm) high

$1,000 - 1,500

民國粉彩人物圖蓋罐《麟趾呈祥》款

173A PAIR OF FAMILLE ROSE ENAMELLED VASESRepublic Period The pair of squared baluster form, tapering to the foot, with everted gilded lips, the body of each delicately painted in mirror symmetry with fencai enamels depicting bearded figures in flowing robes, the vessel supported by square unglazed foot rims, each bearing traces of iron red marks to the recessed base, the bases drilled. 14 1/4in (36.2cm) high (2).

$2,000 - 3,000

民國粉彩人物瓶一對

171

172

173

Chinese Painting, Calligraphy and PrintsLots 174 - 234

150 | BONHAMS

174ANONYMOUS, EGRET UNDER A WILLOWMing Dynasty Ink and color on silk, now framed and glazed. 34 1/4 x 29 1/4in (86.5 x 74.5cm)

$8,000 - 12,000

佚名柳蔭白鷺設色絹本鏡框明 Provenance John Sparks Ltd., London, 23 November 1954 Illustrated Antique Collector, February 1954, opposite Page 1 來源 John Sparks Ltd., 倫敦，1954年11月23日出版 Antique Collector, 1954年2月

Antique Collector advertisement, February 1954, a copy of this magazine is included with this lot.


175CELESTIAL MUSICIANS FRESCOYuan/Ming Dynasty Painted in the Tang dynasty style, pigments on plaster, now framed, depicting two celestial musicians. 21 1/2 x 17 3/4in (54.6 x 45cm)

$4,000 - 6,000

元/明彩繪伎樂圖壁畫

152 | BONHAMS

Paintings from the Collection of Mark S Pratt

PROPERTY FROM THE COLLECTION OF MARK S PRATT, WASHINGTON DC

176ATTRIBUTED TO MO SHILONG (1537-1587)Landscape with Figures Hanging scroll, ink and light color on silk, inscribed and signed by the artist with one seal. 58 1/2 x 23 5/8in (148.6 x 60cm)

$7,000 - 10,000

（傳）莫是龍山壑觀瀑設色絹本立軸



177CHEN JIAYAN (1599-1678)Pheasant and Bamboo, 1667 Hanging scroll, ink and color on silk, inscribed by the artist and dated dingwei and signed Chen Jiayan with two artist’s seals. 55 x 35 1/4in (139.7 x 89.5cm)

$8,000 - 10,000

陳嘉言花鳥錦雞設色絹本立軸一六六七年作

154 | BONHAMS


178ATTRIBUTED TO DA CHONGGUANG (1623-1692)Landscape Hanging scroll, ink on paper, inscribed and signed Yiguang, with three seals of the artist, anxiao zhai, Da Chongguang yin, and Jiangshang waishi, with two collectors’ seals, titleslip by Zhu Baoci (1880-1950). 68 3/8 x 19in (173.6 x 48.4cm)

$8,000 - 12,000

(傳) 笪重光泛舟圖水墨紙本立軸



179ZHU SHENG (1618-CIRCA 1690)Bamboo, 1684 Hanging scroll, ink on satin, inscribed by the artist, dated jiazi and signed Zhu Sheng with two artist’s seals and three collector’s seals. 64 1/4 x 19 1/2in (163.2 x 49.5cm)

$8,000 - 12,000

諸昇墨竹圖水墨絹本立軸一六八四年作

156 | BONHAMS


180ANONYMOUSBlue and Green Landscape, Late Ming Hanging scroll, ink and color on silk, with one collector’s seal. 23 1/2 x 14 7/8in (59.7 x 37.9cm)

$2,000 - 3,000

佚名青綠山水樓閣圖設色絹本立軸明晚期


181HU ZHUNMO (19TH CENTURY)Quyuan Fenghe, 1879 Hanging scroll, ink and color on silk, titled and inscribed by the artist, dated Guangxu jimao, and signed Hu Zhunmo with two artist’s seals. 25 1/4 x 12 5/8in (64.2 x 31.6cm)

$1,000 - 1,500

胡準謀曲院風荷設色絹本立軸一八七九年作



182ZHANG WENTAO (1764-1814)Chrysanthemum Hanging scroll, ink on paper, with one dedication, signed by the artist with one seal of the artist reading Chuanshan, and with five collectors’ seals. 45 1/2 x 11 1/4in (115.6x 28.6cm)

$1,200 - 1,800

張問陶雙清圖水墨紙本立軸


183TANG YIFEN (1778-1853)Landscape, 1804 Hanging scroll, ink and color on paper, dated jiazi, inscribed by the artist with four seals reading Biweng, Longshan qinyin, and Yusheng shihua, Biweng guiyin hou zuo. 35 x 11 7/8in (89 x 30cm)

$3,000 - 5,000

湯貽汾山居圖設色紙本立軸一八〇四年作

158 | BONHAMS


184TANG MI (18TH CENTURY)Bamboo and Orchid Four hanging scrolls, ink on paper, inscribed and signed Rulin Tang Mi, with six artist’s seals. 69 3/4 x 18in (177.2 x 45.7cm), each (4).

$5,000 - 7,000

湯密墨竹蘭石水墨紙本立軸四屏

Tang Mi was an early 18th century female artist from Jiangsu. She was known for her bamboo and orchid painting. An example of her painting in the Ching Banlee Liangtuxuan Collection at the Shanghai Museum is dated Yongzheng renzi (1732) helps to refine her period of activity. See Shanghai bowuguan Zhuang Wanli jiazu juanzeng Shanghai bowuguan Liangtutuan shuhua jicui 《莊萬里家族捐贈上海博物館兩塗軒書畫集萃》, Shanghai, Shanghai shuhua chubanshe, 2002, p. 44. According to the artist’s inscription on these scrolls, the current lot is four panels from an original set of eight.



185WANG SU (1794-1877)Landscapes with Figures Six album leaves, ink and color on paper, all signed by the artist, with one artist’s seal on each leaf, reading Xiaomei qishi yihou zuo, Wang Su, chen Wang Su yinxin fugui changshou, Xiaomei you zi Xunzhi (2), Zhuli zhuren. 8 3/8 x 9 1/4in (21.4 x 23.4cm) (6).

$2,000 - 3,000

王素人物圖設色紙本冊頁鏡片

(four of six leaves illustrated)

160 | BONHAMS


186XUGU (1823/4-1896) AND WU CHANGSHUO (1844-1927)Rock and Bamboo, 1887 Round fan leaf, mounted for framing, ink and color on silk, signed by Wu Changshuo and Xugu, dated dinghai, with one seal reading Wu Changshuo yi shou chang. 9 3/4in（24.8cm) diameter

$8,000 - 10,000

虛谷、吳昌碩竹石圖設色絹本扇面鏡片一八八七年作

The inscription by Wu Changshuo indicates this collaborative work was created for Ren Yi (Ren Bonian, 1840-1895), a fellow Shanghai artist . Collaborative paintings, where two or more artists compose a single work, were popularly created among members of the late 19th century Shanghai School, and underscore the tight personal and professional connections.



187JIANG MINGXIAN (CHIANG MING-HSIEN, BORN 1942)Plum Blossoms, 1980 Hanging scroll, ink and color on paper, inscribed by the artist and dated gengshen, signed Jiang Mingxian with two artist’s seals reading Jiang and Mingxian. 27 x 20in（68.7 x 50.8cm）

$2,000 - 3,000

江明賢寒梅設色紙本立軸一九八〇年作

Provenance Acquired in Taipei, 1980 來源 1980年購於台北

Jiang Mingxian, is native of Taiwan, born in Taichung in 1942 and graduating in the Fine Arts department from National Taiwan Normal University in 1968. Studying Art History at New York University in 1975, he would return to teach at NTNU, eventually becoming the Director of department at the institute of fine arts there from 2002-2005. His paintings are in the permanent collection of Taiwan Museum of Fine Arts, Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts, the Palace Museum, Beijing, National Art Museum of China, Shanghai Art Museum, Jiangsu Provincial Art Museum, and the Guangdong Museum of Art, among other notable institutions.

162 | BONHAMS


188AFTER QIU YING (C 1494-1551/1552)Peach Blossom Spring, 18th/19th Century Horizontal handscroll, ink and mineral pigments on silk, bearing a spurious signature of Qiu Ying, followed by three seals, with a fourth seal in the lower right corner. 12 1/4 x 124in (31 x 315cm)

$3,000 - 5,000

仿仇英青綠山水人物圖設色絹本手卷十八/十九世紀

Provenance Jarmila Novotna (1907-1994)

來源

Jarmila Novotna (1907-1994)

This handscroll was a gift to Jarmila Novotna (1907-1994) from Helen Parkhurst (1886-1973) in the 1940s, who said that she obtained it in China. Ms. Parkhurst was an influential educator, who for a time supervised all Montessori Schools in the US and founded the Dalton School. Ms. Novotna, born in Prague, was an opera star and actress who performed at the Metropolitan Opera in New York. Ms. Parkhurst gave the painting to Ms. Novotna in recognition of and thanks for her contributions to the cultural world and peace through music. The painting has remained is Ms. Novotna’s family ever since.


189A GROUP OF FIVE FAN PAINTINGSVarious Artists, Qing Dynasty A group of five folding fans, now mounted, some glazed, including 1. Calligraphy in running script on gold paper, signed and sealed Weng Wenmo; 2. ink plum blossom, ink on paper, bearing an inscription in clerical with a spurious signature of Jin Nong; 3. a landscape with women in a boat, ink and color on gold paper, with an inscription and spurious signature of Tang Yin; 4. a landscape, ink and color on gold paper with an inscription signed Ziqin, Li Shourong; 5. insects and flowers, ink and color on gold paper, signed Shi’an. 20 1/4in (51.5cm) across, the largest (5).

$3,000 - 5,000

扇面五幅清

Provenance Jarmila Novotna (1907-1994)

來源

Jarmila Novotna (1907-1994)

This set of fans was gifted to Jarmila Novotna (1907-1994) by Frances Stokes Clark Weekes, who was the widow of the football hero and stockbroker Harold H Weekes (1880-1950). Ms. Notvotna and her family rented Mrs. Weekes’s home in the early 1950s where the fans hung in the master bedroom. Mrs. Weekes later made a present of them as an expression of friendship and admiration for Ms. Novotna’s talents as an opera star and actress. The fans have remained with Ms. Novotna’s family ever since.

164 | BONHAMS

190ZHOU XUN (1649-1729)Figures in Landscape, 1676 Ink and color on silk, laid on board, framed and glazed, inscribed by the artist and dated bingchen and signed Songshan Zhou Xun. 50 x 16in (126 1/2 x 41cm)

$5,000 - 7,000

周璕山水人物設色絹本鏡框一六七六年作 Provenance Acquired 1994, San Antonio, Texas 來源 1994年購於聖安東尼奧，德克薩斯州


191ANONYMOUSKnickknack Peddler Hanging scroll, ink and color on silk. 55 5/8 x 29in (141.3 x 74cm)

$20,000 - 30,000

佚名貨郎圖設色絹本立軸

The playful charming genre of the “knickknack peddler” has been practiced in Chinese paintings since the Song Dynasty, when the court artists Su Hanchen (1094-1172) and later Li Song (act. 1190-1265) depicted in minute detail itinerant merchants bearing carts overflowing with small objects and surrounded by eager children. During the Ming dynasty, painters in the Imperial painting academy would revive this subject in larger formats, presumably to be used as exquisite decoration in the noble women’s quarters. In this example, the humble merchant’s straw sandals contrasts with his lavishly attired patrons who are enchanted by the toys the peddler has brought. Placed in a garden setting, with fruiting trees, a balustrade, and a elaborate garden rock, the painting offers many clues that the subjects are likely representing members of the aristocracy.

166 | BONHAMS

192ATTRIBUTED TO FEI DANXU (1801-1850)Two Ladies, 1844 Ink and color on paper, framed and glazed, inscribed by the artist with a date of Daoguang jiachen, followed by two seals. 50 x 25 1/4in (128 x 64cm)

$2,000 - 3,000

（傳）費丹旭人物設色紙本鏡框一八四四年作

Property from the Collection of Michael Gallis, Charlotte, North Carolina

When Michael Gallis first encountered paintings by Qi Baishi (齊白石, 1864-1957)—at an exhibition at the Grosvenor Gallery in London in the 1960’s—he was left perplexed as to why this artist, and indeed the Chinese paintings tradition—was so revered. This was especially surprising as his family had had close ties to China for two generations. Soon after Mr. Gallis returned to his native San Francisco, he met the well-established scholar and dealer Tsao Jungying (曹仲英, 1929-2011), who was particularly fond of and knowledgeable about Qi Baishi’s work. Mr. Tsao’s insightful explanation of Qi’s artistic goals and painting style opened a new world to Mr. Gallis, who then made his first purchase and launched his collection of Chinese paintings.

So began Michael Gallis’s lifelong study, acquisition, and enjoyment of Chinese traditional paintings, ranging from the classical period to contemporary. In addition to Mr. Tsao, Mr. Gallis benefited from several exceptional teachers. Most influential was the renowned artist, collector, and connoisseur C.C. Wang (王己千, 1907-2003). For 25 years, Mr. Gallis spent countless hours looking at and discussing the history of Chinese paintings, as well as the culture in which they were embedded, with Mr. Wang, assisted by the latter’s superb art collection, library, and knowledge. Over time and drawing on traditional scholarship, Mr. Wang revealed what was distinctive about the work of each artist, who was important and why,

and how to judge genuine works from fakes. In addition to C.C. Wang, Michael Gallis also benefitted from the expertise of countless other artists and scholars, including Zhang Daqian (張大千, 1899-1983), Chen Peiqiu (陳佩秋, 1922-2020), and Ma Xinle (馬欣樂, born 1963), to name just a very few.

Michael Gallis is an architect and urban planner by profession. Yet, he credits his experience of opening his mind to the philosophy and aesthetics of Chinese paintings with expanding all aspects of his thinking and life. A natural teacher, in recent years, Mr. Gallis has sought with determination to promote understanding between peoples of different cultures and uses his collection as an eloquent and appealing doorway.

Chinese paintings from the Michael Gallis collection have been featured in exhibitions at the Mint Museum, Charlotte, North Carolina; The Peabody Essex Museum in Salem, Massachusetts; the Noguchi Museum in New York; and the Asian Art Museum of San Francisco, California. In 2019 the collection was published by Tianjin Renmin Meishu Chubanshe, Michael Gallis Collection of Chinese Paintings《邁克·蓋勒斯中國畫收藏：一個西方學者的中華文化之旅》. An exhibition is currently being prepared at the Mint Museum in North Carolina for the paintings and calligraphy in the collection not offered here.

168 | BONHAMS

PROPERTY FROM THE COLLECTION OF MICHAEL GALLIS

193CHEN HONGSHOU (1768-1822)Calligraphy Couplet in Li Script A pair of hanging scrolls, ink on paper, signed Chen Hongshou with two artist’s seals A Man and Chen Hongshou yin. 48 1/2 x 11 1/4in (123.3 x 28.5cm), each (2).

$12,000 - 18,000

陳鴻壽隸書六言聯水墨紙本立軸一對 ProvenanceShanghai International Commodity Auction Co., Ltd., June 2000

PublishedGallis, Michael and Ma Xinle, Michael Gallis Collection of Chinese Paintings Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilü, Tianjin Renmin Meishu Chubanshe, 2019, pp.104-105

來源上海國際商品拍賣有限公司，2000年6月

出版馬欣樂主編，《邁克·蓋勒斯中國畫收藏：一個西方學者的中華文化之旅》，天津人民美術出版社，2019年，頁104-105 A man of many talents, Chen Hongshou was a highly regarded painter, calligrapher and seal carver. As magistrate of the region that included Yixing, he is credited with reviving the clay teapot industry with both his creative input and by securing government funds to support the craft. The present couplet features his interpretation of Han dynasty clerical script calligraphy, particularly stone inscriptions. C.C. Wang felt that the 18th century was a creative period for calligraphy, and Michael Gallis recalls that Mr. Wang especially admired the work of Chen Hongshou. In this couplet, C.C. Wang commented to Mr. Gallis that he thought Chen Hongshou achieved an exceptional degree of uniqueness and expressiveness that characterized the best of his calligraphy.



194YANG XIAN (1819-1896)Calligraphy in Li script A pair of hanging scrolls, ink on paper, inscribed by the artist with a dedication and signed Yongzhai, Xian with two artist’s seals Yang Xian zhi yin and Jiqiu. 53 5/8 x 14 7/8in (136.2 x 37.7cm), each (2).

$5,000 - 7,000

楊峴隸書五言聯水墨紙本立軸一對

Provenance Far East Fine Arts, San Francisco, California, June 1995 Published Gallis, Michael and Ma Xinle, Michael Gallis Collection of Chinese Paintings Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilu, Tianjin Renmin Meishu Chubanshe, 2019, pp.106-107 來源舊金山遠東藝術畫廊 , 1995年6月出版馬欣樂主編，《邁克·蓋勒斯中國畫收藏：一個西方學者的中華文化之旅》，天津人民美術出版社，2019年，頁106-107

170 | BONHAMS


195ATTRIBUTED TO WU LI (1632-1718)Landscape after Wang Meng Hanging scroll, ink and light color on paper, with a title, inscription and dedication, signed Mojing daoren followed by a seal, with six collectors’ seals on the painting, and an additional three collectors’ seals on the outer mounting. 40 3/8 x 14 1/2in (102.5 X 36.8cm)

$4,000 - 6,000

（傳）吳歷仿王蒙山水設色紙本立軸

ProvenanceFar East Fine Arts, San Francisco, California, 1974

來源舊金山遠東藝術畫廊，1974年


196ZHANG YU (1734-1803)Two Geese, 1792 Hanging scroll, ink and color on paper, inscribed by the artist and dated renzi, and signed Xuehong jushi Yu with two artist’s seals, Zhang Yu zhi yin and Xuehong. 40 1/4 x 11 3/8in (102.2 x 28.9cm)

$3,000 - 5,000

張敔雙鴨圖設色紙本立軸一七九二年作

ProvenanceShanghai International Commodity Auction Co., Ltd., June 2000

PublishedGallis, Michael and Ma Xinle, Michael Gallis Collection of Chinese Paintings Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilü, Tianjin Renmin Meishu Chubanshe, 2019, pp. 100-101




197REN QI (DIED 1861)Lotus and Rock Hanging scroll, ink and color on paper, inscribed by the artist and signed Bishan jushi with an artist’s seal reading Ren Qi Yin Xin. 53 1/2 x 12 1/4in (135.8 x 31cm)

$5,000 - 7,000

任淇荷花設色紙本立軸 Provenance China Guardian, 13 February 2004 Published Gallis, Michael and Ma Xinle, Michael Gallis Collection of Chinese Paintings Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilu , Tianjin Renmin Meishu Chubanshe, 2019, p.114

來源中國嘉德，2004年2月13日出版馬欣樂主編，《邁克·蓋勒斯中國畫收藏：一個西方學者的中華文化之旅》，天津人民美術出版社，2019年，頁114 Ren Qi, who also used the names Ren Zhujun and Zhenzhai, was a native of Xiaoshan, Zhejiang, south of the cultural center of Hangzhou, across the Qiantang river. Ren Qi was also an uncle and mentor to Ren Xiong (1823-1857), a fellow Xiaoshan native and founder of the influential Shanghai School Haipai of painting in the 19th century and the oldest of the “Four Rens”. Although extant paintings by Ren Qi are very scarce, the present scroll offers a case study of the deepest roots of the Shanghai School. Numerous aspects of this painting indicate Ren Qi adopted the stylistic approach of the Late Ming painter Chen Hongshou (1599-1652). The contoured rock depicted with a strong line, the ‘boneless’ method for the floating leaves, the heavy stylization, the formal and somewhat stiff brushwork, and the subtly naturalistic discoloration on the tips of the leaves, are all reflections of the earlier master’s technique.

172 | BONHAMS


198LIU YANCHONG (1809-1847)Landscape album, 1835 Album of eight leaves, ink, or ink and color on paper, one leaf dated jiwei and signed Yanchong Liu, followed by the artist’s seal Yanchong, each of the remaining leaves with an artist’s seals reading Yanchong lin gu, Yanchong or Liang he. 9 5/16 x 7 3/8in (23.7 x 18.7cm)

$8,000 - 10,000

劉彥冲山水人物設色紙本冊頁一八三五年作


A native of Liangshan, Sichuan who lived in Suzhou, Liu Yanchong was well-known as a poet and a painter, adopting the Wu school approach to painting as a student of Zhu Angzhi (1764-after 1841). Although he lived less than 40 years, his extant works show a mature style with skillful brushwork and subtle colors. The present album affords a case study of the artist following Song and Yuan masters.

Michael Gallis recalled that C.C. Wang considered Liu Yanchong to be an exceptional artist but with few extant works, especially outside the Shanghai area.

Published Gallis, Michael and Ma Xinle, Michael Gallis Collection of Chinese Paintings Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilu, Tianjin Renmin Meishu Chubanshe, 2019, pp. 100-101 ProvenanceShanghai International Commodity Auction Co., Ltd., June 2000, lot 0106

來源上海國際商品拍賣有限公司，2000年6月，拍品編號0106 出版馬欣樂主編，《邁克·蓋勒斯中國畫收藏：一個西方學者的中華文化之旅》，天津人民美術出版社，2019年，頁108-111

174 | BONHAMS


199PU HUA (1832-1911)Plum Blossoms, 1892 Hanging scroll, ink and light color on paper, inscribed by the artist and dated the tenth month of renchen, and signed Pu Hua with an artist’s seal reading Pu Hua shi shuhua yin. 51 x 11 5/8in (129.5 x 29.5cm)

$8,000 - 12,000

蒲華梅花設色紙本立軸一八九二年作

ProvenanceShanghai International Commodity Auction Co., Ltd., 13 December 2000, lot 309

Published Gallis, Michael and Ma Xinle, Michael Gallis Collection of Chinese Paintings Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilu, Tianjin Renmin Meishu Chubanshe, 2019, p. 133 來源上海國際商品拍賣有限公司，2000年12月13日，拍品編號309

出版馬欣樂主編，《邁克·蓋勒斯中國畫收藏：一個西方學者的中華文化之旅》，天津人民美術出版社，2019年，頁133 Pu Hua was talented in calligraphy and painting, becoming a professional artist at an early age after dropping out of the Imperial Examination system and thus, a career as a government official. Notorious for his carefree vagabond ways, he was known as one of the Four Outstanding Artists of the Shanghai School with Ren Bonian, Wu Changshuo and Xu Gu. He reached international fame in his lifetime, traveling to Japan, where his paintings were popularly collected. At the age of 60, the year the present painting was created, the artist settled permanently in Shanghai.



200PU HUA (1832-1911)Calligraphy in Running Script Hanging scroll, ink on paper, signed by the artist, Pu Hua followed by two artist’s seals Xiushu Pu Hua and Zuoying. 53 1/4 x 18in (135.2 x 45.7cm)

$10,000 - 15,000

蒲華行書書法水墨紙本立軸

ProvenanceShanghai Jinghua, 15 April 2004, lot 419

Published Gallis, Michael and Ma Xinle, Michael Gallis Collection of Chinese Paintings Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilu, Tianjin Renmin Meishu Chubanshe, 2019, p.132 來源上海敬華，2004年4月15日，拍品編號419

出版馬欣樂主編，《邁克·蓋勒斯中國畫收藏：一個西方學者的中華文化之

旅》，天津人民美術出版社，2019年，頁132 Pu Hua’s calligraphy mostly appears in cursive or running script. Drawing on Ming dynasty masters of calligraphy such as Chen Xianzhang (1428-1500) and Fu Shan (1607-1685), Pu Hua also integrated techniques of the 19th century Jinshi movement that sought inspiration from the earliest sources of the Chinese written language inscribed on metal and stone. Hence his calligraphy appears vigorous and energetic, with the jagged-edged strokes recalling a chisel cutting through stone.

176 | BONHAMS


201REN YI (1840-1895)Flower and Birds, 1879 Hanging scroll, ink and color on paper, inscribed by the artist and dated jimao, and signed Bonian with an artist’s seal Ren Yi yin. 14 3/4 x 14 1/4in (37.4 x 36.1cm)

$6,000 - 8,000

任頤花鳥設色紙本立軸一八七九年作

ProvenanceShanghai International Commodity Auction Co., Ltd, July 2003

Published Gallis, Michael and Ma Xinle, Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilu, Tianjin Renmin Meishu Chubanshe, 2019, p.132


出版馬欣樂主編，《邁克·蓋勒斯中國畫收藏：一個西方學者的中華文化之旅》，天津人民美術出版社，2019年，頁132

Painted in his 30s, Flower and Dove (lot 202) and Flower and Birds (lot 201) demonstrate the range of Ren Yi’s artistic abilities. The earlier work, Flower and Dove, is painted in a detailed, slow, and relatively realistic gongbi manner. While the rock on which the dove stands is abstracted, Ren Yi, who was also known as Ren Bonian, paid great attention to describing detailed blossoms that appear light and delicate, branches with a strong sense of three-dimensionality and an alert and well defined bird. In contrast, the two birds in lot 201 were painted rapidly with just a few suggestive brushstrokes that emphasize the emotional impact. The branches, leaves and berries, all rendered without outlines, similarly were painted in the abbreviated and expressive xieyi manner. C.C. Wang remarked to Michael Gallis that he found this expressive painting by Ren Yi especially fine and creative.



202REN YI (1840-1895)Flower and Dove, 1870 Hanging scroll, ink and color on paper, inscribed by the artist and datd Tongzhi gengwu, and signed Bonian Ren Yi with an artist’s seal Yi yin. 8 1/8 x 7 7/8in (20.6 x 20cm)

$8,000 - 10,000

任頤花鳥設色紙本立軸一八七〇年作

ProvenanceFar East Fine Arts, San Francisco, California, September 1985

Published Gallis, Michael and Ma Xinle, Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilu, Tianjin Renmin Meishu Chubanshe, 2019, p.126 來源舊金山遠東藝術畫廊，1985年9月


178 | BONHAMS

PROPERTY FROM THE COLLECTION OF MICHAEL GALLIS203QIAN HUI’AN (1833-1911)Drunken Sleep in Yihong Garden Ink and color on paper, album leaf mounted as a hanging scroll, inscribed and signed Qing Xi Qiaozi Qian Hui’an followed with one rectangular relief seal of the artist reading Jisheng. 9 x 15in (23 x 38cm)

$2,000 - 3,000

Inspired by a scene from Dream of the Red Chamber, Qian Hui’an depicts the chapter in which Granny Liu, a distantly-related elderly cousin from the countryside, visits the family compound of the wealthy Jia Family. Amazed by the extravagance and grandeur of the mansion, she drinks too much at dinner and finds herself lost in the Grand View Garden, eventually stumbling upon a courtyard to have a rest. The courtyard, belonging to the main character Jia Baoyu, the youngest son who was attended by forty servants, was filled with luxuries like the mirror that Granny Liu stares at in wonder.

錢慧安醉臥怡紅設色紙本册頁

Provenance Sotheby’s New York, June 1980, lot 137

來源蘇富比紐約，1980年6月拍品編號 137

《紅樓夢》第41回”櫳翠庵茶品梅花雪怡紅院劫遇母蝗蟲”, 承蒙榮府的盛情款待, 劉姥姥因受王熙鳳和鴛鴦的愚弄喝多了酒, 在嗣後的遊園活動中如廁出來後迷失了路徑, 獨自一個人誤入怡紅院,

PROPERTY FROM THE COLLECTION OF MICHAEL GALLIS204QIAN HUI’AN (1833-1911)Mencius and his Mother Hanging scroll, ink and color on paper, inscribed by the artist with a dedication and dated jihai, and signed Qingxi Jiaozi Qian Hui’an, with an artist’s seal Jisheng, and a collector’s seal. 39 x 17in (99 x 43.1cm)

$2,500 - 4,000

錢慧安孟母課子圖設色紙本立軸

Provenance Far East Fine Arts, San Francisco, California, September 1985

Published Gallis, Michael and Ma Xinle, Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilu, Tianjin Renmin Meishu Chubanshe, 2019, p.126

來源舊金山遠東藝術畫廊，1985年9月


203

204



205TANG SHISHU (1831-1902)Flower Branches, 1899 Hanging scroll, ink and color on silk, inscribed by the artist and dated jihai and signed Tang Shishu, with three artist’s seals Shishu si yin, Runzhi and Runzhi hua yin. 31 x 13 3/8 in (78.7 x 34cm)

$1,200 - 1,800

湯世澍花卉設色紙本立軸一八九九年作

ProvenanceShanghai Hosane, December 2006

來源上海泓盛，2006年12月


206WU SHIXIAN (1856-1919)Ink Landscape, 1906 Ink and color on paper, hanging scroll, inscribed and dated bingwu, signed Wu Shixian, followed by two rectangular relief seals of the artist reading Wu Qingyun yin, and Shixian. 46 1/2 x 15 3/4in (118.1 x 40cm)

$1,000 - 1,500

吳石僊時雨初晴設色紙本立軸一九〇六年作

ProvenanceFar East Fine Arts, San Francisco, California, August 1975


180 | BONHAMS


207TAO TAO (1825-1900)Saying Farewell, 1886 Hanging scroll, ink and color on paper, inscribed by the artist, dated bingxu er yue, with two artist’s seals reading Tao Tao and Yisun. 56 3/8 x 15 1/4in (143.1 x 38.7cm)

$2,000 - 3,000

陶燾山水送別圖設色紙本立軸一八八六年作 Provenance Bonhams New York, 15 September 2014, lot 8160 Collection of Reverend Richard Fabian Far East Fine Arts, San Francisco, California, February 1985 Published Julia F. Andrews, et al, Between the Thunder and the Rain: Chinese Paintings from the Opium War through the Cultural Revolution, 1840-1979, Asian Art Museum of San Francisco, San Francisco, 2000. p. 68, no. 25 Exhibited Wondrous Ink, Kalamazoo Institute of Arts, Kalamazoo, MI, August 28-December 5, 2010 Between the Thunder and the Rain, Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, San Francisco, CA, October 25, 2000-January 14, 2001 來源邦瀚斯紐約，2014年9月15日，拍品編號8160 費立哲牧師珍藏遠東藝術畫廊，舊金山，1985年2月出版安雅蘭等著，《風雲際會：從鴉片戰爭到「文革」（1840-1979）的中國繪畫》，亞洲藝術博物館，舊金山，加州，2000年，頁68, 圖錄25 展覽《水墨神韻》，卡拉馬祖藝術學院，卡拉馬祖，密歇根州，2010年8月28日至12月5日《風雲際會：從鴉片戰爭到「文革」（1840-1979）的中國繪畫》，亞洲藝術博物館李鐘文亞洲藝術文化中心，舊金山，加州，2000年10月25日至2001年1月14日


208GU LINSHI (1865-1930)Landscape after Qian Weicheng, 1892 Hanging scroll, ink and light color on paper, inscribed by the artist and dated renchen and signed Xijin Gu Linshi, followed by two artist’s seals Gu Xijin and Wanhe caotang. 56 5/16 x 30 3/4in (143 x 78.1cm)

$9,000 - 12,000

顧麟士楚山秋曉設色紙本立軸一八九二年作 Published Gallis, Michael and Ma Xinle, Michael Gallis Collection of Chinese Paintings Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilu, Tianjin Renmin Meishu Chubanshe, 2019, pp.184-185 出版馬欣樂主編，《邁克·蓋勒斯中國畫收藏：一個西方學者的中華文化之旅》，天津人民美術出版社，2019年，頁184-185 Gu Linshi was the grandson of the great Suzhou literatus Gu Wenbin (1811-1889). Gu Linshi inherited his grandfather’s collection of paintings Guoyunlou 過雲樓 and relocated the collection to Shanghai to the Yiyuan garden. He took a scholarly approach to the collection, publishing Notes on Paintings from the Gu Yun Pavilion《過雲樓書畫記》. With an important collection of paintings at an arms length, Gu Linshi became fluent in applying the methods of various traditional masters of Chinese paintings, frequently adopting the styles of the Four Wangs and Wu School painters.

207



209WANG ZHEN (1866-1938)Bodhisattva Hanging scroll, ink and color on paper, with two artist’s inscriptions, each signed Bailongshanren with two artist’s seals reading Wang Zhen dali and Yiting. 44 1/8 x 15 1/2in (112 x 39.3cm)

$12,000 - 18,000

王震菩薩設色紙本立軸 ProvenanceFar East Fine Arts, San Francisco, California, August 1981

Published Gallis, Michael and Ma Xinle, Michael Gallis Collection of Chinese Paintings Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilu, Tianjin Renmin Meishu Chubanshe, 2019, p.192


出版馬欣樂主編，《邁克·蓋勒斯中國畫收藏：一個西方學者的中華文化之旅》，天津人民美術出版社，2019年，頁192 A Shanghai native, Wang Zhen was a successful businessman with trade enterprises and shipping companies that afforded him the opportunity to make frequent trips to Japan. He was also an active member of the vibrant Shanghai school of painting and in close contact with many in a wide artistic circle. The artist was also a devout lay Buddhist and a generous philanthropist. While traveling to Japan for business, Wang Zhen was able to view many early Chinese paintings in the Chan Buddhist tradition from the Song and Yuan dynasties. Here, the angular, bold lines on the Bodhisattva’s robes recall expressive brushwork found in the later paintings by the Song Master Liang Kai (active 1172-c. 1204).

208 209

182 | BONHAMS


210QI BAISHI (1864-1957)Shrimp and Reeds Hanging scroll, ink on paper, signed Bin’gong with one artist’s seal reading Jieshanlaoren. 11 1/2 x 16 1/2in (29.2 x 42cm)

$15,000 - 25,000

齊白石蘆葦蝦趣圖水墨紙本立軸 Provenance Far East Fine Arts, San Francisco, California, April 1980 Published Gallis, Michael and Ma Xinle, Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilu, Tianjin Renmin Meishu Chubanshe, 2019, pp.168-169 Erickson, Britta, Craig L. Yee, Jung Ying Tsao, and Jung May Lee Barrett, Modern Ink: The Art of Qi Baishi, Berkeley: The Mozhai Foundation, 2014, plate 34 Tsao Jung Ying, The Paintings of Xugu and Qi Baishi, University of Washington Press, 1993, pp. 252-254 Exhibited The Carved Brush, Calligraphy Painting and Seal Carving By Qi Baishi, Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, San Francisco, CA, October 29, 2013-July 13, 2014

來源舊金山遠東藝術畫廊 1980年4月出版馬欣樂主編，《邁克·蓋勒斯中國畫收藏：一個西方學者的中華文化之旅》，天津人民美術出版社，2019年，頁168-169 Erickson, Britta, Craig L. Yee, Jung Ying Tsao, and Jung May Lee Barrett, Modern Ink: The Art of Qi Baishi, Berkeley，The Mozhai Foundation, 2014年, 圖版34 曹仲英, The Paintings of Xugu and Qi Baishi, University of Washington Press, 1993年, 頁252-254 展覽 The Carved Brush, Calligraphy Painting and Seal Carving By Qi Baishi, 亞洲博物館李鐘文眼周藝術文化中心，舊金山，加州，2013年10月29日-2014年7月13日

An early work in the long career of Qi Baishi, the painting is signed Bingong, a hao the artist began using after 1906. Simply executed with an economy of brushstrokes, Qi Baishi describes a small shrimp, here accompanied by arching reeds. It is a subject that Qi Baishi would return to repeatedly over the decades that followed, at times composing large groups of crustaceans, whose legs and antennae cross and overlap symphonically. Always rendered solely in ink, Qi Baishi’s compositions of shrimp became one of his best known subjects in later years. The present painting offers rare glimpse at the artist’s initial approach.



211QI BAISHI (1864-1957)Shrimp Hanging scroll, ink on paper, inscribed by the artist with a poem, and signed Baishi with an artist’s seal reading Muren, and a collector’s seal of Tsao Jungying. 40 x 13 1/2in (100 x 34.2cm)

$45,000 - 65,000

齊白石蝦水墨紙本立軸 Provenance Far East Fine Arts, San Francisco, California, December 1966

Published Gallis, Michael and Ma Xinle, Michael Gallis Collection of Chinese Paintings Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilu, Tianjin Renmin Meishu Chubanshe, 2019, pp.148-149 來源舊金山遠東藝術畫廊，1966年6月

出版馬欣樂主編，《邁克·蓋勒斯中國畫收藏：一個西方學者的中華文化之旅》，天津人民美術出版社，2019年，頁148-149

This energetic panoply of six shrimp, whose myriad legs and feelers are at once individually delineated while also overlapping and extending in all directions, is a later and larger work than the preceding example (lot 210). In addition to being an especially energetic and skillful rendition of Qi Baishi’s frequent subject, Michael Gallis points out that it was unusual for the artist to append a lengthy poem to his painting of shrimp. Moreover, while this poem superficially speaks of fat crabs, shrimp and dragons, painted in the turbulent period of 1947, it is, in fact, likely a subtle and rare political commentary by the artist.

184 | BONHAMS


212QI BAISHI (1864-1957)Li Tieguai A folding fan mounted as a hanging scroll, ink and color on paper, signed Qi Huang, followed by an artist’s seal reading Ahzhi. 23 x 10 1/2in (58.4 x 26.6cm)

$30,000 - 50,000

齊白石李鐵拐設色紙本扇面裱為立軸

ProvenanceFar East Fine Arts, San Francisco, California, March 2000 Published Gallis, Michael and Ma Xinle, Michael Gallis Collection of Chinese Paintings Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilu, Tianjin Renmin Meishu Chubanshe, 2019, pp.162-163 Erickson, Britta, Craig L. Yee, Jung Ying Tsao, and Jung May Lee Barrett, Modern Ink: The Art of Qi Baishi, Berkeley, The Mozhai Foundation, 2014, plate 5, Cover. Exhibited The Carved Brush, Calligraphy Painting and Seal Carving By Qi Baishi, Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, San Francisco, CA, October 29, 2013-July 13, 2014


來源舊金山遠東藝術畫廊，2000年3月出版馬欣樂主編，《邁克·蓋勒斯中國畫收藏：一個西方學者的中華文化之旅》，天津人民美術出版社，2019年，頁162-163 Erickson, Britta, Craig L. Yee, Jung Ying Tsao, and Jung May Lee Barrett, Modern Ink: The Art of Qi Baishi, Berkeley，The Mozhai Foundation, 2014年, 圖版5 展覽 The Carved Brush, Calligraphy Painting and Seal Carving By Qi Baishi, 亞洲博物館李鐘文眼周藝術文化中心，舊金山，加州，2013年10月29日-2014年7月13日 Although undated, this fan was likely painted by Qi Baishi in his early years. His use of the Azhi seal is one indication and his figural depictions after his seventies are scarce. With a minimum of brushstrokes, Qi Baishi’s depiction of the Daoist immortal Li Tieguai recalls the quick expressive approach of the Song and Yuan dynasty Chan Buddhist painters, as interpreted by 18th century Yangzhou eccentric artists Jin Nong (1687-1763) and Luo Pin (1733–1799)

Book cover image

186 | BONHAMS


213LU YANSHAO (1909-1993)Plum Blossoms, 1977 Hanging scroll, ink and color on paper, inscribed with a dedication by the artist and dated 1977, signed Lu Yanshao, followed by two artist’s seals Lu yin and Yanshao. 26 3/8 x 17 23/32in (70 x 45cm)

$10,000 - 15,000

陸儼少梅花設色紙本立軸一九七七年作

ProvenanceShanghai International Commodity Auction Co., Ltd., 20 July 2003, lot 90

Published Gallis, Michael and Ma Xinle, Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilu, Tianjin Renmin Meishu Chubanshe, 2019, pp.262-263

Dai, Tony, Modern Chinese paintings & Calligraphy from important private collections overseas(I), New York, 2012, plate 16

來源上海國際商品拍賣有限公司，2003年7月20日，拍品編號90


Dai, Tony, Modern Chinese paintings & Calligraphy from important private collections overseas(I), 2012年, 圖版16

Although Lu Yanshao learned in a traditional manner by studying painting with Feng Chaoran (1882-1954) and copying Ming and Qing artists, as can be well seen here, he developed a unique style that employed bold brushwork and an energetic, almost jittery, style. In this painting, which was made in 1977 shortly after Lu Yanshao was able to resume painting after the Cultural Revolution, his fully mature style has emerged. In this rare floral composition, the artist contrasts the angularity of the rock and bark with the delicate and carefully controlled petals of the cherry blossoms.



214LI YAN (BORN 1943)Monkey, 1978 Hanging scroll, ink and color on paper, inscribed by the artist and dated wuwu and signed Yan with four artist’s seals. 26 1/2 x 13 3/8in (67.3 x 33.9cm)

$1,000 - 1,500

李燕覓食圖設色紙本立軸一九七八年作

ProvenanceLiu Imports, New York, December 2000

來源Liu Imports，紐約，2000年12月


215DING YANYONG (1902-1978)One-Stroke Cat, 1978 Hanging scroll, ink on paper, inscribed by the artist and dated wuwu, and signed Ding Yanyong, followed by two artist’s seals ding shi, and a pictogram seal. 37 5/8 x 18 3/8in (95.5 x 46.6cm)

$7,000 - 10,000

丁衍庸一筆貓水墨紙本立軸一九七八年作

ProvenanceYip Collection, San Francisco, California, August 1979

Published Gallis, Michael and Ma Xinle, Michael Gallis Collection of Chinese Paintings Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilu, Tianjin Renmin Meishu Chubanshe, 2019, pp.230-231 Exhibited Charlotte Collects, The Mint Museum, Charlotte, North Carolina, 1987 來源Yip Collection, 舊金山，1979年8月

出版馬欣樂主編，《邁克·蓋勒斯中國畫收藏：一個西方學者的中華文化之旅》，天津人民美術出版社，2019年，頁230-231 展覽 Charlotte Collects, The Mint Museum, 北卡羅來納州夏洛特, 1987年

Conceived from a single, continuous brushstroke beginning with the feline’s tail and ending at his chin, the cat has a remarkable sense of form and energy, despite the absence of most defining details. Although void of surroundings and setting, the cat is complimented by two lines of the artist’s poetry, the ropey brushstrokes echoing the cat’s energetic mood. One-stroke paintings became a prevalent subject matter in Ding Yanyong’s final years, and a second one-stroke cat, also dated 1978 and formerly in the collection of the artist’s daughter was sold at Christie’s, Hong Kong, 1 June 2015, lot 1317.

214

215

188 | BONHAMS


216WANG JIQIAN (C.C. WANG, 1907-2003)Landscape, 1982 Hanging scroll, ink and color on paper, inscribed by the artist and dated renxu, signed Jiqian with two artist’s seals. 13 7/8 x 17in (35.2 x 43.1cm)

$2,000 - 3,000

王己千山水設色紙本立軸一九八二年作

Provenance Acquired directly from the artist, October 1983

Published Gallis, Michael and Ma Xinle, Michael Gallis Collection of Chinese Paintings Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilu , Tianjin Renmin Meishu Chubanshe, 2019, p.250

來源現藏家於1983年10月直接得自藝術家



217WANG JIQIAN (C.C. WANG, 1907-2003)Rock, 2002 Hanging scroll, ink on paper, signed Jiqian with one artist’s seal reading Wang Jiqian xi. 14 3/4 x 10 1/2in (37.4 x 26.6cm)

$2,000 - 3,000

王己千石水墨紙本立軸二〇〇二年作 Provenance Acquired directly from the artist, March 2002 Published Gallis, Michael and Ma Xinle, Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilu, Tianjin Renmin Meishu Chubanshe, 2019, p.257 來源現藏家於2002年3月直接得自藝術家出版馬欣樂主編，《邁克·蓋勒斯中國畫收藏：一個西方學者的中華文化之旅》，天津人民美術出版社，2019年，頁257



218CHENG SHIFA (1921-2007)Spring Festival Album, 2005 An album of eleven double leaves, ink, or ink and color on paper, each leaf inscribed and signed by the artist, with seven leaves dated yiyou, each leaf with two or three artist’s seals, the titleslip also by the artist Moxiang wanli Cheng Shifa ying. 22 x 16 1/2in (55.9 x 41.9cm), each leaf

$70,000 - 100,000

程十發新春雜冊設色紙本冊頁二〇〇五年作

ProvenanceAcquired directly from the artist, May 2005

Published Gallis, Michael and Ma Xinle, Maike Gailesi Zhongguo hua shoucang: yige Xifang xuezhe de Zhonghua wenhua zhilu, Tianjin Renmin Meishu Chubanshe, 2019, pp.214-221 來源現藏家於2005年5月直接得自藝術家


190 | BONHAMS


Cheng Shifa was born in Songjiang, Jiangsu province, and attended the Shanghai College of Art in 1938. First achieving fame as an illustrator, he published illustrated versions of the stories originally penned by the author Lu Xun (1881-1936). By 1956, he was a professional painter in the guohua style, and soon thereafter he would find his niche in his colorful and exuberant depictions of minorities from China’s Southwestern Yunnan province. Michael Gallis commissioned this album from Cheng Shifa in 2005 just before he entered the hospital and so it is one of the final albums created by the artist at the end of his prolific career. Replete with auspicious imagery and with unusually free and expressive brushwork reflecting the artist’s mood and status, the album celebrates the lunar New Year and the coming of the spring season, with several leaves dated in the days that followed. As one of the artist’s last recorded works, the album both demonstrates the culmination of his career as a painter while highlighting his still strong brushwork and daring use of color.

192 | BONHAMS


219ANONYMOUS, GUANGDONG SCHOOLVillage along the Pearl River, 1800-1850 Oil on canvas, unsigned, depicting a riverside scene, with an elaborately carved frame from the period. 9 5/8 x 13 1/4in (24.4 x 33cm)

$5,000 - 7,000

佚名珠江河畔布面油畫 1800-1850年作


220AFTER GIUSEPPE CASTIGLIONE (LANG SHINING, 1688-1766)European Woman and Dog, Republic period Ink and color on paper, now framed and glazed, inscribed with a signature of Lang Shining with numerous spurious artist and collector’s seals. 45 1/2 x 22 1/2in (115.5 x 57.1cm)

$2,000 - 3,000

仿郎世寧西式人物圖設色紙本鏡框民國 This scroll, bearing a spurious signature of the Italian Jesuit Giuseppe Castiglione (Lang Shining), as well as Qing court collection seals, was likely painted in the early Republic Period at the Houmen Zhai (Back Door Studio), so named as it was near the North Gate, or “Back Door” of the Forbidden City in Beijing. Composed of former Qing Dynasty Court artists, as well as artists like Ma Jin (1899-1970), Houmen Zhai produced paintings that evoked those produced during the Qianlong period that fuse Chinese and European aesthetic approaches.

221TAO LENGYUE (1895-1985)Ink Plum, 1946 Ink on paper, hanging scroll, inscribed and signed Hongzhai Tao Lengyue with three artist’s seals; mounted together with two calligraphies by Wang Jian (1888-1969), the frontispiece signed Jian sou and with three seals, the colophon dated bingxu, signed Wang Jian and with four seals. 20 1/8 x 12in (51 x 30.5cm)

$3,500 - 4,500

陶冷月寒梅圖水墨紙本立軸引首、題跋：王謇

194 | BONHAMS

222QI BAISHI (1864-1957)Chicks Ink on paper, hanging scroll, inscribed, signed Sanbai shiyin fuweng and with one artist’s seal Qi Da. 52 1/2 x 13in (133.4 x 33cm)

$70,000 - 90,000

齊白石雛鷄圖水墨紙本立軸款識：殼分混沌見精神，鳳侣鸞儔暫化身。傍母浴沙花徑午，隨群啄粟草堂春。借瞿佑詩前四句題画，三百石印富翁。鈐印：齊大

Provenance In a private collection, San Francisco, since the 1960s Acquired in Beijing by an American music teacher prior to 1949, by repute 來源舊金山私人收藏，自1960年代據藏家，一美國音樂教師1949年以前購於北京


223QI BAISHI (1862-1957)Mice and Candlestick Mounted for framing, ink and color on paper, inscribed with a dedication by the artist and signed Baishi, with one artist’s seal. 40 x 13 1/2in (102 x 34cm)

$70,000 - 90,000

齊白石燭鼠圖設色紙本鏡框

Provenance Christie’s London, 10 May 2016, lot 83 Collection of Hans J. Christensen (1922-1985) 來源佳士得倫敦，2016年5月10日，拍品83 Hans J. Christensen (1922-1985)珍藏 (1952-1954年期間在北京任職於丹麥王國駐華大使館) Hans J. Christensen (1922-1985) was a Secretary of the Royal Danish Legation in Beijing between 1952 & 1954. During this brief stint in Beijing, he developed an interest in Chinese art.

196 | BONHAMS

224HUANG JUN (1914-2011)Beauties in the Garden, 1962 A set of six hanging scrolls, ink and color on paper, the final scroll inscribed by the artist and dated renyin, signed Huang Jun, with two artist’s seals. 70 1/4 x 18 7/8in (178.4 x 48cm), each scroll (6).

$7,000 - 10,000

黃均遊園圖設色紙本立軸六屏一九六二年作


225TANG YUN (1910-1993), ZHU QIZHAN (1892-1996), AND QIAN DING (1896-1989)Sparrows, Bamboo, and Rock, 1940 Ink on paper, hanging scroll, inscribed, dated gengchen, and signed Tang Yun with one artist’s seal, further with two artists’ signatures Zhujiu and Qizhan and two artists’ seals. 60 x 12 1/8in (152.4 x 30.8cm)

$2,500 - 4,000

唐雲、朱屺瞻、錢鼎群雀竹石圖水墨紙本立軸一九四〇年作

226TANG YUN (1910-1993) AND FANG JIEKAN (1901-1987)Bamboo and Rock, 1975 Ink and color on paper, hanging scroll, dated yimao, inscribed by Tang Yun and with two artist’s seals. 43 x 13 3/8in (109.2 x 34cm)

$2,500 - 4,000

唐雲、方介堪竹石圖設色紙本立軸一九七五年作

198 | BONHAMS

227ZHAO SHAO’ANG (1905-1998)Gladioli Ink and color on paper, hanging scroll, inscribed with a poem and signed Shao’ang with one artist’s seal. 40 1/2 x 11 3/4in (102.8 x 29.8cm)

$5,000 - 7,000

趙少昂劍蘭圖設色紙本立軸


228WANG XUETAO (1903-1982)Vegetable, Fruit and Sea Life, 1950 Mounted for framing, ink and color on paper, inscribed by the artist noting the painting was produced for Huabei Wuzi Jiaoliu Zhan, dated gengyin, and signed Xuetao, with two artist’s seals reading Wang Xuetao yin and Wulou Shanzhuang. 36 x 69in (91.5 x 175.2cm)

$30,000 - 50,000

王雪濤瓜果蔬菜水產圖設色紙本鏡片

Provenance Bonhams New York, 9 September 2019, lot 937 來源邦瀚斯紐約，2019年9月9日，拍品編號937 According to the inscription by the artist, the painting was created for the North China Agriculture Fair (華北物資交流展覽會). The Chinese government sponsored several agriculture fairs from 1950 to 1952 in Tianjin and other cities. The purpose of these fairs was to encourage trade between urban centers and rural regions to stimulate the post-war economic recovery. This large size work exemplified a range of products, from vegetables to seafood, typical of the goods selling at an agriculture fair.

200 | BONHAMS

229DENNIS HWANG (HUANG ZHICHAO, BORN 1941)Cat and flowers, 1992 Mounted for framing, ink and color on paper, signed lower right, “92 Zhichao Hwang”, with an artist’s seal reading Huang Zhichao. 48¾ x 32 ¼in (123.8 x 81.9cm)

$2,000 - 3,000

黃志超貓設色紙本鏡片一九九二年作

Dennis Hwang was born in Xiamen in 1941, but relocated to Taiwan. In 1971 he had his first exhibition in the United States, and settled in New York the following year. The artist became close with Walasse Ting and Chuang Che, as well as becoming acquainted with Karel Appel, the founder of the avant-garde CoBrA movement, an approach based on spontaneity and experiment.


230LIU YONG (BORN 1949)Winter Birds, 2012 Ink and color on silk, framed and glazed, inscribed by the artist and dated renchen (2012) and signed Liu Yong, with three artist’s seals. 23 1/4 x 35in (59 x 88.9cm)

$16,000 - 24,000

劉墉雪竹寒禽設色絹本鏡框二〇一二年作

Provenance Acquired directly from the artist 來源直接得自畫家 Liu Yong was born in Taipei in 1949. Well known as an international best selling author and television host, Liu Yong is an accomplished painter who studied traditional Chinese painting techniques with Huang Junbi (1898-1991). Among the publications dedicated to the study of his painting was the 2015 release Zhongguo dangdai mingjia huaji. Liu Yong 《中國當代名家畫集劉墉》by Renmin Meishu Chubanshe. His paintings are in the permanent collection of the Museum für Ostasiatische Kunst Cologne, the Zhejiang Art Museum in Hangzhou, and the National Taiwan Museum of Fine Arts in Taichung.

202 | BONHAMS

231LIU GUOSONG (LIU KUO-SUNG, BORN 1932)Canyon Scene, 1967 Hanging scroll, ink and light color on paper, dated 1967, signed Liu Guosong with one artist’s seal reading Liu Guosong. 20 1/2 x 22 7/8in (52 x 58cm)

$25,000 - 40,000

劉國松峽谷設色紙本立軸一九六七年作

Painted in 1967, this composition typifies the abstract landscapes that Liu Guosong introduced to a North American audience through a series of solo exhibitions in the late 1960’s. A 1967 solo exhibition at the Lee Nordness Galleries on East 70th Street in New York City was reviewed by New York Times art critic John Canaday. Describing the artist’s approach, Canaday notes “ ...a dashing exponent of traditional Chinese landscape painting hybridized with modern abstraction. His apparently broom-sized brush, filled with ink or color, charges around the field of the paper with great vigor; seas, mountains and valleys appear and disappear within the pattern; here and there the paper seems to have been rent by the weights and forces that open up chasms—but it is only collage. And all the while, everything is very elegant.”


232ZHENG CHONGBIN (BORN 1961)Untitled, No. 15, 2007 Ink and acrylic on paper, mounted for framing, inscribed in pencil lower right Zheng, Chongbin, 8/07. 61 1/2 x 59 1/4in (156.2 x 150.5cm)

$20,000 - 30,000

鄭重賓無題15號水墨丙烯紙本鏡片二〇〇七年作

Zheng Chongbin is a native of Shanghai and attended the Zhejiang Academy of Fine Arts (Zhejiang Meishu Xueyuan, after 1993 known as China Academy of Fine Art Zhongguo Meishu Xueyuan), to study Chinese painting. He taught at the same Academy four years after graduating in 1984, and in 1989 he was awarded the first International Fellowship to study at the San Francisco Art Institute, acquiring an MFA in 1991. He currently resides in the San Francisco Bay Area. In San Francisco, Zheng Chongbin began exploring abstraction in his work, while still relying on the traditional Chinese painting media of ink, brush and paper. His paintings are in the permanent collection of the Asian Art Museum of San Francisco, The Daimler Art Collection, the British Museum, the Brooklyn Museum of Art, and the Metropolitan Museum of Art.

204 | BONHAMS

Two Rare Suzhou PrintsLots 233 & 234

Among the many milestones in the long history of Chinese printmaking, Suzhou prints from the 17th and 18th century are remarkable for their innovations. Evolving from an already thriving woodblock print industry, printmakers and publishers from the Kangxi period onwards began experimenting with color, perspective and size. Their aesthetic appeal proved enormously popular, and the woodblock print medium allowed for distribution on a grand scale. Circulated throughout the nation of China, images from Suzhou publishers began to reach Europe by the 1740’s, fashionably utilized as wall coverings in the homes of the aristocracy.

Today, numerous palaces and old mansions in Hungary, Germany, Austria and France still display 18th century Suzhou prints on their walls, a resounding echo of the taste of the day. Both of the prints offered here include the names of the publishers--Wang Junfu and Wang Xin. The presence of their names on the print is a testament to their status in the cultural hierarchy of Suzhou, a thriving art center at the time. For recent scholarship on these uncommon prints see Gao Fumin, Kang Qian Sheng Shi “Suzhou Ban” 康乾盛世「蘇州版」, Shanghai, 2014. The website https://chiwoopri.wordpress.com updates regularly with new findings on the topic.

233A RARE SUZHOU PRINTWang Junfu, late 17th Century Woodblock print, ink an color on paper, mounted on backing paper, titled Sui Yangdi Kan Qionghua and with a printer’s mark in a cartouche along the right edge Gusu Wang Junfu faxing. 14 3/4 x 23 1/4in (38 x 58.5cm)

$12,000 - 18,000

姑蘇版套色木版畫《隋煬帝看瓊花》十七世紀晚期

ProvenanceAcquired in Europe, 1980’s, thereafter by descent

來源20世紀80年代購於歐洲，後由家族成員繼承

This print relays a historical tale concerning Emperor Yang (r. 604-619) the last emperor of the brief Sui Dynasty, and one of the most notoriously vicious rulers in China’s long history. Among Emperor Yang’s positive accomplishments was the expansion of the Tongji canal connecting the capital Luoyang with Yangzhou, a distance of 800 kilometers. It is said his motivation was to ease his travel to Yangzhou to see the famed Qionghua flower. In this image Emperor Yang (with the dragon robe) arrives on one his famed multi-storied boats. There are five other extant prints by Wang Junfu. A recently discovered map titled Da Ming Jiubian Wanguo Renji Lucheng Quantu 大明九邊萬國人跡路程全圖 (The Routes to Great Ming from All Nations) is dated Kangxi 2 (1663) and places the publisher in the early years of the Kangxi period. See https://chiwoopri.wordpress.com/2019/02/01/dates-for-wang-junfu/ A second work Wanguo Lai Chao 萬國來朝 (All Nations Coming to Court) is in the collection of the British Museum (1920,1216,0.1). See Clarissa Von Spee, The Printed Image in China, British Museum, 2010, cat. no. 23.


234A RARE SUZHOU PRINTWang Xin, 17th/18th Century Woodblock print, ink and color on paper, titled Jinshan Xinjian Shengjing and with a printer’s mark in the lower left Gusu Wang Xin fahao faxing. 14 x 21 1/4in (35.5 x 54cm)

$12,000 - 18,000

姑蘇版套色木版畫《金山新建勝景》十七/十八世紀

ProvenanceAcquired in Europe, 1980’s, thereafter by descent

來源20世紀80年代購於歐洲，後由家族成員繼承

This print depicts the famous island of Jinshan, a small island on the Bay of Hangzhou, famous for its Buddhist temple. The rugged island and temple--situated a 100 kilometers southeast of Suzhou--was a popular subject in Chinese painting and was even depicted by the Japanese artist Kano Sanraku in 1630. Here the printmaker places the temple at the center of the composition, where it is surrounded by a whorl of activity. A twin of this print was sold 5 December 2019 at Van Ham Art Auctions, lot 2053.

Prices shown include buyer’s premium. Details can be found at bonhams.com

* For details of the charges payable in addition to the final hammer price, please visit bonhams.com/buyersguide

Chinese Classical Furniture, Archaic Bronzes and Japanese ArtNew Bond Street, London | 13 May 2021

This exceptional European private collection comprises important and exceedingly rare Chinese classical huanghuali furniture, archaic bronze ritual vessels, scholar’s works of art and Japanese art, with superb provenance including Grace Wu Bruce, Hei Hung-Lu, the Flack Family Collection, Peter Lai, Nicholas Grindley and others.

Estimates range from £3,000 - 1,200,000 *

ENQUIRIES+44 (0) 20 7468 [email protected]/chineseart


Bonhams is honoured to offer the entire contents of Roger Keverne Ltd. in two dedicated single-owner Chinese art auctions to be held in New Bond St, London, with the first part to be held on 11 May and the second and final part to be held in June 2021. Over 800 lots will celebrate the


wide range of Chinese ceramics, archaic and later bronzes, jades, cloisonné and painted enamel and other works of art in which the distinguished Chinese art dealer Roger Keverne specialised for over 50 years. These two sales will be available both online and as printed catalogues.

RRooggeerr KKeevveerrnnee LLttdd:: MMoovviinngg OOnnNew Bond Street, London | 11 May 2021 (Part I); June 2021 (Part II – final part)ALL LOTS TO BE SOLD AT NO RESERVE


Bonhams is honoured to offer the entire contents of Roger Keverne Ltd. in two dedicated single-owner Chinese art auctions to be held in New Bond St, London, with the first part to be held on 11 May and the second and final part to be held in June 2021. Over 800 lots will celebrate the


wide range of Chinese ceramics, archaic and later bronzes, jades, cloisonné and painted enamel and other works of art in which the distinguished Chinese art dealer Roger Keverne specialised for over 50 years. These two sales will be available both online and as printed catalogues.

RRooggeerr KKeevveerrnnee LLttdd:: MMoovviinngg OOnnNew Bond Street, London | 11 May 2021 (Part I); June 2021 (Part II – final part)ALL LOTS TO BE SOLD AT NO RESERVE

The following Conditions of Sale, as amended by any published or posted notices or verbal announcements during the sale, constitute the entire terms and conditions on which property listed in the catalog shall be offered for sale or sold by Bonhams & Butterfields Auctioneers Corp. and any consignor of such property for whom Bonhams acts as agent. By participating in this sale, you agree to be bound by these terms and conditions.

If live online bidding is available for the subject auction, additional terms and conditions of sale relating to online bidding will apply; see www.bonhams.com/WebTerms for the supplemental terms. As used herein, “Bonhams,” “we” and “us” refer to Bonhams & Butterfields Auctioneers Corp.

1. As used herein, the term “bid price” means the price at which a lot is successfully knocked down to the buyer. The term “purchase price” means the aggregate of (a) the bid price, (b) a PREMIUM retained by us and payable by the buyer (the “buyer’s premium”), EQUAL TO 27.5% OF THE FIRST $12,500 OF THE BID PRICE, PLUS 25% OF THE AMOUNT OF THE BID PRICE ABOVE $12,500 UP TO AND INCLUDING $600,000, PLUS 20% OF THE AMOUNT OF THE BID PRICE ABOVE $600,000 UP TO AND INCLUDING $6,000,000, PLUS 14.5% OF THE AMOUNT OF THE BID PRICE ABOVE $6,000,000, and (c) unless the buyer is exempt by law from the payment thereof, any Alabama, Arizona, California, Colorado, Connecticut, Florida, Georgia, Hawaii, Idaho, Illinois, Iowa, Indiana, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Michigan, Minnesota, Mississippi, Nebraska, Nevada, New Jersey, New York, North Carolina, Ohio, Oklahoma, Pennsylvania, Rhode Island, South Carolina, Texas, Utah, Virginia, Washington, D.C., Washington state, West Virginia, Wisconsin, Wyoming or other state or local sales tax (or compensating use tax) and other applicable taxes. With regard to New York sales tax, please refer to the “Sales and Use Tax” section of these Conditions of Sale.

2. In order to bid at the sale, prospective bidders must submit to Bonhams a completed bidder registration form (appearing at the end of this catalog) and any other requested information or references. New bidders and bidders who have not recently updated their registration information must pre-register to bid at least two business days before the sale. Individuals will be required to provide government-issued proof of identity and proof of address. Entity clients will be required to provide documentation including confirmation of entity registration showing the registered name, confirmation of registered address, documentary proof of officers and beneficial owners, proof of authority to transact on behalf of the entity and government-issued proof of identity for the individual who is transacting on the entity’s behalf.

We may also request a financial reference and /or deposit from bidders before approving the bidder registration. In the event a deposit is submitted and you are not the successful bidder, your deposit will be returned to you. If you are the successful bidder, any such deposit will be credited to offset the appropriate portion of the purchase price.

We reserve the right to request further information, including regarding the source of funds, in order to complete bidder identification and registration procedures (including completing any anti-money laundering and/or anti-terrorism financing checks we may require) to our satisfaction. If our bidder identification and registration procedures are not satisfied, we may, in our sole discretion, decline to register any bidder or reject any bid or cancel any sale to such bidder.

Every bidder shall be deemed to act as a principal unless prior to the commencement of the sale there is a written acceptance by Bonhams of a bidder registration form completed and signed by the principal which clearly states that the authorized bidding agent is acting on behalf of the named principal. Absent such written acceptance by Bonhams, any person placing a bid as agent on behalf of another (whether or not such person has disclosed that fact or the identity of the principal) may be jointly and severally

liable with the principal under any contract resulting from the acceptance of a bid. Every bidder shall be responsible for any use of its assigned paddle or bidding account, regardless of the circumstances.

3. You represent and warrant that: (i) you have provided us with true and correct copies of valid identification and proof of residence and, if applicable, financial and/or corporate documents; (ii) neither you, your principal (if applicable, and subject to Bonhams’ prior written acceptance pursuant to paragraph 2 above), nor any individual or entity with a beneficial or ownership interest in either or in the purchase transaction is on the Specially Designated Nationals List maintained by the Office of Foreign Assets Control of the U.S. Department of the Treasury nor subject to any other sanctions or embargo program or regulation in effect in the United States, European Union, England and Wales, or other applicable jurisdictions; (iii) if you are acting as an agent for a principal, you have conducted appropriate due diligence into such principal, and agree that Bonhams shall be entitled to rely upon such due diligence, you will retain adequate records evidencing such due diligence for a period of five (5) years following the consummation of the sale, and will make these records available for inspection upon Bonhams’ request; (vi) neither the purchase transaction (including your bidding activity) nor the purchase funds are connected with nor derive from any criminal activity, and they are not designed to nor have they or shall they, violate the banking, anti-money laundering, or currency transfer laws or other regulations (including without limitation, import-export laws) of any country or jurisdiction, or further any other unlawful purpose, including without limitation collusion, anti-competitive activity, tax evasion or tax fraud.

You acknowledge and agree that we may rely upon the accuracy and completeness of the foregoing warranties.

4. On the fall of the auctioneer’s hammer, the highest bidder shall have purchased the offered lot in accordance and subject to compliance with all of the conditions set forth herein and (a) assumes full risk and responsibility therefor, (b) if requested will sign a confirmation of purchase, and (c) will pay the purchase price in full or such part as we may require for all lots purchased. No lot may be transferred.

Unless otherwise agreed, payment in good, cleared funds is due and payable within five (5) business days following the auction sale. Whenever the buyer pays only a part of the total purchase price for one or more lots purchased, we may apply such payments, in our sole discretion, to the lot or lots we choose. Payment will not be deemed made in full until we have received good, cleared funds for all amounts due. Title in any purchased property will not pass until full and final payment has been received by Bonhams. Accounts must be settled in full before property is released to the buyer. In the event property is released earlier, such release will not affect the passing of title or the buyer’s obligation to timely remit full payment.

We reserve the right to refuse to accept payment from a source other than the registered bidder or buyer of record. Once an invoice is issued, we cannot change the buyer’s name on an invoice.

Payment for purchases must be made in the currency in which the sale is conducted. Bonhams’ preferred payment method is by wire transfer. For final purchases exceeding US $25,000.00, all payments must be in the form of wire transfer unless other arrangements have been approved in advance. For final purchases below US $25,000.00, payment may also be made in or by the following methods: (i) Cash. Please note that the amount of cash that can be accepted from a given purchaser is limited to US $5,000 per auction sale (whether by single or multiple related payments). If the amount payable exceeds that sum, the balance must be paid by another method. (ii) Cashier’s check, money order, or personal check with approved credit drawn on a U.S. bank. A processing fee will be assessed on any returned checks. (iii) Visa, MasterCard, American Express or Discover debit

or credit card issued in the name of the purchaser or record. Only one debit or credit card may be used for payment of an account balance. This method of payment may not be available to first time purchasers.

To the fullest extent permitted by applicable law, the buyer grants us a security interest in the property, and we may retain as collateral security for the buyer’s obligations to us, any property and all monies held or received by us for the account of the buyer, in our possession. We also retain all rights of a secured party under the Uniform Commercial Code (which shall mean the New York Uniform Commercial Code, except where the Uniform Commercial Code of another state governs the perfection of a security interest in collateral located in that state), and you agree that we may file financing statements without your signature. If the foregoing conditions or any other applicable conditions herein are not complied with, in addition to all other remedies available to us and the consignor by law, we may at our election: (a) hold the buyer liable for the full purchase price and any late charges, collection costs, attorneys’ fees and costs, expenses and incidental damages incurred by us or the consignor arising out of the buyer’s breach; (b) cancel the sale, retaining as liquidated damages all payments made by the buyer; and/or (c) cancel the sale and/or resell the purchased property, at public auction and/or by private sale, and in such event the buyer shall be liable for the payment of all consequential damages, including any deficiencies or monetary losses, and all costs and expenses of such sale or sales, our commissions at our standard rates, all other charges due hereunder, all late charges, collection costs, attorneys’ fees and costs, expenses and incidental damages. In addition, where two or more amounts are owed in respect of different transactions by the buyer to us, to Bonhams 1793 Limited and/or to any of our other affiliates, subsidiaries or parent companies worldwide within the Bonhams Group, we reserve the right to apply any monies paid in respect of a transaction to discharge any amount owed by the buyer. If all fees, commissions, premiums, bid prices and other sums due to us from the buyer are not paid promptly as provided in these Conditions of Sale, we reserve the right to impose a finance charge equal to 1.5% per month (or, if lower, the maximum nonusurious rate of interest permitted by applicable law), on all amounts due to us beginning on the 31st day following the sale until payment is received, in addition to other remedies available to us by law.

5. We reserve the right to withdraw any property and to divide and combine lots at any time before such property’s auction. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the catalog and no lots shall be divided or combined for sale.

6. We reserve the right to reject a bid from any bidder, to split any bidding increment, and to advance the bidding in any manner the auctioneer may decide. In the event of any dispute between bidders, or in the event the auctioneer doubts the validity of any bid, the auctioneer shall have sole and final discretion either to determine the successful bidder, re-open the bidding, or to cancel the sale and re-offer and resell the article in dispute. If any dispute arises after the sale, our sales records shall be conclusive in all respects.

We further reserve the right to cancel the sale of any property if (i) you are in breach of your representations and warranties as set forth in paragraph 3 above; (ii) we, in our sole discretion, determine that such transaction might be unlawful or might subject Bonhams or the consignor to any liability to any third party; or (iii) there are any other grounds for cancellation under these Conditions of Sale.

7. If we are prevented by fire, theft or any other reason whatsoever from delivering any property to the buyer or a sale otherwise cannot be completed, our liability shall be limited to the sum actually paid therefor by the buyer and shall in no event include any compensatory, incidental or consequential damages.

8. All lots in the catalog are offered subject to a reserve unless otherwise indicated in the catalog. The reserve is the

Conditions of sale

NY/MAIN/11.2020

Conditions of sale - continuedconfidential minimum bid price at which such lot will be sold and it does not to exceed the low estimate value for the lot. If a lot is offered subject to a reserve, we may implement such reserve by bidding on behalf of the consignor, whether by opening bidding or continuing bidding in response to other bidders until reaching the reserve. If we have an interest in an offered lot and the proceeds therefrom other than our commissions, we may bid up to the reserve to protect such interest. If the auctioneer determines that any opening or subsequent bid is below the reserve for a lot, (s)he may reject such opening bid and withdraw the item from sale. CONSIGNORS ARE NOT ALLOWED TO BID ON THEIR OWN ITEMS.

9. Other than as provided in the Limited Right of Rescission with respect to identification of authorship, all property is sold “AS IS” and any statements contained in the catalog or in any advertisement, bill of sale, announcement, condition report, invoice or elsewhere as to period, culture, source, origin, media, measurements, size, quality, rarity, provenance, importance, exhibition and literature of historical relevance, merchantability, fitness for a particular purpose, or physical condition ARE QUALIFIED STATEMENTS OF OPINION AND NOT REPRESENTATIONS, WARRANTIES, OR ASSUMPTION OF LIABILITY. Neither Bonhams nor the consignor shall be responsible for any error or omission in the catalog description of any property. No employee or agent of Bonhams is authorized to make on our behalf or on that of the consignor any representation or warranty, oral or written, with respect to any property.

10. All purchased property shall be removed from the premises at which the sale is conducted by the date(s) and time(s) set forth in the “Buyer’s Guide” portion of this catalog. If not so removed, daily storage fees will be payable to us by the buyer as set forth therein. We reserve the right to transfer property not so removed to an offsite warehouse at the buyer’s risk and expense, as set forth in more detail in the “Buyer’s Guide.” Packing and handling of purchased lots are the responsibility of the buyer and at the buyer’s entire risk, as are the identification, application for, and cost(s) of obtaining of any necessary export, import, restricted material (e.g. endangered species) or other permit for such lots.

For an additional fee, Bonhams may provide packing and shipping services for certain items as noted in the “Buyer’s Guide” section of the catalog.

11. The copyright in the text of the catalog and the photographs, digital images and illustrations of lots in the catalog belong to Bonhams or our licensors. You will not reproduce or permit anyone else to reproduce such text, photographs, digital images or illustrations without our prior written consent. Bonhams and the consignor make no representation or warranty as to whether the buyer acquires any copyrights on the purchase of an item of Property.

12. Bonhams may, in our discretion, as a courtesy and free of charge, execute bids on your behalf if so instructed by you, provided that neither Bonhams nor our employees or agents will be liable for any error or default (whether human or otherwise) in doing so or for failing to do so. Without limiting the foregoing, Bonhams (including our agents and employees) shall not be responsible for any problem relating to telephone, online, or other bids submitted remotely through any means, including without limitation, any telecommunications or internet fault or failure, or breakdown or problems with any devices or online platforms, including third-party online platforms, regardless of whether such issue arises with our, your, or such third-party’s technology, equipment, or connection. By participating at auction by telephone or online, bidders expressly consent to the recording of their bidding sessions and related communications with Bonhams and our employees and agents, and acknowledge their acceptance of these Conditions of Sale as well as any additional terms and conditions applicable to any such bidding platform or technology.

13. These Conditions of Sale shall bind the successors

and assigns of all bidders and buyers and inure to the benefit of our successors and assigns. No waiver, amendment or modification of the terms hereof (other than posted notices or oral announcements during the sale) shall bind us unless specifically stated in writing and signed by us. No act or omission of Bonhams, its employees or agents, nor any failure thereof to exercise any remedy hereunder, shall operate or be deemed to operate as a waiver of Bonhams’ rights under these Conditions of Sale. If any part of these Conditions of Sale is for any reason invalid or unenforceable, the rest shall remain valid and enforceable.

14. These Conditions of Sale and the buyer’s and our respective rights and obligations hereunder shall be governed by and construed and enforced in accordance with the laws of the State of New York. Any dispute, controversy or claim arising out of or relating to this agreement, or the breach, termination or validity thereof, brought by or against Bonhams (but not including claims brought against the consignor by the buyer of lots consigned hereunder) shall be resolved by the procedures set forth below.

15. You accept and agree that Bonhams will hold and process your personal information and may share and use it as required by law and as described in, and in line with Bonhams’ Privacy Policy, available at website at www.bonhams.com/legals/. If you desire access, update, or restriction to the use of your personal information, please email [email protected].

SALES AND USE TAX

New York sales tax is charged on the hammer price, buyer’s premium and any other applicable charges on any property collected or delivered in New York State, regardless of the state or country in which the buyer resides or does business. Buyers who make direct arrangements for collection by a shipper who is considered a “private” or “contract” carrier by the New York Department of Taxation and Finance will be charged New York sales tax, regardless of the destination of the property. Property collected for delivery to a destination outside of New York by a shipper who is considered a “common carrier” by the New York Department of Taxation and Finance (e.g. United States Postal Service, United Parcel Service, and FedEx) is not subject to New York sales tax, but if it is delivered into any state in which Bonhams is registered or otherwise conducts business sufficient to establish a nexus, Bonhams may be required by law to collect and remit the appropriate sales tax in effect in such state. Property collected for delivery outside of the United States by a freight-forwarder who is registered with the Transportation Security Administration (“TSA”) is not subject to New York sales tax.

MEDIATION AND ARBITRATION PROCEDURES

(a) Within 30 days of written notice that there is a dispute, the parties or their authorized and empowered representatives shall meet by telephone and/or in person to mediate their differences. If the parties agree, a mutually acceptable mediator shall be selected and the parties will equally share the fees and expenses of mediation. The mediator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling mediations. Any communications made during the mediation process shall not be admissible in any subsequent mediation, arbitration or judicial proceeding. All proceedings and any resolutions thereof shall be confidential, and the terms governing arbitration set forth in paragraph (c) below shall govern.

(b) If mediation does not resolve all disputes between the parties, or in any event no longer than 60 days after receipt of the written notice of dispute referred to above, the parties shall submit the dispute for binding arbitration before a single neutral arbitrator. Such arbitrator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling arbitrations. Such arbitrator shall make all appropriate disclosures required by law. The arbitrator shall be drawn from a panel of a national or international arbitration service agreed to by the parties,

and shall be selected as follows: (i) If the arbitration service has specific rules or procedures, those rules or procedures shall be followed; (ii) If the arbitration service does not have rules or procedures for the selection of an arbitrator, the arbitrator shall be an individual jointly agreed to by the parties. If the parties cannot agree on an arbitration service, the arbitration shall be conducted by Judicial Arbitration and Mediation Services, Inc. (“JAMS”) or another national or international alternative dispute resolution (“ADR”) provider of Bonhams’ choice, and the arbitrator shall be selected in accordance with JAMS’ Streamlined Arbitration Rules and Procedures or the rules of the other ADR provider selected by Bonhams. The arbitrator’s award shall be in writing and shall set forth findings of fact and legal conclusions.

(c) Unless otherwise agreed to by the parties or provided by the published rules of the arbitration service: (i) The arbitration shall occur within 60 days following the selection of the arbitrator; (ii) The arbitration shall be conducted in New York, New York; and (iii) Discovery and the procedure for the arbitration shall be as follows: A. All arbitration proceedings shall be confidential; B. The parties shall submit written briefs to the arbitrator no later than 15 days before the arbitration commences; C. Discovery, if any, shall be limited as follows: (I) Requests for no more than 10 categories of documents, to be provided to the requesting party within 14 days of written request therefor; (II) No more than two (2) depositions per party, provided however, the deposition(s) are to be completed within one (1) day; (III) Compliance with the above shall be enforced by the arbitrator in accordance with New York law; D. Each party shall have no longer than eight (8) hours to present its position. The entire hearing before the arbitrator shall not take longer than three (3) consecutive days; E. The award shall be made in writing no more than 30 days following the end of the proceeding. Judgment upon the award rendered by the arbitrator may be entered by any court having jurisdiction thereof. To the fullest extent permitted by law, and except as required by applicable arbitration rules, each party shall bear its own attorneys’ fees and costs in connection with the proceedings and shall share equally the fees and expenses of the arbitration.

LIMITED RIGHT OF RESCISSION

If within one (1) year from the date of sale, the original buyer (a) gives written notice to us alleging that the identification of Authorship (as defined below) of such lot as set forth in the UPPERCASE TYPE heading of the catalog description of such lot (as amended by any saleroom notices or verbal announcements during the sale) is not substantially correct based on a fair reading of the catalog (including the terms of any glossary contained therein), and (b) within 10 days after such notice returns the lot to us in the same condition as at the time of sale, and (c) establishes the allegation in the notice to our satisfaction (including by providing one or more written opinions by recognized experts in the field, as we may reasonably require), then the sale of such lot will be rescinded and, unless we have already paid to the consignor monies owed him in connection with the sale, the original purchase price will be refunded.

If, prior to receiving such notice from the original buyer alleging such defect, we have paid the consignor monies owed him in connection with the sale, we shall pay the original buyer the amount of our commissions, any other sale proceeds to which we are entitled and applicable taxes received from the buyer on the sale and make demand on the consignor to pay the balance of the original purchase price to the original buyer. Should the consignor fail to pay such amount promptly, we may disclose the identity of

NY/MAIN/11.2020

NY/MAIN/11.2020

CONSIGNING YOUR PROPERTY

After you receive an estimate, you may consign your property to us for sale in the next appropriate auction. Our staff assists you throughout the process, arranging transportation of your items to our galleries (at the consignor’s expense), providing a detailed inventory of your consignment, and reporting the prices realized for each lot. We provide secure storage for your property in our warehouses and all items are insured throughout the auction process. You will receive payment for your property approximately 35 days after completion of sale.

Sales commissions vary with the potential auction value of the property and the particular auction in which the property is offered. Please call us for commission rates.

PROFESSIONAL APPRAISAL SERVICES

Bonhams’ specialists conduct insurance and fair market value appraisals for private collectors, corporations, museums, fiduciaries and government entities on a daily basis. Insurance appraisals, used for insurance purposes, reflect the cost of replacing property in today’s retail market. Fair market value appraisals are used for estate, tax and family division purposes and reflect prices paid by a willing buyer to a willing seller.

When we conduct a private appraisal, our specialists will prepare a thorough inventory listing of all your appraised property by category. Valuations, complete descriptions and locations of items are included in the documentation.

Appraisal fees vary according to the nature of the collection, the amount of work involved, the travel distance, and whether the property is subsequently consigned for auction.

Our appraisers are available to help you anywhere and at any time. Please call our Client Services Department to schedule an appraisal.

ESTATE SERVICES

Since 1865, Bonhams has been serving the needs of fiduciaries – lawyers, trust officers, accountants and executors – in the disposition of large and small estates. Our services are specially designed to aid in the efficient appraisal and disposition of fine art, antiques, jewelry, and collectibles. We offer a full range of estate services, ranging from flexible financial terms to tailored accounting for heirs and their agents to world-class marketing and sales support.

For more information or to obtain a detailed Trust and Estates package, please visit our website at www.bonhams.com/us or contact our Client Services Department.

SELLING AT AUCTION

Bonhams can help you every step of the way when you are ready to sell art, antiques and collectible items at auction. Our regional offices and representatives throughout the US are available to service all of your needs. Should you have any further questions, please visit our website at www.bonhams.com/us for more information or call our Client Services Department at +1 (212) 644 9001.

AUCTION ESTIMATES

The first step in the auction process is to determine the auction value of your property. Bonhams’ world-renowned specialists will evaluate your special items at no charge and in complete confidence. You can obtain an auction estimate in many ways:

• Attend one of our Auction Evaluation Events held regularly at our galleries and in other major metropolitan areas. The updated schedule for Bonhams Auction Evaluation Events is available at www.bonhams.com/us.

• Call our Client Services Department to schedule a private appointment at one of our galleries. If you have a large collection, our specialists can travel, by appointment, to evaluate your property on site.

• Send clear photographs to us of each individual item, including item dimensions and other pertinent information with each picture. Photos should be sent to Bonhams’ address in envelopes marked as “photo auction estimate”. Alternatively, you can submit your request using our online form at www.bonhams.com/us. Digital images may be attached to the form. Please limit your images to no more than five (5) per item.

Seller’s guide

the consignor and assign to the original buyer our rights against the consignor with respect to the lot the sale of which is sought to be rescinded. Upon such disclosure and assignment, any liability of Bonhams as consignor’s agent with respect to said lot shall automatically terminate.

The foregoing limited right of rescission is available to the original buyer only and may not be assigned to or relied upon by any subsequent transferee of the property sold. The buyer hereby accepts the benefit of the consignor’s warranty of title and other representations and warranties made by the consignor for the buyer’s benefit. Nothing in this section shall be construed as an admission by us of any representation of fact, express or implied, obligation or responsibility with respect to any lot. THE BUYER’S SOLE AND EXCLUSIVE REMEDY AGAINST BONHAMS FOR ANY REASON WHATSOEVER IS THE LIMITED RIGHT OF RESCISSION DESCRIBED IN THIS SECTION.

“Authorship” means only the identity of the creator, the period, culture and source or origin of the lot, as the case may be, as set forth in the UPPERCASE TYPE heading of the print catalog entry. The right of rescission does not extend to: (a) works of art executed before 1870 (unless these works are determined to be counterfeits created since 1870), as this is a matter of current scholarly opinion which can change; (b) titles, descriptions, or other identification of offered lots, which information normally appears in lower case type below the UPPERCASE TYPE heading identifying the Authorship; (c) Authorship of any lot where it was specifically mentioned that there exists a conflict of specialist or scholarly opinion regarding the Authorship of the lot at the time of sale; (d) Authorship of any lot which as of the date of sale was in accordance with the then generally-accepted opinion of scholars and specialists regarding the same; or (e) the identification of periods or dates of creation in catalog descriptions which may be proven inaccurate by means of scientific processes that are not generally accepted for use until after publication of the catalog in which the property is offered or that were unreasonably expensive or impractical to use at the time of such publication.

LIMITATION OF LIABILITY

EXCEPT AS EXPRESSLY PROVIDED ABOVE, ALL PROPERTY IS SOLD “AS IS.” NEITHER BONHAMS NOR THE CONSIGNOR MAKES ANY REPRESENTATION

OR WARRANTY, EXPRESS OR IMPLIED, AS TO THE MERCHANTABILITY, FITNESS OR CONDITION OF THE PROPERTY OR AS TO THE CORRECTNESS OF DESCRIPTION, GENUINENESS, ATTRIBUTION, PROVENANCE OR PERIOD OF THE PROPERTY OR AS TO WHETHER THE BUYER ACQUIRES ANY COPYRIGHTS OR OTHER INTELLECTUAL PROPERTY RIGHTS IN LOTS SOLD OR AS TO WHETHER A WORK OF ART IS SUBJECT TO THE ARTIST’S MORAL RIGHTS OR OTHER RESIDUAL RIGHTS OF THE ARTIST. THE BUYER EXPRESSLY ACKNOWLEDGES AND AGREES THAT IN NO EVENT SHALL BONHAMS BE LIABLE FOR ANY DAMAGES INCLUDING, WITHOUT LIMITATION, ANY COMPENSATORY, INCIDENTAL OR CONSEQUENTIAL DAMAGES. IN NO EVENT SHALL THE AGGREGATE LIABILITY OF BONHAMS AND ITS CONSIGNOR TO A PURCHASER EXCEED THE PURCHASE PRICE ACTUALLY PAID FOR A DISPUTED ITEM OF PROPERTY.

Conditions of sale - continued

NY/MAIN/11.2020

Buyer’s guideBUYING AND BIDDING AT AUCTION

Whether you are an experienced bidder or an enthusiastic novice, auctions provide a stimulating atmosphere unlike any other. Bonhams previews and sales are free and open to the public. As you will find in these directions, bidding and buying at auction is easy and exciting. Should you have any further questions, please visit our website at www.bonhams.com or call our Client Services Department at +1 (212) 644 9001.

Catalogs Before each auction we publish illustrated catalogs. Our catalogs provide descriptions and estimated values for each “lot.” A lot may refer to a single item or to a group of items auctioned together. The catalogs also include the dates and the times for the previews and auctions. We offer our catalogs by subscription or by single copy. For information on subscribing to our catalogs, you may refer to the subscription form in this catalog, call our Client Services Department, or visit our website at www.bonhams.com/us.

Previews Auction previews are your chance to inspect each lot prior to the auction. We encourage you to look closely and examine each object on which you may want to bid so that you will know as much as possible about it. Except as expressly set forth in the Conditions of Sale, items are sold “as is” and with all faults; illustrations in our catalogs, website and other materials are provided for identification only. At the previews, our staff is always available to answer your questions and guide you through the auction process. Condition reports may be available upon request.

Estimates Bonhams catalogs include low and high value estimates for each lot, exclusive of the buyer’s premium and tax. The estimates are provided as an approximate guide to current market value based primarily on previous auction results for comparable pieces, and should not be interpreted as a representation or prediction of actual selling prices. They are determined well in advance of a sale and are subject to revision. Please contact us should you have any questions about value estimates.

Reserve All lots in a catalog are subject to a reserve unless otherwise indicated. The reserve is the minimum price that the seller is willing to accept for a lot. This amount is confidential and does not exceed the low estimated value.

Auction House’s Interest in Property Offered at Auction On occasion, Bonhams may offer property in which it has an ownership interest in whole or in part or otherwise has an economic interest. Such property, if any, is identified in the catalog with a ▲ symbol next to the lot number(s). Bonhams may also offer property for a consignor that has been guaranteed a minimum price for its property by Bonhams or jointly by Bonhams and a third party. Bonhams and any third parties providing a guarantee may benefit financially if the guaranteed property is sold successfully and may incur a financial loss if its sale is not successful. Such property, if any, is identified in the catalog with a symbol next to the lot number(s).

Bidding at Auction At Bonhams, you can bid in many ways: in person, via absentee bid, over the phone, or via Bonhams’ live online bidding facility. Absentee bids can be submitted in person, online, or via email. Irrespective of previous bidding activity a valid Bonhams client account is required to participate in bidding activity. You will be required to provide government-issued proof of identity and residence, and if you are a company, your certificate of incorporation or equivalent documentation with your name and registered address, government issued proof of your current address, documentary proof of your beneficial owners and directors, and proof of authority to transact. By bidding at auction, whether in person or by agent, by absentee bid, telephone, online or other means, the buyer or bidder agrees to be bound by the Conditions of Sale. Lots are auctioned in consecutive numerical order as they appear in the catalog. Bidding normally begins below the low estimate. The auctioneer will accept bids from interested parties present in the saleroom, from telephone bidders, and from absentee bidders who have left written bids in advance of the sale. The auctioneer may also execute bids on behalf of the consignor up to the amount of the reserve, but never above it. We assume no responsibility for failure to execute bids for any reason whatsoever.

In Person If you are planning to bid at auction for the first time, you will need to register at the reception desk in order to receive a numbered bid card. To place a bid, hold up your card so that the auctioneer can clearly see it. Decide on the maximum auction price that you wish to pay, exclusive of buyer’s premium and tax, and continue bidding until your bid prevails or you reach your limit. If you are the successful bidder on a lot, the auctioneer will acknowledge your paddle number and bid amount.

Absentee Bids As a service to those wishing to place bids, we may at our discretion accept bids without charge in advance of auction online or in writing on bidding forms available from us. “Buy” bids will not be accepted; all bids must state the highest bid price the bidder is willing to pay. Our auction staff will try to bid just as you would, with the goal of obtaining the item at the lowest bid price possible. In the event identical bids are submitted, the earliest bid submitted will take precedence. Absentee bids shall be executed in competition with other absentee bids, any applicable reserve, and bids from other auction participants. A friend or agent may place bids on your behalf, provided that we have received your written authorization prior to the sale. Absentee bid forms are available in our catalogs, online at www.bonhams.com/us, at offsite auction locations and at our Los Angeles, San Francisco and New York galleries.

By Telephone We can arrange for you to bid by telephone. To arrange for a telephone bid, please contact our Client Services Department a minimum of 24 hours prior to the sale.

Online We offer live online bidding for most auctions and accept absentee bids online for all our auctions. Please visit www.bonhams.com/us for details.

Bid Increments

Bonhams generally uses the following increment multiples as bidding progresses:

$50-200.............................................by $10s

$200-500...........................................by $20/50/80s

$500-1,000........................................by $50s

$1,000-2,000.....................................by $100s

$2,000-5,000.....................................by $200/500/800s

$5,000-10,000…...............................by $500s

$10,000-20,000.................................by $1,000s

$20,000-50,000.................................by $2,000/5,000/8,000s

$50,000-100,000...............................by $5,000s

$100,000-200,000.............................by $10,000s

above $200,000.................................at auctioneer’s discretion

The auctioneer may split or reject any bid at any time at his or her discretion as outlined in the Conditions of Sale.

Currency Converter Solely for the convenience of bidders, a currency converter may be provided at Bonhams’ auctions. The rates quoted for conversion of other currencies to U.S. Dollars are indications only and should not be relied upon by a bidder, and neither Bonhams nor its agents shall be responsible for any errors or omissions in the operation or accuracy of the currency converter.

Buyer’s Premium A buyer’s premium is added to the winning bid price of each individual lot purchased, at the rates set forth in the Conditions of Sale. The winning bid price plus the premium constitute the purchase price for the lot. Applicable sales taxes are computed based on this figure, and the total becomes your final purchase price.

Unless specifically illustrated and noted, fine art frames are not included in the estimate or purchase price. Bonhams accepts no liability for damage or loss to frames during storage or shipment.

All sales are final and subject to the Conditions of Sale found in our catalogs, on our website, and available at the reception desk.

Payment Payment may be made to Bonhams by cash, checks drawn on a U.S. bank, money order, wire transfer, or by Visa, MasterCard, American Express or Discover credit or charge card or debit card. All items must be paid for within 5 business days of the sale. Please note that payment by personal or business check may result in property not being released until purchase funds clear our bank. For payments sent by mail, please remit to Bonhams Client Services Department, 580 Madison Ave, New York, NY 10022.

Sales Tax Residents of states listed in Paragraph 1 of the Conditions of Sale must pay applicable sales tax. Other state or local taxes (or compensation use taxes) may apply. Sales tax will be automatically added to the invoice unless a valid resale number has been furnished or the property is shipped via common carrier to destinations outside the states listed in the Conditions of Sale. If you wish to use your resale license please contact Client Services for our form.

Collection of Purchases Scheduling an appointment and payment in full prior to arrival will facilitate the quick release of your property. If you are sending a third-party to collect, please provide details to our Client Services Department at [email protected] prior to your scheduled pickup or we will be unable to release your property.

For your convenience, pre-allocated 30-minute collection time slots are available Monday through Friday between 9am – 4:30pm. To schedule collection of purchases, please contact our Client Services Department on +1 (212) 644 9001.

Shipping & Removal Bonhams can accommodate shipping for certain items. If you wish to receive a Bonhams Shipping quote, please confirm as such at the time of registration. Carriers are not permitted to deliver to PO boxes.

International buyers are responsible for all import/export customs duties and taxes. An invoice stating the actual purchase price will accompany all international purchases.

Handling and Storage Charges Storage charges of $5 per lot, per day will begin accruing for any lots not collected within 14 calendar days of the auction.

Bonhams reserve the right to remove uncollected sold lots to the warehouse of our choice at the buyer’s risk and expense. Further transfer, handling, storage and full value protection fees will apply if move to a warehouse of our choice.

Monday March 15, 2021

New York

Fine Chinese Paintings & Works of Art

26733

General Notice: This sale will be conducted in accordance with Bonhams Conditions of Sale, and your bidding and buying at the sale will be governed by such terms and conditions. Please read the Conditions of Sale in conjunction with the Buyer’s Guide relating to this sale and other published notices and terms relating to bidding.Payment by personal or business check may result in your property not being released until purchase funds clear our bank. Checks must be drawn on a U.S. bank.

Notice to Absentee Bidders: In the table below, please provide details of the lots on which you wish to place bids at least 24 hours prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Buyer’s Guide in the catalog for further information relating to instructions to Bonhams to execute absentee bids on your behalf. Bonhams will endeavor to execute bids on your behalf but will not be liable for any errors or non-executed bids.

Notice to First Time Bidders: New clients are requested to provide photographic proof of ID - passport, driving license, ID card, together with proof of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their articles of association / company registration documents, together with a letter authorizing the individual to bid on the company’s behalf. Failure to provide this may result in your bids not being processed. For higher value lots you may also be asked to provide a bankers reference.

Notice to online bidders; If you have forgotten your username and password for www.bonhams.com, please contact Client Services.

If successfulI will collect the purchases myselfPlease contact me with a shipping quote (if applicable)I will arrange a third party to collect my purchase(s)

Please email the completed Registration Form and requested information to:Bonhams Client Services Department580 Madison AvenueNew York, New York 10022Tel +1 (212) 644 [email protected]

Auction Registration Form (Attendee / Absentee / Online / Telephone Bidding)Please circle your bidding method above.

Paddle number (for office use only)

Type of bid(A-Absentee, T-Telephone) Lot no.

Brief description(In the event of any discrepancy, lot number and not lot description will govern.)If you are bidding online there is no need to complete this section.

MAX bid in US$ (excluding premium and applicable tax)Emergency bid for telephone bidders only*

* Emergency Bid: A maximum bid (exclusive of Buyer’s Premium and tax) to be executed by Bonhams only if we are unable to contact you by telephone or should the connection be lost during bidding.

You instruct us to execute each absentee bid up to the corresponding bid amount indicated above.

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE READ AND UNDERSTAND OUR CONDITIONS OF SALE AND SHALL BE LEGALLY BOUND BY THEM, AND YOU AGREE TO PAY THE BUYER’S PREMIUM, ANY APPLICABLE TAXES, AND ANY OTHER CHARGES MENTIONED IN THE BUYER’S GUIDE OR CONDITIONS OF SALE. THIS AFFECTS YOUR LEGAL RIGHTS.

Your signature: Date:

Shipping Address (if different than above):

Address: _____________________________________

City: _________________________________________

Country: _____________________________________

Post/ZIP code: _________________________________

Please note that all telephone calls are recorded.

SHIPPING

Sale title: Sale date:

Sale no. Sale venue:

Customer Number Title

First Name Last Name

Company name (to be invoiced if applicable)

Address

City County / State

Post / Zip code Country

Telephone mobile Telephone daytime

Telephone evening

Telephone bidders: indicate primary and secondary contact numbers by writing 1 or 2 next to the telephone number.E-mail (in capitals) By providing your email address above, you authorize Bonhams to send you marketing materials and news concerning Bonhams and partner organizations. Bonhams does not sell or trade email addresses.

I am registering to bid as a private client I am registering to bid as a trade client

Resale: please enter your resale license number here We may contact you for additional information.

General Bid Increments:$10 - 200 .....................by 10s$200 - 500 ...................by 20 / 50 / 80s$500 - 1,000 ................by 50s$1,000 - 2,000 .............by 100s$2,000 - 5,000 .............by 200 / 500 / 800s$5,000 - 10,000 ...........by 500s

$10,000 - 20,000 .........by 1,000s$20,000 - 50,000 .........by 2,000 / 5,000 / 8,000s$50,000 - 100,000 .......by 5,000s$100,000 - 200,000 .....by 10,000sabove $200,000 ...........at the auctioneer’s discretionThe auctioneer has discretion to split any bid at any time.

NY/MAIN/10.20

Bonhams580 Madison Avenue

New York, New York 10022

+1 (212) 644 9001bonhams.com

AUCTIONEERS SINCE 1793

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