TUESDAY 21ST MAY 2024
ASIAN ART SPECIALISTS & CONTACTS
John Axford mrics Head of Asian Art
Michelle Yu Sale Administrator
Morgan Asian Art
AUCTION ENQUIRIES & CONDITION REPORT REQUESTS
Email: asianart@woolleys.live
Telephone:
Please dial +44 (0)1722 followed by the number listed below
John Axford mrics 424506
Alexandra Aguilar 424583
Freya Yuan-Richards 424589
Hannah Farthing 424589
Jeremy Morgan +44 (0)7812 601098
Michelle Yu 424571
Olivia Jones 424591
Nelson Chui 424591
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Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU
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TUESDAY 21ST MAY 2024
10.00am
The sale to be conducted at our Castle Street Salerooms, SP1 3SU
VIEWING
Viewing in London (highlights)
17 Clifford Street, 2nd Floor W1S 3RQ
Saturday 11th May 11.00am – 4.00pm
Sunday 12th May 11.00am – 4.00pm
Monday 13th May 11.00am – 4.00pm
Viewing at our Old Sarum Galleries
Unit 1B Castle Gate Business Park, Old Sarum, Salisbury SP4 6QX
Friday 17th May 10.00am – 5.00pm
Saturday 18th May 10.00am – 1.00pm
Monday 20th May 10.00am – 4.00pm
預展將於Old Sarum展廳舉行 (如圖) ， 拍賣將於公司總部Castle Street舉行。
BUYER’S PREMIUM
See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices.
本公司提供免費網上即時競投，請在5月20日中午12點之前登錄 bid.woolleyandwallis.co.uk登記競投賬戶。
注：所有網絡買家需要支付至少£5,000的保證金。 網上競投總金額的限額為£50,000。
Online bidders may be required to pay a deposit of £5,000. This deposit will allow the online bidder to bid up to a maximum of £50,000 in total at this auction.
Please
SPECIALIST DEPARTMENTS
Please dial +44 (0)1722 followed by the number listed below
Clare Durham
Victor Fauvelle
Will Hobbs
Samuel Hug FGa DGa
Michael Jeffery
Jeremy Lamond mrics Frsa
Rupert Slingsby
Marielle Whiting FGa
Freya Yuan-Richards
Mark Yuan-Richards
SPECIAL ASIAN ART NOTICES
Restricted Bidding
If you wish to bid at this auction you will need to register and provide proof of identity and of your address and provide photographic ID. You may be asked to pay a deposit of £5,000. Any deposit must be paid by debit card or bank transfer. Woolley and Wallis must have cleared funds no later than 12 noon on Monday 20th May. If you are not successful you will be refunded (without interest) within seven working days.
ONLINE BIDDERS MAY BE REQUIRED TO PAY A DEPOSIT OF £5,000. THIS DEPOSIT WILL ALLOW THE ONLINE BIDDER TO BID UP TO A MAXIMUM OF £50,000 IN TOTAL AT THIS AUCTION.
網絡競投需向本公司支付£5000押金，網上競投總金額的限額為£50,000。
特別提示：
競拍者需憑本人護照領取競投號牌，並需預繳保證金£5000。
請閣下務必妥善保管拍賣號牌，請勿借予他人使用。
若他人使用其號牌競投相應拍品，競買者需承擔全部法律責任。
注：註冊拍賣截止時間為5月20日中午12點整。
Bank Transfers should be sent to:
Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB
Account no. 00957707
Sort code 30-97-41
IBAN no. GB20LOYD30974100957707
BIC code LOYDGB21063
Condition of Lots
Please note that the condition of lots is not stated in the catalogue descriptions. Reports on condition may be available on request. The absence of condition reports in the catalogue does not imply that the lot is free from imperfections or faults.
品相報告
競買人應於拍賣之前的預展中視察拍品。純為方便買家威立士可以在拍賣開始前提供品相報告，但未記載的 品相報告並不代表其品相完美，如果您有需要請聯繫我們咨訊相關信息。
Collection of lots by appointment only
Please contact the department to arrange collection of lots.
提前預約提取拍品
提取拍品前，請先聯絡亞洲藝術部或客戶服務部預約安排提取拍品。
VAT
Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand-carried exports.
In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided.
增值稅退稅
注：由於英國稅務海關總署（HMRC）已撤銷零售出口法案（Retail Export Scheme），本公司將無法提供 手持出口增值稅退稅文件（C88）機場退稅單。
若您慾退增值稅，您的拍品必須由貨運公司運送，並且必須由運輸公司提供有效的出口文件。
CHRONOLOGY OF CHINA
中國歷代年表
NEOLITHIC 新石器時代 c.6500-1700 BC
XIA DYNASTY 夏 c.2100-1600 BC
SHANG DYNASTY 商 c.1600-1100 BC
ZHOU DYNASTY 周
c.1100-221 BC
Western Zhou 西周 c.1100-771 BC
Eastern Zhou 東周 770-256 BC
Spring and Autumn Period 春秋 770-476 BC
Warring States Period 戰國 475-221 BC
QIN DYNASTY 秦 221-206 BC
HAN DYNASTY 漢
206 BC-AD 220
Western Han 西漢 206 BC-AD 8
Eastern Han 東漢 AD 25-220
THREE KINGDOMS 三國 220-280
Wei 魏 220-265
Shu Han 蜀漢 221-263
Wu 吳 222-280
JIN DYNASTY 晉 265-420
Western Jin 西晉 265-317
Sixteen Kingdoms 十六國 304-439
Dong Jin 東晉 317-420
SOUTHERN DYNASTIES 南朝 420-589
Liu Song 劉宋 420-479
Southern Qi 南齊 479-502
Liang 梁 502-557
Chen 陳 557-589
NORTHERN DYNASTIES 北朝 386-581
Northern Wei 北魏 386-534
Eastern Wei 東魏 534-550
Western Wei 西魏 535-556
Northern Qi 北齊 550-577
Northern Zhou 北周 557-581
SUI DYNASTY 隋 581-618
TANG DYNASTY 唐 618-907
FIVE DYNASTIES 五代 907-960
Later Liang 後梁 907-923
Later Tang 後唐 923-936
Later Jin 後晋 936-946
Later Han 後漢 947-950
Later Zhou 後周 951-960
LIAO DYNASTY 遼 907-1125
SONG DYNASTY 宋 960-1279
Northern Song 北宋 960-1127
Southern Song 南宋 1127-1279
JIN DYNASTY 金 1115-1234
YUAN DYNASTY 元 1271-1368
MING DYNASTY 明 1368-1644
Hongwu 洪武 1368-1398
Jianwen 建文 1399-1402
Yongle 永樂 1403-1425
Hongxi 洪熙 1425
Xuande 宣德 1426-1435
Zhengtong 正統 1436-1449
Jingtai 景泰 1450-1456
Tianshun 天順 1457-1464
Chenghua 成化 1465-1487
Hongzhi 弘治 1488-1505
Zhengde 正德 1506-1521
Jiajing 嘉靖 1522-1566
Longqing 隆慶 1567-1572
Wanli 萬曆 1573-1620
Taichang 泰昌 1620
Tianqi 天啟 1621-1627
Chongzhen 崇禎 1628-1644
QING DYNASTY 清 1644-1911
Shunzhi 順治 1644-1661
Kangxi 康熙 1662-1722
Yongzheng 雍正 1723-1735
Qianlong 乾隆 1736-1795
Jiaqing 嘉慶 1796-1820
Daoguang 道光 1821-1850
Xianfeng 咸豐 1851-1861
Tongzhi 同治 1862-1874
Guangxu 光緒 1875-1908
Xuantong 宣統 1908-1911
REPUBLIC OF CHINA 中華民國
1912-
Hongxian (Yuan Shi Kai) 洪憲 （袁世凱）1915-1916
PEOPLE’S REPUBLIC OF CHINA
中華人民共和國 1949-
FINE ASIAN ART
亞洲藝術精品
LOTS 1-153
LOTS 1-31
PROFESSOR PETER HARIOLF PLESCH (1918-2013) AND GERTA REGINA ‘TRAUDI’ PLESCH OBE (1921-2013)
Peter and Traudi were important collectors of Chinese, Japanese and Korean art. Their vast collection grew exponentially after their wedding in 1963, initially through their trusted adviser and friend Adrian Maynard of the Spink’s Chinese Department, whom Peter had earlier met at the Grosvenor House Antiques Fair of 1958.
Both Peter and Traudi were great admirers and learned collectors, in particular of jades, with no purchase made without both wishing to possess the object.
Their collection included many exceptional jade carvings, several of which were selected for exhibition by the Oriental Ceramic Society. One fine example is the early creamy jade chimera, Js10, lot 4, which was acquired from Spink’s, London in June 1960 for £350. This was exhibited in the Manchester Exhibition in 1964, at the OCS & Arts Council of Great Britain ‘The Animal in Chinese Art’ Exhibition in 1968 #169, and again at the OCS & Arts Council of Great Britain ‘Chinese Jade Throughout the Ages’ Exhibition in 1975 #263. Peter also published many articles relating to Chinese art.
Peter and Traudi both came to the UK after fleeing the rise of Nazism in the 1930s. Peter left Berlin in 1933 with his father János Plesch, Albert Einstein’s personal doctor and friend. Traudi emigrated from Vienna with her family in 1938. Peter became Professor of Chemistry at Keele University and gained international recognition for his lifelong studies of cationic polymerisation, publishing several books and more than 150 research papers, the last just after his 90th birthday. Traudi received her MBE in 1988 and in 2000 her OBE for charitable services to the community in Staffordshire.
Peter and Traudi’s collection was admired by many fellow collectors and academics. Their passion for the collection was matched by the enthusiasm of their guests, and they were known to be very welcoming to all visitors.
Peter H. Plesch教授(1918–2013) 與Traudi Plesch OBE(1921–2013)伉儷舊藏
Peter和Traudi 是十分著名的中國、日本和韓國藝術收藏家。二人自1963年共諧連理後，他們的收 藏日漸增長。於一次偶然的契機，1958年Plesch伉儷在Grosvenor House古董展中認識了在Spink中國 藝術品部的Adrian Maynard，藉此成為好友及為他們信賴收藏顧問。
Plesch伉儷對玉器尤其情有獨鍾，所蒐集的玉器都是嚴挑慎選，並在兩人達成共識時才收入囊 中。Plesch珍藏的玉器中有許多曾經多次在東方陶瓷學會舉辦的展覽中展出。其中一件元或明代 白玉獅擺件(拍品編號4) 於1960年六月在倫敦Spink以350英鎊購得，之後於1964年於曼徹斯特展 出，並在1968年於東方陶瓷學會和英格蘭藝術委員會合辦的「中國藝術中的動物」專題展覽展出 (展品編號169)，其後在1975年「古往今來的中國玉石」(展品編號263)中再次展出。Peter曾多次 發表學術文章，表達中國藝術的喜愛和見解。
Plesch伉儷在1930年代分別因為納粹黨專政後逃亡到英國。Peter和他的父親János Plesch (阿爾伯 特·愛因斯坦的好友及私家醫生)，在 1933年離開柏林。Traudi也和她的家人在1938年離開維也 納。Peter後來在英國基爾大學成為化學教授，終身醉心研究陽離子聚合反應，廣泛獲得國際認 可，曾發表超過多本化學書籍和150篇學術研究文章，孜孜不倦的Peter到90歲高齡仍然有發表研 究文章。Traudi 於1988年獲得最優秀的大英帝國勳章(MBE)，2000年獲得大英帝國勳章(OBE)，以 表彰她為斯塔福德郡社區的慈善貢獻。
Plesch伉儷的收藏一直受到許多同行收藏家和學者的欽佩。 不僅對收藏充滿熱忱，好客友善的 Plesch伉儷對所有訪客都非常熱情慷慨而口碑載道。
A CHINESE JADE DOUBLE GOURD-SHAPED BRUSH WASHER 18TH CENTURY
The brush washer carved and pierced in deep relief to the exterior with two bats, gourds, leaves and trailing branches, the grey mottled stone with dark inclusions, with paper labels for the Dr and Mrs P H Plesch Collections, no.Hh14A, and Oriental Ceramic Socy. 1979 Exhib’n no.34, 14cm. £8,000-12,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Hugh Moss, 7th April 1972.
Exhibited: Oriental Ceramic Society, The Chinese Scholar’s Desk 17th to 18th Century, Ashmolean Museum Oxford, 1979, no.34.
十八世紀 玉雕福祿綿綿筆洗
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日）收藏，編號Hh14A，1972年4月7日購於Hugh Moss。 展覽：東方陶瓷學會，The Chinese Scholar’s Desk 17th to 18th Century, 牛津阿什莫爾博物館, 1979 年, 編號34（附標籤）。
Oriental Ceramic Society Exhibition 1979 no. 34
A CHINESE CELADON JADE BELL-SHAPED RITUAL PLAQUE, YUE MING/EARLY QING DYNASTY
The plaque carved on each side with a taotie mask, above a pair of stylised kui-dragon heads on either side of a yin-yang type symbol within a rope-twist roundel above cloud scrolls, the upper section in the form of two archaistic birds, the sides with archaistic dragons, the stone with brown streaks, with a paper label for the Prof and Mrs P H Plesch Collections, no.Hf17 , 16.5cm.
£10,000-20,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Sotheby’s London, 13th December 1960, lot 154 as Song dynasty.
明/清早期 青白玉仿古鉞形飾
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日）收藏，編號Hf17（附標籤），倫敦蘇富比，1960年12月13日， 拍品編號154。
Sotheby’s London catalogue
13th December 1960 12
A RARE CHINESE PALE CELADON JADE ARCHAISTIC RITUAL VESSEL, ZHI SONG-MING DYNASTY
Of flattened baluster form with an everted lip supported on a high hollow foot, with a circular ring handle and thumb lug set to the neck. The body delicately incised to the waisted neck with a pair of stylised kui-dragons either side of a yin-yang symbol, the stone with russet and white markings, with a paper label for Dr and Mrs P H Plesch Collections, no.Hv13.5h, 12.5cm.
£10,000-20,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Spink & Son London, May 1994 for £5,000.
Published: Roger Keverne, Jade, London, 1991, fig.2, p.112, where it is dated to the Song dynasty. 元/明 青白玉雕夔龍觶形杯
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日）收藏，編號Hv13.5h（附標籤）, 1994年5月以£5,000的價格購 於倫敦Spink & Son。
展覽：Roger Keverne, Jade, London, 1991年, 圖2, 頁112, 書中斷代為宋朝。
A RARE CHINESE CREAMY-WHITE JADE CHIMERA SONG-MING DYNASTY
The chimera is strongly carved and seated on rockwork with its body turned, the mythical beast looking backwards with bulging eyes and curling eyebrows, with a ridged backbone and a finely delineated long bushy tail, with a paper label for Dr and Mrs P H Plesch Collections, no.Hm10A, 10cm.
£10,000-20,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Spink & Son London, 8th June 1960 for £350.
Exhibited: Manchester Art Gallery, 1964; The Oriental Ceramic Society, Loan Exhibition of ‘The Animal in Chinese Art’, London, 1968, no.169; The Oriental Ceramic Society, The Victoria and Albert Museum, London, ‘Chinese Jade Throughout the Ages’, 1975, no.263.
元/明 白玉獅擺件
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和Gerta Regina ‘Traudi’ Plesch OBE （1921年12 月4日-2013年8月10日）收藏，編號Hm10A（附標籤），1960年以£350的價格購於倫敦Spink & Son。 展覽：Manchester Art Gallery, 1964年; 東方陶瓷學會, Loan Exhibition of ‘The Animal in Chinese Art’, 倫敦，1968年, 編號169; 東方陶瓷學會, 倫敦維多利亞與阿爾伯特博物館, ‘Chinese Jade Throughout the Ages’, 1975年, 編號263.
The Oriental Ceramic Society Loan Exhibition, London 1968 Chinese Jade throughout the Ages London, 1995
5
A
CHINESE CARVED JADE GROUP OF TWO ENTWINED BUDDHIST LIONS SONG-MING DYNASTY
The boulder compactly carved to make maximum use of the stone, the wrestling lions shown with their bodies entwined in a playful struggle, one biting at the haunch of the other and clambering over his belly. The second beast is shown biting the ribs of the first, both with large leaf-shaped ears and curling eyebrows, with well-animated legs and three long claws on each foot, with ridged backbones and finely delineated long bushy tails. The stone with varying tones of brown and with cloudy whitish flecking, with a paper label for Prof and Mrs P H Plesch Collections, no.Hs7.5, 7.5cm.
£3,000-5,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from J J Lally, New York, December 1995.
Buddhist lions are deeply significant in Chinese culture; they are believed to symbolise prosperity, success and good luck. In ancient China they were also used to ward off evil spirits and protect homes from harm.
宋/明 玉雕少獅太獅擺件
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日）收藏，編號Hs7.5（附標籤），1995年12月購於紐約J J Lally。
A CHINESE CARVED CELADON, GREY AND BROWN JADE PLAQUE YUAN/MING DYNASTY
The plaque of irregular oval form carved on both sides with a hydra, dragon and phoenix amidst dense cloud scrolls, with a paper label for the Dr and Mrs P H Plesch Collections, no.Hf13, 13.3cm.
£10,000-20,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from William Clayton, January 1964.
元/明 玉鏤雕龍鳳呈祥佩
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和Gerta Regina ‘Traudi’ Plesch OBE
（1921年12月4日-2013年8月10日）收藏，編號Hf13（附標籤），1964年1月購於William Clayton。
7
A CHINESE WHITE JADE MUGHAL-STYLE FLUTED BOWL 18TH CENTURY
The stone thinly carved and of matt translucence, with narrow flutes and a carved central rosette to the interior, supported on a carved rosette foot, with a paper label for the Prof and Mrs P H Plesch Collections, no.Hh14, 14.2cm.
£4,000-6,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Spink & Son Ltd., London, September 1975.
十八世紀 白玉痕都斯坦式菊瓣紋盌
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）
和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日）
收藏，編號Hh14（附標籤），1975年9月購於倫敦Spink & Son Ltd。
8
A WHITE JADE MUGHAL-STYLE OVAL BOWL 18TH/19TH CENTURY
The thinly carved and highly polished bowl with everted sides, finely carved with lotus-bud and scrolling-leaf handles, with a continuous band of petals above the foot, the base with a four-petal rosette, the interior with a cross-hatched design to the centre, with a paper label for the Prof and Mrs P H Plesch Collections, no.Hh21, 20.3cm.
£5,000-8,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Christopher Shepphard, November 1981.
Cf. Exquisite Beauty, Islamic Jades, National Palace Museum, p.64, nos.54 and 55 for closely related examples.
十八/十九世紀 白玉雕痕都斯坦式雙耳盌
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）
和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏，編號Hh21（附標籤）, 1981年購於Christopher Shepphard。
A MUGHAL GOLD AND GEM-SET JADE-HILTED HORSE-HEADED DAGGER, KHANJAR 17TH/18TH CENTURY
The jade hilt naturalistically and delicately carved as the head and neck of a horse, lavishly embellished with floral gold and semi-precious inlays including gold flecks to the detailed mane. The stone with dark grey markings to one side, with a partially damascened steel double-edged blade, each side with a series of ridges. The red velvet-covered sheath with pierced foliate gilt-copper mounts, with a paper label for Dr and Mrs P H Plesch Collections, no.Hs13, the jade handle 13cm long, attached to a 27cm steel blade. (2)
£4,000-6,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Michael Gillingham, London, April 1993, formerly in the collection of Lord Arlington.
For a comparable gem-set horse-headed hilt, see Christie’s New York, 19th June 2019, lot 151.
十七/十八世紀 玉雕痕都斯坦式嵌寶馬首匕首
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5 日）和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013 年8月10日）收藏，編號Hs13（附標籤）, 1993年4月購於倫敦
Michael Gillingham，Lord Arlington舊藏。
A RARE CHINESE BLUISH-GREY JADE DAGGER-AXE, GE WARRING STATES PERIOD
The well-polished L-shaped curved blade with a ridge running along its centre, the long rectangular tang with a fitment hole, with a paper label for Dr and Mrs P H Plesch Collections, no.Hw31.5, together with a silk-lined fitted box, 31.5cm.
£3,000-5,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Christie’s London, the Von Oertzen Collection (part II), 12th May 2009, lot 56.
Published: S Howard-Hansford, Jade, Essence of Hills and Streams, Johannesburg 1969, no.A41, p.45 and on the jacket. S Howard-Hansford mentions ‘this is a rare example of a jade ko imitating the form of the more highly developed bronze ko of the late Shang dynasty’. For a discussion about jade dagger-axes, see James C S Lin, The Search for Immortality, Tomb Treasures of Han China, p.111, where it is suggested that the ‘Use of jade rather than bronze or iron for the dagger-axe… was not designed as a weapon for use by the living… jade weapons buried in tombs… would also have been expected to provide protection against evil forces of the spirit world… two other jade dagger-axes were found in the tombs of the King of Liang at Yongcheng, Henan Province and of the King of Lu, at Qufu, Shandong’.
戰國 玉戈
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏，編號Hw31.5（附標籤），購於倫敦佳士得2009年5月12日 編號56。
展覽：S Howard-Hansford, Jade, Essence of Hills and Streams, Johannesburg 1969年, 編號A41, 頁45 及封底。
S Howard-Hansford, Jade
Essence of Hills and Streams, 1969, no. A41
12
A SMALL CHINESE PALE YELLOW JADE HALBERD BLADE, GE SHANG/WESTERN ZHOU DYNASTY
The blade is thinly carved to each side with bevelled edges and a well-defined medial ridge curving gently down to the tapered point which is set off-centre. The blunt tang with shallow grooves above a circular aperture and a continuous overlapping band, finely carved with two pairs of diagonal squares, with six narrow horizontal lines, with a paper label for Prof and Mrs P H Plesch Collections, no.Hw6, together with a velvet-covered fitted tray, 6.5cm.
£500-1,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Spink & Son London, April 1966.
Cf. M. Loehr, Ancient Chinese Jades, pp.73-4 for related examples; see also Christie’s, Hong Kong, 30th November 2020, lot 2737, for another blade from the Chang Wei-Hwa Collection.
商/西周 黃玉戈
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）
和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日）
收藏，編號Hw6（附標籤）,1966年4月購於倫敦Spink & Son。
11
A CHINESE BRONZE DAGGER-AXE, GE EASTERN ZHOU DYNASTY
The bronze L-shaped curved blade with a flattened top edge and with a ridge running along its centre, the long rectangular tang with a fitment hole, with a paper label for Dr and Mrs P H Plesch Collections, no.Bw25, 291g, 25cm.
£800-1,200
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), the bronze ge, formerly in the Luethi collection, purchased from Lemp, Zurich, Switzerland, 1965.
東周 青銅戈 來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）
和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏，編號Bw25（附標籤），Luethi舊藏，1965年購於瑞士蘇黎世 Lemp。
14
A CHINESE BRONZE SWORD HAN DYNASTY
The cylindrical handle encircled by two collars between a circular pommel and a lozenge-shaped guard, the double-edged blade cast with a central ridge and tapering to a fine tip, the bronze covered with a light green patina, with a paper label for the Dr and Mrs P H Plesch Collections, no.Bw57 and another for Eskenazi London, no.8635, 833g, 56.7cm.
£3,000-5,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), formerly with Eskenazi Ltd. London, no.8635. Donated by Eskenazi Ltd. to a charity auction held by the Oriental Ceramic Society, 12th June 1980, lot 79 when it was purchased.
漢 青銅劍
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3 月5日）和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4 日-2013年8月10日）收藏，編號Bw57（附標籤），倫敦 埃斯凱納齊舊藏（編號8635）並於1980年6月12日捐贈 給東方陶瓷學會義賣，編號79。
13
A CHINESE BRONZE SPEARHEAD, QIANG PROBABLY HAN DYNASTY
Of three-pronged form, the central section tapering to a sharp point from a cylindrical socket, with a winged cross piece, a two-character mark possibly reading Chen Yao and with a paper label for the Dr and Mrs P H Plesch Collections, no.Bw29A, 28.7cm.
£1,500-2,500
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), formerly in the Luethi collection, purchased from Lemp, Zurich, Switzerland, 1965.
The qiang was a type of spear and was an important weapon in ancient China; it was used in battles for long distance combat, and continued to be in use even after more modern weapons were introduced by the Qin Dynasty.
漢（可能） 青銅槍 來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3 月5日）和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4 日-2013年8月10日）收藏，編號Bw29A（附標籤），Luethi 舊藏，1965年購於瑞士蘇黎世Lemp。
15
A
CHINESE CELADON AND RUSSET JADE ‘CHILONG’ SCABBARD SLIDE, JIANCHI HAN DYNASTY
The creamy stone carved in high relief with a chilong clambering along the upper surface, the stone with scattered darker markings, a paper label for Prof and Mrs P H Plesch Collections, no.Hm8, 7.8cm.
£2,500-3,500
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Spink & Son Ltd., London, September 1972.
漢 玉雕螭龍紋劍璏
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日） 和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏，編號Hm8（附標籤）, 1972年9月購於倫敦Spink & Son Ltd。
16
TWO CHINESE GLASS DISCS, BI HAN DYNASTY
The smaller with a buff/off-white opaque surface, decorated overall with an embossed design; the larger with a milky-white opaque surface and hemispherical studs which are more prominent to one side; the former with a paper label for the Prof and Mrs P H Plesch Collections, no.CGm9B, the latter with a paper label for the Dr and Mrs P H Plesch Collections, no.Gm11.2, 8.6cm and 11.2cm. (2)
£1,000-1,500
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), one formerly an old French collection gifted by Michael Gillingham, London, June 1986; the other purchased from Christopher Shepherd in June 1994.
Cf. The Victoria & Albert Museum, London, accession no. C.685-1936, for a similar Han glass bi disc from the Wilfred Buckley Collection.
漢 玻璃仿玉璧 一組兩件 來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日） 和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10 日）收藏，編號CGm9B及Gm11.2（附標籤），一件為法國私人收 藏，1986年由倫敦Michael Gillingham送贈，另一件於1994年6月購於 Christopher Shepherd。
17
A CHINESE AGATE FACETED RING, HUAN ZHOU DYNASTY
Of pale grey colour with darker mottled areas, double chamfered to a flat ridge, with a paper label for the Dr and Mrs P H Plesch Collections, no.Hm6.8, 6.8cm.
£500-800
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Sydney Moss Ltd., London, June 1996.
Cf. The Chang Wei-Hwa Collection of Archaic Jades, Christie’s Hong Kong, 3rd December 2021, lot 2777, for similar agate faceted rings.
周 瑪瑙環
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）
和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏，編號Hm6.8（附標籤）, 1996年6月購於倫敦Sydney Moss Ltd。
18
A CHINESE GOLD-MOUNTED
MUGHAL-STYLE GLASS OVAL BELT BUCKLE 20TH CENTURY
Ornately decorated with flowerheads and leaves to one side, the reverse with chevrons, set to the centre with a plain bar, with a gold suspension loop and with an almandine cabochon set in gold to the centre, the gold sections with an irregular wavy surface, produced by Weiland, Mainz, Germany, with a paper label for Prof and Mrs P H Plesch Collections, no.Hm11, 10.8cm.
£500-1,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013).
二十世紀 玻璃仿玉鑲金嵌寶痕都斯坦式帶扣
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）
和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏，編號Hm11（附標籤）。
19
A PAIR OF CHINESE ‘CHICKEN BONE’ JADE INTERLOCKING TALLIES
HAN DYNASTY OR LATER
Each carved to the exterior with a formal pattern of C-scrolls, one with a shallow circular recess to the interior, the other with an adjoining raised circular section, a paper label for Dr and Mrs P H Plesch Collections, no.Hm7p, together with a velvet-covered fitted tray, 7.2cm. (2)
£1,500-2,500
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Spink & Son Ltd., London, April 1966. Exhibited: Keele Hall, Staffordshire, England, October-November 1968. 漢（或更晚） 雞骨白玉雕虎符
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日） 和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏，編號Hm7p（附標籤），1966年4月購於Spink & Son Ltd。 展覽：英國Staffordshire， Keele Hall，1968年10月至11月。
20
A CHINESE RECTANGULAR WHITE JADE ‘DRAGON AND PHOENIX’ PLAQUE QING DYNASTY
Carved and pierced with formal archaistic designs, with a paper label for the Dr and Mrs P H Plesch Collections, no.Hm4A, together with a fitted velvet-covered tray, 4.4cm. £500-800
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Spink & Son Ltd., London, April 1966.
清 白玉雕龍鳳呈祥佩 來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）
和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏，編號Hm4A（附標籤），1996年4月購於Spink & Son Ltd。
21
A CHINESE JADE FISH-FORM PENDANT WESTERN ZHOU DYNASTY
The fish pendant with its body tapering towards the notched tail, carved with a circular eye and fins, with darker mottling, with a paper label for Prof and Mrs P H Plesch Collections, no.Hs10B, fixed to a velvet-covered stand, 9.6cm.
£500-800
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Spink & Son Ltd., London, April 1966. Cf. Christie’s New York, 18th March 2009, lot 256, for three comparable jade fish-form pendants.
西周 玉雕魚型璜
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日） 和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏，編號Hs10B（附標籤），1966年4月購於Spink & Son。
22
A CHINESE JADE DISC, BI
HAN DYNASTY OR EARLIER
The celadon-coloured stone with brown streaks and markings, the interior and exterior edges with a deep rim, a paper label for the Dr and Mrs P H Plesch Collections, no.Hm6B, 6cm.
£3,000-5,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from John Sparks London, June 1986.
漢 玉璧
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）
和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日）
收藏，編號Hm6B（附標籤），1986年6月John Sparks。
23
A CHINESE CELADON JADE DISC, BI LATE ZHOU DYNASTY
The green mottled disc carved to both sides with a pattern of comma spirals in relief, with a paper label for Prof and Mrs P H Plesch Collections, no.Hm16A, 16.1cm.
£1,500-2,500
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Christie’s London, 11th May 1970, lot 161.
For a similar jade bi, see James C S Lin, The Search for Immortality, Tomb Treasures of Han China, page 203, no.88, where it is mentioned that ‘this type of green jade disc is usually found with aristocratic tomb occupants’. See also: Archaic Chinese Jades, Special Exhibition, The University Museum, Philadelphia, February 1940, p.19, no.40, pl.II.
周晚期 青玉榖紋璧
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日） 和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏，編號Hm16A（附標籤），購於倫敦佳士得1970年5月11日 編號161。
May 1970, lot 161
24
A CHINESE JADE SWORD GUARD HAN DYNASTY
Incised to both sides with stylised taotie masks, the pale greenish-grey stone with russet inclusions, with a paper label for the Dr and Mrs P H Plesch Collections, no.Hm5.5B, 5.4cm.
£2,000-3,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Bonhams London, Fine Chinese Ceramics and Works of Art, 18th December 1980, lot 25.
漢 玉雕如意饕餮紋劍格 來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）
和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏，編號Hm5.5B（附標籤），購於倫敦邦瀚斯，1980年12月18日 編號25。
December 1980, lot 25
25
A SMALL CHINESE CELADON AND BROWN JADE CONG-FORM VESSEL
MING DYNASTY
The vessel of square section with a circular rim and foot, the stone with irregular dark markings and natural veins, with a paper label for Prof and Mrs P H Plesch Collections, no.Hv4, 4cm.
£500-800
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Phoenix Antiques, Mr & Mrs Edwards, 1996.
明 青褐玉琮
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日） 和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏，編號Hv4（附標籤）, 1996年購Edwards伉儷的Phoenix古董店。
26
A CHINESE BROWN JADE CONG-SHAPED VESSEL MING DYNASTY
The vessel of square section with a circular rim and foot, the stone with irregular dark and light markings and natural veins, with a paper label for Dr and Mrs P H Plesch Collections, no.Hv8, 8.2cm.
£1,000-2,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Sotheby’s London, 27th July 1965, lot 67 (part lot).
明 玉琮
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日） 和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10 日）收藏，編號Hv8（附標籤），購於倫敦蘇富比1965年7月27日 編號67。
Sotheby’s London 27th July 1965, lot 67 (part)
27
A SMALL CHINESE CELADON-GREY JADE SNUFF BOTTLE 18TH/19TH CENTURY
The bottle of flattened pear-shape, carved with small lion-mask and fixed ring handles, and with flower sprays and rockwork around the vessel, above an oval ring foot, the stone with areas of darker markings, with a paper label for Dr and Mrs P H Plesch Collections, no.Hv5, 4.8cm.
£500-800
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), gifted by Michael Gillingham, March 1988, on the occasion of Traudi’s MBE.
十八/十九世紀 青灰玉雕鼻煙壺
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日） 和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏，編號Hv5,1988年3月由Michael Gillingham送贈。
28
A CHINESE WHITE JADE ARCHER’S RING AND A JADEITE ARCHER’S RING QING DYNASTY
The white jade ring of oval form with lateral shallow facets; the jadeite ring of a mottled pale celadon tone with a flattened yellowish-brown surface, with paper labels for the Prof and Mrs P H Plesch collections, no.Hm4, and for the Dr and Mrs P H Plesch Collections, no.Hm3, 3.6cm. (2)
Please note the jadeite has not been tested for colour treatment.
£2,000-3,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased April 1964 in Hong Kong, and July 1963 from Shiota, San Francisco.
清 白玉及翡翠雕扳指 一組兩件 來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日） 和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏，編號Hm4及Hm3（附標籤）, 1964年4月購於香港及1963年7月 購於舊金山Shiota。
A CHINESE SILVER-INLAID ‘SHI SOU’ STYLE BRONZE WATERPOT 17TH/18TH CENTURY
The vessel of beehive form decorated with a wide band of scrolling dragons in silver wire, with a frog clambering up the shoulder below its narrow mouth, with a two-character Shi Sou silver-inlaid mark and with a paper label for the Prof and Mrs P H Plesch Collections, no.Bh6, 196g, 6.5cm.
£1,000-2,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Hugh Moss August 1972.
Exhibited: Oriental Ceramic Society, The Chinese Scholar’s Desk 17th to 18th Century, Ashmolean Museum Oxford, 1979, no.18.
十七/十八世紀 銅錯銀水盂 《石叟》款
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）
和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏，編號Bh6（附標籤）, 1972年8月購於Hugh Moss。
展覽：東方陶瓷學會，The Chinese Scholar’s Desk 17th to 18th Century, 牛津阿什莫爾博物館，1979年，編號18。
Oriental Ceramic Society Exhibition 1979, no. 18
A
CHINESE GREENISH-GREY JADE SHALLOW CYLINDER, CONG NEOLITHIC PERIOD, QIJIA CULTURE
Of square section with plain sides between short circular collars with dark markings and streaks, with a paper label for the Prof and Mrs P H Plesch Collections, no.Hm6D, 6.5cm.
£5,000-8,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from John Sparks London, June 1986. 新石器時代 齊家文化 灰玉琮
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）
和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏，編號Hm6D（附標籤），1986年6月購於John Sparks。
A CHINESE RUSSET-BROWN AND PALE GREEN JADE SHALLOW CYLINDER, CONG SHANG/ZHOU DYNASTY
With square corners, the sides of the hollow cylinder flattened, the stone with russet and green markings, with a paper label for the Prof and Mrs P H Plesch Collections, no.Hm5.5A, 5.6cm.
£10,000-20,000
Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), formerly in the W W Winkworth Esq. collection, purchased from Bonhams London, Fine Chinese Ceramics and Works of Art, 18th December 1980, lot 22.
商/周 玉琮
來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日） 和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏，編號Hm5.5A（附標籤），W W Winkworth Esq舊藏，1980年12 月18日購於倫敦邦瀚斯 編號22。
λ A CHINESE RHINOCEROS HORN ‘LOTUS’ LIBATION CUP 17TH/18TH CENTURY
The body modelled as a lotus leaf growing from a ribbon-tied sheaf of stems forming the handle, the sides carved in relief with lotus flowers, pods and leaves, ears of grain and prunus, the material is a rich treacle colour, 217g, 6.5cm high, 14.8cm long.
Please note that an export licence will only be granted for rhinoceros horn pieces, should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.
£8,000-12,000
Provenance: from an English private collection, Sussex.
Cf. T Fok, Connoisseurship of Rhinoceros Horn Carving in China, p.147, pl.97 for a libation cup also decorated with lotus and ears of grain. For another lotus leaf example decorated with a floral design, see Classics of the Forbidden City: Rhinoceros Horn in the Collection of the Palace Museum, p.92, pl.40.
The iconography of the lotus flower and the ear of grain bears the meaning of ‘living harmoniously year after year’. This significance stems from the Chinese words for lotus, he, and for ear of grain, sui, which are homonyms respectively for ‘harmony’ and ‘year’.
十七/十八世紀 犀角雕一束蓮紋杯
來源：英國薩塞克斯郡私人收藏。
注：若閣下需辦出口證書，落槌價須超過每克100美金。
λ A GOOD CHINESE RHINOCEROS HORN ‘CHILONG AND LOTUS’ LIBATION CUP
17TH/18TH CENTURY
The sides crisply carved in relief and openwork with eight chilong of various sizes, three of which clamber around a stylised lotus stem to form the handle, the others with their bodies weaving in and out of scrolling tendrils and blooms, the base centred with a sacred pearl, the material is a rich dark caramel darkening to walnut and with a high polish, 219g, 8.4cm high, 11.4cm long.
Please note that an export licence will only be granted for rhinoceros horn pieces, should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.
£10,000-20,000
Provenance: from an English private collection, Sussex.
Cf. Classics of the Forbidden City: Rhinoceros Horn in the Collection of the Palace Museum, p.212, pl.116, for another example of a libation cup decorated with a pattern of chilong and lotus and dated to the early to mid Qing dynasty. For a more elaborate ewer and cover of a similar date also decorated with chilong and lotus and signed Yuan Shangqing, see J Chapman, The Art of Rhinoceros Horn Carving in China, p.102, pl.90.
十七/十八世紀 犀角雕螭龍蓮花紋杯 來源：英國薩塞克斯郡私人收藏。
注：若閣下需辦出口證書，落槌價須超過每克100美金。
35
λ A CHINESE RHINOCEROS HORN ‘CHILONG AND LOTUS LEAF’ LIBATION CUP 17TH CENTURY
Naturalistically carved inside and out in the form of a large veined lotus leaf, rising from a base carved as swirling waves with five chilong clambering around the vessel amidst leafy millet branches and lotus seed pods, the openwork handle formed by the largest beast and a stalk of bamboo, the horn of dark honey tone, 296g, 15.2cm.
Please note that an export licence will only be granted for rhinoceros horn pieces, should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.
£5,000-7,000
The chilong holds significant importance in Chinese culture and enjoys widespread representation among horn carvings, often featured prominently in archaistic artworks. The imagery of lotus and millet grass refers to hehe in Chinese, suggesting the wish of harmony and unity.
Cf. T Fok, Connoisseurship of Rhinoceros Horn Carving in China, p.50, pl.3, for a related cup.
十七世紀 犀角荷葉式螭龍紋杯
來源：英國薩塞克斯郡私人收藏。
注：若閣下需辦出口證書，落槌價須超過每克100 美金。 34
λ A CHINESE RHINOCEROS HORN ARCHAISTIC LIBATION CUP, JUE 17TH CENTURY
The exterior decorated with two chilong bearing floral sprays in their jaws beneath a key fret rim, the sides with two low-relief quatrefoil panels of mythical beasts against a leiwen background, all supported on three splayed blade legs, the material of a deep honey colour, 165g, 14cm.
Please note that an export licence will only be granted for rhinoceros horn pieces, should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.
£5,000-8,000
Cf. T Fok, Connoisseurship of Rhinoceros Horn Carving in China, p.93, pl.46, for a comparable example of jue form dated to the 17th century and decorated with a pair of chilong to the sides. See also, The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, p.154, pl.136, for another late Ming example of jue form with a chilong design.
十七/十八世紀 犀角雕螭龍紋爵式杯
來源：英國薩塞克斯郡私人收藏。
注：若閣下需辦出口證書，落槌價須超過每克100美金。
36 λ A CHINESE ARCHAISTIC RHINOCEROS HORN ‘CHILONG’ LIBATION CUP 17TH/18TH CENTURY
The body carved in shallow relief with a frieze of stylised taotie masks reserved on a leiwen ground, the curved handle surmounted with two chilong, and two further chilong carved in high relief to the sides clambering up towards the spout, the rim and the short straight foot decorated with a key fret, the base with a Spink & Son Ltd label, the material of a dark nut brown, 135g, 7.3cm high, 12.5cm long.
Please note that an export licence will only be granted for rhinoceros horn pieces, should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.
£6,000-8,000
Provenance: from an English private collection, Sussex.
Cf. T Fok, Connoisseurship of Rhinoceros Horn Carving in China, p.49, pl.2, and p.88, pl.41, for similar examples of libation cups decorated with taotie masks and chilong. See also, Classics of the Forbidden City: Rhinoceros Horn in the Collection of the Palace Museum, p.190, pl.97.
十七/十八世紀 犀角雕饕餮螭龍紋觥
來源：英國薩塞克斯郡私人收藏。
注：若閣下需辦出口證書，落槌價須超過每克100美金。
37
λ A RARE CHINESE RHINOCEROS HORN ‘ZHANG QIAN ON A RAFT’ POURING VESSEL 17TH/18TH CENTURY
Carved as a large log raft with naturalistic knots and stems tapering to a thick branch at the prow forming the spout, the back of the raft carved as a section of gnarled trunk forming the handle, carved in high relief with the scholarly figure of Zhang Qian in flowing robes reclining reading a book with his fly whisk trailing down the side of the vessel, the underside of the raft carved with a low-relief pattern of crashing waves with the occasional spray rising up the sides, the horn of a dark treacle colour, 155g, 17.8cm.
Please note that an export licence will only be granted for rhinoceros horn pieces, should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.
PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. £8,000-12,000
The present lot is an example of the ‘raft’ type of rhinoceros horn carving, considered to be among the most difficult to execute as it is the only shape that requires the horn to be worked horizontally by making use of the thick skirt on the shorter curve of the horn. The technical aspects of carving this type of rhinoceros horn vessel are discussed in further detail in J Chapman, The Art of Rhinoceros Horn Carving in China, pp.77-81, which also provides a comprehensive list of international institutions with related raft vessels including four in the Chester Beatty Library, Dublin, of which one is illustrated, op. cit., pl.47. Among the other comparables are the example in the National Palace Museum, Taipei, included in the exhibition Jiangxin yu xiangong. Ming Qing diaoke zhan (Uncanny Ingenuity and Celestial Feats: The Carvings of Ming and Qing Dynasties), no.30; three in the National Palace, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, nos.118-120; one in the Shanghai Museum and another in the Harvard University Art Museum, both illustrated in T Fok, Connoisseurship of Rhinoceros Horn Carving in China, nos.70-71; and two others in private collections, illustrated by T Fok, op. cit., nos.73-74.
The figure of Zhang Qian, who typically features on this type of rhinoceros horn carving, is a semi-legendary Han dynasty statesman who lived during the 2nd century BC. Sent out under the Emperor Wu to gather intelligence on Central Asia, he played a significant part in initiating the trade routes that would become the Silk Road, establishing the first transcontinental trade between East and West. Zhang Qian’s reports on his missions were later compiled in the 1st century BC by the historian Sima Qian, revered as the founder of Chinese historiography. Subsequently Zhang Qian was further elevated to legendary status in the poetry of the Yuan dynasty, which immortalised him as riding a log raft to the source of the Yellow River and beyond, ultimately reaching the Milky Way.
十七/十八世紀 犀角雕張騫乘槎擺件
注：本拍品不設底價。
注：若閣下需辦出口證書，
落槌價須超過每克100美金。
38
A CHINESE LACQUER TABLE SCREEN
17TH/EARLY 18TH CENTURY
Depicting three scholarly figures in an interior before a watery landscape, with three figures crossing a bridge and fishermen raising their sail in the background, the reverse with a gilt decoration of five figures and a deer in a rocky landscape taking offerings to a temple, together with a modern stand, the panel 49.1cm x 54.2cm, 64.3cm overall. (2)
PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
£1,000-2,000
Provenance: from an English private collection, Sussex.
十七/十八世紀 彩繪描金人物故事紋圖硯屏 來源：英國薩塞克斯郡私人收藏。 注：本拍品不設底價。
39
A CHINESE RECTANGULAR SPINACH-GREEN JADE TABLE SCREEN LATE QING DYNASTY
One side inlaid with colourful soapstone, quartz and hardwood depicting a gnarled prunus tree and rockwork, the other side incised with sixty shou characters, mounted in a hardwood frame with reticulated foliage designs, 20cm x 26cm, 38.5cm overall. (2)
£4,000-6,000
清晚期 碧玉嵌百寶硯屏
40
λ A PAIR OF CHINESE PAINTED ENAMEL JARDINIERES WITH HARDSTONE PLANTS QIANLONG 1736-95
The quatrefoil jardinières painted with a famille rose decoration of scrolling lotus on a pale turquoise ground, the broad rims and flared feet with key fret. The interiors fitted with a plaque imitating puddingstone issuing narcissi, prunus, peony, crocus and miniature rocks, the flowers and leaves worked in ivory, horn, jade, amethyst, agate, coral, lapis lazuli and painted metal, 28cm and 29cm. (2) £10,000-20,000
Provenance: from an English private collection, Sussex, previously exhibited with Roger Keverne, Winter Exhibition, 4 November 2010, no.73.
Cf. Wan, Wang and Lu, Daily Life in the Forbidden City, p.244, fig.376, for a similar jardinière containing narcissi in the Palace Museum, Beijing, and p.132, fig.183, for an enamel hatstand of the same design. For related painted enamel jardinières with hardstone gardens, see La Cité Interdite: Vie publique et privée des empereurs de Chine 1644-1911, p.310, fig.151, and also Yang, Tributes from Guangdong to the Qing Court, p.90, fig.58 and 60. See also, Treasures of the Imperial Court, The Complete Collection of the Palace Museum, p.48, pl.41, for similar jade and ivory narcissi in a jade jardinière.
* This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. XCRTRMFZ
清乾隆 銅胎畫琺瑯嵌百寶盆景一對 來源：英國薩塞克斯郡私人收藏。
展覽：R Keverne, Winter Exhibition 2010年11月4日, 編號73。
41
A MASSIVE CHINESE CARVED ZITAN BRUSHPOT, BIHAI QING DYNASTY
Carved with a continuous landscape detailed with figures hunting boar, deer and a wild cat, with a large pine tree in high relief centering a scene with a figure shouldering his kill returning to meet a hunting party with its stag preparing a large pot on a campfire, the natural burr of the wood imitating scrolling clouds, mounted on a wood base, 37cm.
£5,000-8,000
清 紫檀雕人物故事紋筆海
42
A CHINESE SOAPSTONE INLAID BLACK LACQUER CABINET, GUANPIXIANG KANGXI 1662-1722
The rectangular hinged lid lifting to reveal a shallow tray above a pair of doors, with various drawers to the inside, the exterior inlaid with mother of pearl and soapstone, the front with a metal lock plate and decorated with butterflies amidst blossoming floral branches, the top with a landscape scene with figures on sampans and bridges, the sides and the base decorated with precious objects and the interior drawers with the sanduo (Three Abundances), all reserved on a lustrous dark brown lacquer ground, 33.2cm x 33cm x 24.7cm.
£4,000-6,000
Provenance: from an English private collection, Sussex.
Small cabinets of this type, called guanpixiang or official boxes, were used both as dressing cases to store toiletries and as desks for stationery, writing implements and seals. Their construction with multiple drawers and trays resembles a cabinet rather than a box, and they were more often made in huanghuali or zitan. This piece is unusual in its materials and belongs to a small group of lacquer objects inlaid with hardstones and mother of pearl, a technique originally attributed to the Ming master carver Zhou Zhu, active in Yangzhou during the reign of the Jiajing emperor (1522-66). Compare with two table screens in the Palace Museum, Beijing, illustrated in Classics of the Forbidden City: Imperial Furniture of the Ming and Qing Dynasties, figs.312 and 313.
清康熙 黑漆嵌寶山水博古花鳥紋官皮箱 來源：英國薩塞克斯郡私人收藏。
43
A CHINESE SOAPSTONE FIGURE OF CAO GUOJIU 18TH CENTURY
The Daoist Immortal is depicted standing with his heard turned slightly to the left, holding gilt castanets and wearing his flowing court robes decorated with dragons showing traces of old gilding, raised on a black stone plinth decorated with floral scrolls and diaper, 18.3cm, 24.2cm overall.
£2,500-3,500
Provenance: from an English private collection, London. Cao Guojiu is one of the Eight Immortals and the patron of actors. His name translates as ‘Royal Cousin Cao’, and he is thought to have been the brother of an Empress Cao of the Song dynasty. He is usually depicted wearing official’s dress and his attribute is the castanets.
十八世紀 壽山石雕曹國舅像 來源：英國倫敦私人收藏。
44 † A RARE CHINESE SOAPSTONE FIGURE OF GUANYIN KANGXI 1662-1722
The Goddess sits in a position of royal ease with a sutra scroll in her left hand, adorned with a headdress and long robes incised with stylised leaves, flowing over her knees and open at her neck, the borders finely incised with clouds and waves, the stone of a warm chestnut colour and with traces of red, green and black pigment, the reverse inscribed with two characters Zi Xiu, together with a zitan stand, 10cm. (2)
£5,000-8,000
Cf. Bonhams, Hong Kong, The Q Collection: Exquisite Soapstones, 25th May 2011, lot 255 for a related figure.
清康熙 壽山芙蓉石雕觀音坐像 《子秀》款
45
A LARGE CHINESE SOAPSTONE FIGURE OF SHOULAO 17TH CENTURY
The God of Longevity with his distinctive domed forehead presented standing with his right arm raised to hold a branch of peaches over his shoulders, his face with a pensive expression and turned slightly to the right, wearing a robe decorated with shou characters, fruiting peach branches and borders of scrolling flowers against a wave ground, all with traces of polychromy, raised on a base carved as Taihu rockwork with a small recumbent deer to the right of the figure, 30.2cm, 41.2cm overall. £3,000-5,000
Provenance: from an English private collection, Sussex.
Cf. J C S Lin, The Immortal Stone, Chinese Jades from the Neolithic Period to the Twentieth Century, p.129, for a related soapstone figure.
Shoulao is revered in Chinese culture as one of the three Star Gods, or fulushou, along with Fu, the God of Happiness, and Lu, the God of Wealth. Also known as Nanji Laoren, or Old Man of the South Pole, he is associated with the star of the South Pole in Chinese astronomy and is believed to control the life span of mortals. As such, he is the God of Longevity and often associated with a number of symbols alluding to long life, including crane, lingzhi, deer and peaches. Typically, he is presented with his large forehead in clear view and holding a ruyi-sceptre, substituted in the example offered here with a fruiting branch of peaches. For a related soapstone figure of Shoulao dated to the 17th/18th century, wearing a similar robe of peach sprays and shou characters tied with a long cord, see Christie’s New York, 26 March 2010, Lot 1146. 十七世紀 壽山石雕壽老像 來源：英國薩塞克斯郡收藏。
46
A LARGE CHINESE SOAPSTONE FIGURE OF HAN XIANGZI 17TH CENTURY
The Daoist Immortal carved standing raising a dizi flute to his lips, with a serene expression on his face and his hair coiled into two topknots, wearing a robe decorated with quatrefoil panels of scrolling lotus against a wave ground, the hem with a conforming border of foliate scrolls and a sash tied at the waist, all with traces of polychromy and gilding, raised on a base carved as Taihu rockwork, 31.8cm, 44.7cm overall.
£3,000-5,000
Provenance: from an English private collection, Sussex.
In the Daoist pantheon, Han Xiangzi features as one of the Eight Immortals, semi-historical figures considered to have attained eternal life through their virtues and the subjects of numerous legends in Chinese mythology. Though it is not known whether Han Xiangzi existed historically, he is believed to have been the nephew of the celebrated Tang dynasty statesman and poet Han Yu. Having refused a career at court, according to legend Han Xiangzi was tutored in Daoism by Lu Dongbin, another of the Eight Immortals. Typically, he is represented with a basket of peaches or flowers and the dizi flute. For a similar early Qing soapstone figure of Han Ziangzi, see the example from the Q Collection sold at Bonhams Hong Kong, 25th May 2011, Lot 227.
十七世紀 壽山石雕韓湘子像
來源：英國薩塞克斯郡私人收藏。
47
λ A CHINESE HONGMU DAY BED, LUOHANCHUANG QING DYNASTY
Of mortise and tenon construction, the top inset with woven matting, all on four corner hoof-form feet, 187cm x 96cm x 49cm.
£4,000-6,000
Provenance: from an English private collection, Sussex. Day beds have been recorded in use as early as the Han dynasty and later became particularly popular during the Ming dynasty. They were used for studying or to practice other scholarly activities, such as weiqi or chess. An illustration of this use can be found, for instance, in a woodblock print from the early 17th century publication Chengshi moyuan, illustrated in Sarah Handler, Ming Furniture in the Light of Chinese Architecture, p.104. Here, a scholar is depicted seated on a day bed, surrounded by books and scrolls, his left elbow supported by an arm rest.
清 紅木羅漢床
來源：英國薩克塞斯郡私人收藏。
48 A CHINESE HARDWOOD DAY BED, LUOHANCHUANG QING DYNASTY
The base of mortise and tenon construction with dropped U-shaped aprons to the sides and inset to the top with woven matting, the five separate back and side panels tenoned into the seat frame with a frieze of kui-dragons decorating the central panel, all raised on four ogee bracket feet each carved with a foliate-capped ball in high relief, 199cm x 92cm x 82cm overall, the base 82cm high. (6)
PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
£1,500-2,500
清 硬木羅漢床
注：本拍品不設底價。
A CHINESE LIMESTONE STELE OF A BODHISATTVA SUI DYNASTY
The figure carved in high relief, depicted standing with the right hand by the waist holding an indistinct attribute, the face with a serene expression and downcast eyes, wearing a stylised robe folded across the waist and looped over the right shoulder, adorned with a beribboned headdress and a necklace centred with a pendant, the stone with a deep beige patina, together with a metal stand, the base with a paper label reading ‘Eskenazi London C4850’, 38.5cm. (2) £4,000-6,000
Provenance: formerly the collection of Bouasse-Lebel, Paris; with Jean-Claude Moreau-Gobard, Paris, 18th July 1977; later with Eskenazi Ltd., London.
A number of features seen in this stele associate it with the artistic production in Shaanxi province during the Sui dynasty. The large size of the head in relation to the body, the face’s squared jaw and the well-defined eyebrows and lips are all typical stylistic elements, as well as the upright stance of the figure and the arrangement of the clothing and jewellery. A related example is illustrated in René-Yvon Lefebvre d’Argencé, Chinese, Korean and Japanese Sculpture in the Avery Brundage Collection, no.76; and other examples are in Osvald Sirén, Chinese Sculpture from the Fifth to the Fourteenth Century, vol.3, pls.265, 266A, 267A and 268B. Further comparables with similar stylistic elements are the figure of Guanyin in The Metropolitan Museum of Art, New York, illustrated in Alan Priest, Chinese Sculpture in The Metropolitan Museum of Art, pl.LVII; a smaller figure in the University Museum, Philadelphia, published in Osvald Sirén, Chinese Sculpture from the Fifth to the Fourteenth Century, pl.314A; and a fragment of a related figure in the Detroit Institute of Arts, included in Hai-wai yi-chen/Chinese Art in Overseas Collections: Buddhist Sculpture, pl.77.
隋 石雕菩薩立像
來源：巴黎Bouasse-Lebel舊藏，1977年7月18
日巴黎Jean-Claude Moreau-Gobard，其後成為 倫敦埃斯肯納齊舊藏。
50
A GOOD NORTHERN SUKHOTHAI BRONZE FIGURE OF BUDDHA THAILAND, C.15TH CENTURY
Depicted seated in sattvasana with his left hand upon his lap in dhyana mudra and his right hand touching the ground in bhumisparsa mudra, wearing a samghati draped over his left shoulder, his face with downcast eyes and a serene expression, his head with tightly curled hair surmounted by a flame ushnisha, the figure raised on a lotus throne with a beaded upper rim above a hexagonal plinth, the metal with a deep-brown patina and occasional faint malachite encrustations, 15kg, 53.5cm.
£10,000-15,000
Provenance: from the collection of the late AJ Lippitt (1928-2019), Hampshire; acquired from Simon Ray Ltd., 8th October 2018 (a copy of the invoice is available); previously the collection of Dani and Anna Ghigo, acquired in Bangkok, 26th October 1973 (a copy of their stockbook page is available); sold by Christie’s London, 11th May 2016, lot 75.
The style referred to as Northern Sukhothai, also known as Chien Seng, flourished in Thailand following the rise to independence of local chieftans against earlier Khmer rule in the 13th century. Typical stylistic features in the artistic production of this newly formed polity include the hem of Buddha’s samghati terminating above the navel, thick high-relief curls centering on a vertical line above the forehead and the overall slimmer features of the figure, emphasised by the slenderness of the fingers. To develop their new idiom, local artists also looked to work made in the neighbouring Lan An kingdom. The lotus throne with the broad petals and beaded rim above the polygonal plinth seen in the work offered here is a typical feature derived from Lan An statuary. For a comparable Northern Sukhothai figure of Buddha dating to the 15th/16th century, see Bonhams New York, 22 March 2022, lot 320.
十五世紀 泰國銅佛坐像
來源：英國漢普郡AJ Lippitt（1928-2019）收藏，2018年10
月8日購於Simon Ray Ltd (附發票複印件). Dani 及Anna Ghigo 舊藏，1973年10月26日購於曼谷，之後由倫敦佳士得售 出，2016年5月11日 編號75。
Simon Ray invoice
8th October 2018
A GANDHARAN GREY SCHIST TORSO OF A BODHISATTVA 2ND/3RD CENTURY AD
Carved standing in a contrapposto stance, the bare chest above sweeping robes draped around the waist and across the back, the muscular torso and upper arm adorned with necklaces, a string of amulets and a cuff bracelet, mounted on a metal stand, 49.5cm. (2)
£8,000-12,000
Provenance: from the collection of the late AJ Lippitt (1928-2019), Hampshire; acquired from Simon Ray Ltd., 27th May 2004 (a copy of the invoice is available); previously a British private collection since the 1980s.
The combination of naturalistic modelling and stylised adornement seen in the piece offered here is typical of Gandharan sculpture. The athletic torso with its finely rendered musculature derives from Hellenistic art, brought to modern-day Pakistan and Afghanistan with Alexander the Great’s invasion in 327 BC. The arrangement of the robes, with the diagonal sweep across the hip and the slack hems over the left knee, are tropes of the depiction of bodhisattvas in Gandharan Buddhist sculpture of the 3rd century AD. Another typical feature is the string of amulets across the chest, as also seen on the bust of the bodhisattva Shakyamuni in The Metropolitan Museum of Art, accession no.1987.218.10. In particular, the multiple necklaces and the arrangement of the drapery in the piece offered here are typical of depictions of the bodhisattva Maitreya - compared with the example now in The Metropolitan Museum of Art, New York, accession no.13.96.17. By the 3rd century AD, the rise in popularity of Mahayana worship in the Gandhara region had placed a greater emphasis on the veneration of statues of Buddhist deities and artistic production had moved away from the earlier narrative panels to focus on free standing statuary of this type.
二/三世紀 犍陀羅片岩菩薩像
來源：英國漢普郡AJ Lippitt（1928-2019）收藏，2004年5月27日購於Simon Ray Ltd.， 1980年代為英國私人收藏。
Simon Ray invoice
27th May 2004
52
A THAI LOPBURI-STYLE BRONZE FIGURE OF BUDDHA 12TH CENTURY OR LATER
Seated in dhyanasana on a plinth, with his right hand in bhumisparsa mudra, adorned with elaborate jewellery, his hair in tight curls rising to a ushnisha, 12kg, 55.5cm.
£1,500-2,500
Cf. The Metropolitan Museum of Art, New York, accession no.2019.451 for a related crowned buddha dated 12th-13th century.
十二世紀或更晚 泰國銅佛坐像
53
AN UNUSUAL CHINESE BRONZE HEAD OF GUANYIN PROBABLY REPUBLIC PERIOD
With a meditative expression defined by her downcast eyes beneath delineated eyebrows, framed by prominent earlobes, her hair piled high and secured by a headpiece with a seated figure, probably Amitabha, together with a wood stand and the Storey, Sons & Parker auction catalogue, 12kg, 47cm. (3)
PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
£1,000-2,000
Provenance: from the estate of Sir Stephen Aitchison (1863-1942), of Lemmington Hall, Alnwick, Northumberland, sold by Storey, Sons & Parker, Newcastle upon Tyne, 27th - 28th November 1946, lot 135.
民國（可能）銅觀音首
來源：Lemmington Hall的Stephen Aitchison紳士收藏 （1863-1942），1946年11月27-28日由Storey, Sons & Parker, Newcastle upon Tyne售出 編號135。 注：本拍品不設底價。
Storey, Son & Parker, Newcastle catalogue, 27th/28th November 1946, lot 135
A CHINESE SILVER-INLAID ‘SHI SOU’ STYLE BRONZE FIGURE OF GUANYIN LATE MING DYNASTY
Standing with hands crossed, her eyes downcast and her face with a meditative expression, wearing her hair in a tall chignon fastened with an elegant hair piece, her long robes and veil detailed with ruyi-clouds and foliate scroll borders in silver filigree, the back with a two-character Shi Sou mark, 8kg, 48.6cm.
£4,000-6,000
Provenance: from an English private collection, Sussex. Silver-inlaid bronzes attributed to Shi Sou are known for their exceptional quality, yet there is no recorded information confirming the identity of this maker. Believed to have been a monk active in the late Ming period (c.1620-44), it is also possible that the mark for Shi Sou could relate to a bronze studio or school. A consistent feature of figures associated with this maker is their elegant modelling, as seen in the piece offered here. Three similar silver-inlaid bronze figures of Guanyin, all inlaid with Shi Sou marks and dated to the Ming dynasty, are in the Palace Museum, Beijing, illustrated in Classics of the Forbidden City: Guanyin in the Collection of the Palace Museum, pls.43-45. Another variant of a silver-inlaid bronze Guanyin, bearing a Shi Sou mark and dating from the mid-16th to mid-17th century, is illustrated in Sydney L Moss Ltd’s exhibition catalogue, Emperor Scholar Artisan Monk: The creative personality in Chinese works of art, pp.280-281, no.132. 明晚期 銅錯銀石叟款觀音立像 來源：英國薩塞克斯私人收藏。
56
A CHINESE BRONZE ‘LAOZI AND BUFFALO’ GROUP MING DYNASTY
The Daoist sage wears flowing robes and holds a scroll in his left hand, sitting on the back of a recumbent water buffalo, the metal with a brownish-black patina and traces of malachite encrustations, together with a wood stand, 1.2kg, 19cm. (2)
£2,000-3,000
Provenance: from an English private collection, Sussex. Laozi is a semi-legendary philosopher and is regarded as the founder of Daoism. According to legend Laozi became disillusioned with the corruptness at the Zhou dynasty court and abandoned his position there as a record keeper. He rode away on a water buffalo to the West, only to be recognised by a border official at the Hangu Pass who asked him to write down his wisdom. It is believed that what he wrote became the Daodejing, the sacred text of Daoism.
明 銅老子騎牛像
來源：英國薩克塞斯郡私人收藏。
55 A CHINESE GILT-BRONZE ‘LUOHAN AND BUDDHIST LION’ GROUP QING DYNASTY
The figure seated on the back of the recumbent beast clutching a walking stick, together with a wood stand, 1.1kg, 15cm. (2)
£300-500
Provenance: from the collection of Colonel William Edmund Pye (1872-1949). Commissioned into the British Army in 1892, he served with the Indian Army in Tirah between 1897-98, then in 1900 was sent to China as the leader of the British Section of the International Police. It was at this time he started his collection, which has passed by descent to the current owner. Other items from his collection were sold at Christie’s South Kensington, 13th May 2011.
清 鎏金銅獅吼羅漢像 來源：William Edmund Pye上校（1872-1949）收藏，他曾在1892年參 軍，並在1897-1890年加入了印度軍隊，之後1900年以英國國際刑警
警長身份被派往中國。在這期間，他開始收藏中國藝術品，之後被其 後人繼承。他的部分藏品曾在2011年5月13日於肯辛頓佳士得售出。
58
A
The mythical beast standing four-square with its tail raised, the head forming the cover hinged to the body at the neck below the jaws, decorated with a scrolling mane and a fierce expression with bulging eyes and bared fangs, 5kg, 32cm.
£3,000-5,000
Provenance: from a private English collection, Heath House, Hampshire. The same collection includes a Louis XVI bureau plat which was originally the working desk of the French Emperor Napoleon III.
明晚期 銅甪端香爐
57
A RARE CHINESE BRONZE ARCHAISTIC ALTAR VASE
HONGZHI 1488-1505
The pear-shaped body raised on a high foot with a stepped edge beneath a long waisted neck with a splayed lipped rim, flanked by two loop handles issuing from mythical beast masks, with bands of leiwen decoration to the neck and foot, all with traces of gilding and black inlay, the foot with a six-character inscription reading Kunyang Zhou mile si, the metal with a deep olive-brown patina, 4.7kg, 40cm.
£4,000-6,000
Provenance: previously, a private English collection, Gloucestershire.
The imposing shape of the present lot with its high foot and elaborate handles detailed with prominent animal masks would have made it an appropriate piece for display on a temple altar. This vase would probably have featured as part of a five-piece set comprising two candle holders, a pair of flower vases and an incense burner. Bronze was a particularly prized material and pieces of high quality, as seen here, were generally used on altars in prominent temples and the family shrines of the elite. A slightly smaller example with drop rings to the handles also dated to the Hongzhi period can be seen in the collection of the Saint Louis Art Museum, accession no.16:2005, illustrated in PK Hu, Later Chinese Bronzes: the Saint Louis Art Museum and Robert E Kresko Collections, pp.32-35, no.4.
明弘治 銅獸耳瓶
來源：英國格羅斯特郡私人收藏。
A SMALL CHINESE GILT BRONZE ‘BAJIXIANG’ INCENSE BURNER 17TH/18TH CENTURY
The body cast in relief with the Eight Buddhist Emblems between fish handles, the rim with further auspicious emblems, the base with a six-character Xuande mark, 848g, 14.5cm.
£3,000-5,000
Provenance: from the collection of Monsieur Jacques Millett, 1923-84, and thence by descent. Monsieur Jacques Millett was an avid collector of Chinese art, Antiquities and African art, buying in the 1960s and 1970s. 清十七／十八世紀 銅鎏金八吉祥紋魚耳爐 《大明宣德年製》仿款
來源: Monsieur Jacques Millett (1923-84) 私人收藏，之後由其後人繼 承。Monsieur Jacques Millett是熱愛中國藝術、古董和非洲藝術的收藏 家，其藏品購於1960至1970年代。
60
A CHINESE PARCEL-GILT BRONZE ARCHAISTIC BEAKER VASE, GU 17TH CENTURY
In the manner of Hu Wenming, cast around the cylindrical body with formal taotie masks separated by vertical flanges, the tall trumpet neck with upright blade-shaped lappets containing a deconstructed taotie mask issuing from a band of kuilong, all reserved on a finely detailed diaper ground, 1.4kg, 28.8cm.
£2,000-3,000
Cf. Sydney L Moss Ltd, The Second Bronze Age: Later Chinese Metalwork, no.90, for a closely related vessel inscribed and dated ‘1599’ from the collection of HM the King of Sweden.
十七世紀 銅局部鎏金觚
62
A CHINESE BRONZE TRIPOD INCENSE BURNER QING DYNASTY
The compressed circular body with two rounded loop handles to the rim, the base with a six-character seal mark, together with a wood stand, 888g, 11.5cm. (2)
£400-600
Provenance: from the collection of Colonel William Edmund Pye (1872-1949). Commissioned into the British Army in 1892, he served with the Indian Army in Tirah between 1897-98, then in 1900 was sent to China as the leader of the British Section of the International Police. It was at this time he started his collection, which has passed by descent to the current owner. Other items from his collection were sold at Christie’s South Kensington, 13th May 2011.
清 銅沖天耳三足爐
來源：William Edmund Pye上校（1872-1949）收藏，他曾在1892年 參軍，並在1897-1890年加入了印度軍隊，之後1900年以英國國際 刑警警長身份被派往中國。在這期間，他開始收藏中國藝術品，之 後被其後人繼承。他的部分藏品曾在2011年5月13日於肯辛頓佳士 得售出。
61
A GOOD CHINESE BRONZE INCENSE BURNER, MACAO LU KANGXI 1662-1722
Of tapering rectangular form with loop handles to the sides, the base with a four-character seal mark reading Yan Di Shi zhi, together with a wood stand; and another bronze incense burner of rectangular form with a flared rim and loop handles to the sides issuing from stylised mythical beast masks, the base with a six-character Xuande mark, 1.3kg and 545g, 14cm and 14.7cm. (3)
£500-1,000
Provenance: from the collection of Colonel William Edmund Pye (1872-1949). Commissioned into the British Army in 1892, he served with the Indian Army in Tirah between 1897-98, then in 1900 was sent to China as the leader of the British Section of the International Police. It was at this time he started his collection, which has passed by descent to the current owner. Other items from his collection were sold at Christie’s South Kensington, 13th May 2011.
清康熙 銅馬槽爐 一組兩件 《燕邸施製》
來源：William Edmund Pye上校（1872-1949）收藏，他曾在 1892年參軍，並在1897-1890年加入了印度軍隊，之後1900年 以英國國際刑警警長身份被派往中國。在這期間，他開始收藏 中國藝術品，之後被其後人繼承。他的部分藏品曾在2011年5 月13日於肯辛頓佳士得售出。
A CHINESE ARCHAIC BRONZE RITUAL WINE VESSEL, ZUN LATE SHANG/EARLY WESTERN ZHOU DYNASTY
The tapering body and spreading foot centred with a bulbous mid-section decorated in relief with taotie masks between pairs of kui-dragons against a leiwen background. The surface with a green patina mottled with reddish areas and showing a few thin malachite encrustations,1.6kg, 22.8cm.
£4,000-6,000
Provenance: from an English private collection, Sussex.
Cf. Asian Art Museum of San Francisco, The Hans Popper Collection of Oriental Art, p.18, pl.4, and Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M Sackler Collections, vol.IIB, p.555, pl.81, for two examples of zun with similar taotie-and-dragon decoration also dated to the Late Shang or early Western Zhou dynasty For a further group of similar vessels, see also, Sueji Umehara, Nihon Shucho Shina Kodo Seikwa, Selected Relics of Ancient Chinese Bronzes from Collections in Japan, vol.II, pls.149, 150 and 151.
商晚期/西周早期 銅饕餮紋尊 來源：英國薩克塞斯郡私人收藏。
64
A CHINESE BAMBOO FIGURE OF A LUOHAN AND A BUDDHIST LION 18TH CENTURY
The figure seated on a recumbent Buddhist lion, wearing monk’s robes and holding a book in his left hand, 19.7cm.
£3,000-5,000
Luohan are depictions of disciples of Buddha and exemplify the attainment of spiritual realisation in Buddhist practice. In Chinese culture they traditionally feature as a group of sixteen or eighteen figures, each with a specific attribute. Luohan have featured as early as the 4th century AD, initially as individualised portraits, but becoming increasingly stylised over time. Their attributes also acquired a formulaic character.
Cf. Ip Yee and Laurence CS Tam, Chinese Bamboo Carving, pp.342-343, pl.104, for a similar 18th-century lion.
十八世紀 竹雕獅吼羅漢
65
A FINE CHINESE CARVED BAMBOO BRUSHPOT, BITONG 18TH CENTURY
Elegantly carved in the form of a section of a pine tree, naturalistically depicted with burrs, whorls and scalps on the bark, the exterior carved in high relief and openwork with gnarled knotted branches issuing clusters of pine needles, 10.8cm.
£1,000-2,000
Cf. I Yee and L Tam, Chinese Bamboo Carving, part II, Hong Kong Museum of Art, pp.190-191, for a related bamboo brushpot. See also Sotheby’s London, 4th November 2009, lot 179, for a closely related example.
十八世紀 竹雕蒼松紋筆筒
THE ALL-SEEING GOD OF NEPAL
Alastair Ninian John Gordon
6th Marquess of Aberdeen and Temair (1920-2002)
A RARE NEPALESE GILT-COPPER FIGURE OF INDRA 14TH CENTURY
Seated in maharajalilasana with his right hand raised in vitarka mudra and supporting himself on his left hand, placed on the ground behind him and holding a vajra, his face with downcast eyes and a serene expression, with a delicately incised third eye to his forehead. He wears a diaphanous dhoti with a beaded hem and is adorned with necklaces, bracelets and an open scrollwork tiara all inlaid with hardstones, together with a slate stand, 3.5kg, 27.5cm. (2)
£80,000-120,000
Provenance: formerly the collection of John David Adam Stainton (1921-1991); gifted to the 6th Marquess and Marchioness of Aberdeen and Temair, and thence by descent.
Indra holds significant religious importance for both Hindus and Buddhists in Nepal, reflecting the syncretic nature of religious traditions in the region. Associated with war and thunder, Indra is revered as the lord of the gods and referred to by a number of epithets, especially Sahasraksha, ‘The Thousand Eyed’. This feature is symbolically represented in the form of a third eye centering Indra’s forehead, a typical element of the god’s iconography as seen in the work offered here. A number of other iconographic elements in this piece are unique to Nepalese depictions of Indra. His posture, seated in elegant maharajalilasana or ‘Royal Ease’, and his crown of a tall mitre-shaped type are both specific to this region’s artistic production, as is the distinctive use of hardstones, which is typical of metalwork from the Kathmandu Valley. Together these elements mark this depiction of Indra as one of the most recognisable and celebrated works of Nepalese art. Compare with a related example in the Norton Simon Museum, in P. Pal, Asian Art at the Norton Simon Museum, vol.2, pp.84-85, no.52 and another smaller example from the Nasli and Alice Heeramaneck Collection, in P. Pal, Art of Nepal, p.119, no.S42. See also, P. Pal, The Sensuous Immortals: A Selection of Sculptures from the Pan-Asian Collection, p.174, fig.102 for another comparable example, sold at Christie’s New York, 17 March 2015, lot 11. This Nepalese 14th-century gilt copper figure of Indra was gifted to the 6th Marquess and Marchioness of Aberdeen and Temair by John David Adam Stainton (1921-1991), best known as a formidable British field botanist and Himalayan plant collector. During his botanical explorations Stainton travelled Nepal extensively, initially in the 1950s with the British Museum’s botany department and subsequently on private expeditions, resulting in an important corpus of publications including Forests of Nepal (1972) and Flowers of the Himalaya (1984). Stainton also left a significant body of field notes rich in ethnographic observations, now held in the National History Museum, London, displaying his cultural knowledge of the region.
十四世紀 尼泊爾銅鎏金因陀羅坐像 來源：John Adam Stainton（1921-1911）舊藏，贈予Aberdeen and Hindus六世伯爵及伯爵夫人為禮物，之後由其後人繼承。
A CHINESE CLOISONNE ENAMEL ‘PHOENIX AND DRAGON’ DISH WANLI 1573-1620
Decorated to the well with a phoenix and a four-clawed dragon among scrolling clouds, the cavetto with a band of scrolling lotus and the rim with a geometric pattern, the exterior also with a band of scrolling lotus, all raised on a high foot, the base centred with a yin and yang symbol among scrolling blossom, 35.5cm.
PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
£1,000-2,000
Provenance: from an English private collection, Sussex.
Cf. Christie’s London, Chinese Ceramics, Works of Art and Textiles, 12th May 2017, lot 513, for a related Wanli cloisonné enamel ‘Dragon and Phoenix’ dish. See also another dish of the period with a similar decoration, illustrated in Transactions of the Oriental Ceramic Society: 1955-56 1956-57, pl.85 and p.77, no.315.
明萬曆 銅胎掐絲琺瑯龍鳳呈祥碟 來源：英國薩克塞斯郡私人收藏。 注：本拍品不設底價。
A GOOD PAIR OF CHINESE CLOISONNE ENAMEL ARCHAISTIC VASES, FANGGU 17TH CENTURY
Decorated to the central sections with taotie masks against a turquoise ground, the spreading feet and flared rims with kui-dragons on panels with green and turquoise grounds, the corners with notched flanges, the interiors of the rims with scrolling lotus on a turquoise ground, 9kg overall, each 33cm. (2)
£3,000-5,000
Provenance: from an English private collection, Kent. Cf. H and A Lutz, Chinese Cloisonné: The Pierre Uldry Collection, pl.212, for a related fanggu dated to the second half of the 17th century. 十七世紀 銅胎掐絲琺瑯方觚 一對 來源：英國肯特郡私人收藏。
69
A TALL CHINESE CLOISONNE ENAMEL ‘LOTUS’ VASE 18TH CENTURY
The slender body tapering towards a gently splayed foot, surmounted by a short waisted neck, decorated with stylised lotus scrolls between bands of lappets and florets, the design reserved on a dark blue ground, mounted on a lotus petal foot, 263g, 16.5cm.
£1,500-2,000
Provenance: from an English private collection, Sussex. 十八世紀 銅胎掐絲琺瑯折枝蓮紋瓶 來源：英國薩克塞斯郡私人收藏。
70
A CHINESE CLOISONNE ENAMEL CYLINDRICAL VESSEL OR SCROLL-END CAP 18TH CENTURY
Decorated with four archaistic mythical beast masks, set with four vertical bamboo-shaped flanges, all reserved on a dark blue ground, 218g, 6.8cm.
£800-1,200
Provenance: from an English private collection, Sussex.
The design is curious in that the masks appear to be upside down so the purpose of this item is unclear. It is possibly a scroll end.
十八世紀 銅胎掐絲琺瑯饕餮紋瓶 來源：英國薩克塞斯郡私人收藏。
71
A CHINESE CLOISONNE ENAMEL LOBED ZHADOU AND COVER 18TH CENTURY
The bowl and domed cover decorated with colourful flowerheads amidst leafy tendrils, the everted foliate rim with five bats in flight, all reserved on a dark blue ground, 611g, 15.3cm. (2)
£1,000-2,000
Provenance: from an English private collection, Sussex.
Cf. Enamel Ware in the Ming and Ch’ing Dynasty, Taipei 1999, p.162, pl.75, for a related cloisonné enamel zhadou from the National Palace Museum, no.故琺000592N000000000.
十八世紀 銅胎掐絲琺瑯纏枝蓮紋渣斗 來源：英國薩克塞斯郡私人收藏。
72
A SMALL PAIR OF CHINESE CLOISONNE ENAMEL ‘BATS’ VASES 18TH CENTURY
The baluster-shaped bodies enamelled with five bats in flight, each picked out in red and green, amidst colourful swirling ruyi clouds on a dark blue ground, all set between decorative borders of plantain leaves, stylised lappets and ruyi-heads, 335g, 11.8cm. (2)
£1,500-2,000
Provenance: from an English private collection, Sussex.
十八世紀 銅胎掐絲琺瑯五福如意瓶 一對 來源：英國薩克塞斯郡私人收藏。
A CHINESE CANTON-PAINTED ENAMEL MODEL OF A COCKEREL 18TH/19TH CENTURY
The standing bird with its head turned to its left and its cockscomb raised, decorated in the famille rose palette with brightly coloured plumage, the beak, edge of the comb and feet gilded, 270g, 18.3cm.
£4,000-6,000
Provenance: formerly from an English private collection, Sussex, acquired in the 1990s. Cf. Christie’s London, 18th October 1976, lot 190 for a similar pair. 十八/十九世紀 銅胎畫琺瑯公雞 來源：英國薩克塞斯郡私人舊藏，購於1990年代。
A CHINESE CLOISONNE ENAMEL AND GILT-BRONZE TRIPOD INCENSE BURNER QIANLONG OR LATER
The vessel with rounded sides decorated with formal scrolling lotus, rising to a flared rim applied with a gilt-bronze key fret band, the sides with two gilt-bronze elephant-head handles and all raised on three gilt-bronze elephant-head feet, the animals adorned with elaborate beaded bridles centred with flowers, together with a removable metal liner, 35cm. (2)
£6,000-8,000
Provenance: formerly from an English private collection, Sussex, acquired in the 1990s.
Cloisonné enamel tripod incense burners of this type originally featured as part of altar sets in Buddhist temples and palaces. A five-piece garniture is illustrated in situ in the Qianqing Gong (Mansion of Heavenly Purity) in Chuimei Ho and Bennet Bronson, Splendours of China’s Forbidden City, fig.32. The form is of archaistic taste, taken from ding vessels of the Shang and Zhou periods, with the original tripod legs and loop handles substituted for gilt-bronze animal heads. The use of elephants in the piece offered here is rare and relates it to another Qianlong example included in the exhibition Tributes from Guangdong to the Qing Court, The Chinese University of Hong Kong, no.34, which additionally featured a cover with a further recumbent elephant supporting a vase. This iconographic element is a pun for the word ‘peace’ and clarifies the auspicious connotation of elephantine features as seen in the present lot. Compare also with a similar Qianlong example sold at Sotheby’s Hong Kong, 8 October 2007, lot 1308.
清乾隆或更晚 銅胎掐絲琺瑯纏枝蓮紋三足爐 來源：英國薩塞克斯郡私人收藏，購於1990年代。
75 AFTER WANG FU (19TH CENTURY) PINE AND ROCK
A Chinese scroll painting, ink on paper, with the signature of Wang Mengduan, inscribed and with the signature of Song Ke, with an artist’s seal which reads Zhongwen, with seven collectors’ seals, 63cm x 39cm.
£2,000-3,000
Provenance: from the collection of Dr Oliver Impey (1936-2005), and Dr Jane (Mellanby) Impey (1938-2021), of Cumnor Place, Oxford. According to Oliver Impey’s archive the scroll was purchased at PS & N in October 1966.
王紱（傳）古木修篁圖
設色紙本 立軸
款識：洪武八年秋九月九龍山人王孟端作。
鈐印：王孟端印
題識：古木龍蛇影，修篁鴦鳳姿。相依有拳 石，同抱歲寒時。宋克。
鉁印：仲溫
藏印：平生真資、傳之其人、百獲齋、明古 珍藏、子孫實之、子孫保之、瑯琊王氏世賓
來源：牛津Oliver Impey (1936-2005) 及Jane (Mellanby) Impey (1938-2021)收藏。擄Oliver Impey檔案記載此畫購於1966年10月購自 PS & N。
AN EXTREMELY RARE CHINESE IMPERIAL CARVED RED, GREEN AND BLUE LACQUER ‘DAOIST PARADISE’ LANDSCAPE PANEL
QIANLONG 1736-95
The panel depicts an elaborate landscape with mountains, lakes and pavilions carved through layers of red, green and blue lacquer. Various figures can be identified in the landscape. To the top of the picture, Xiwangmu, the Queen Mother of the West, is depicted flying on the back of a phoenix, accompanied by two attendants holding fans. From a balustraded terrace she is watched by a group of Immortals including the crippled Li Tieguai; in the centre of the panel, the female Immortal He Xiangu paddles her log raft across the lake, she heads towards the shore where the Hehe Erxian or Laughing Twins are waiting. In the foreground, three further figures are standing on a hump-backed bridge, which has a pavilion in the centre. Further groups of figures, cranes and deer can be seen scattered across the panel. The integral frame is carved with the eight Buddhist emblems with panels of formal archaistic and floral decoration. All suspended from a bronze handle composed of stylised dragons with a shou symbol to the centre, 71cm x 101.5cm.
£200,000-300,000
Provenance: an English private collection, Surrey, UK; sold on behalf of Parkinson’s UK. Formerly Spink & Son Ltd. (Advertised in the Connoisseur magazine, December 1950).
Later sold by Christie’s London, 9th June 1975, lot 125; formerly the collections of Colonel Rokeby and the collection of Lord Nunburnholme. Large panels in carved lacquer were a prominent decorative feature in the palaces of the Forbidden City during the reign of the Qianlong emperor, who was particularly fond of this medium. Qianlong commissioned a set of panels depicting various campaigns and victories during his reign, but most existing panels are of a pictorial nature. To the informed viewer the present magnificent panel contains an abundance of symbolic references and auspicious wishes, expressed by the presence of many Immortals, a tree laden with peaches, pairs of cranes and deer, lotus flowers and Buddhist emblems. It can thus be considered to have been made for a special occasion, perhaps the Emperor’s birthday. Xiwangmu, the Queen Mother of the West, is one of the most enduringly popular deities in Chinese history. She underwent many transformations according to how people worshipped her and is believed to have held court within her palace on Mount Kunlun in western China. Her palace, a perfect and complete paradise, was used as a meeting place for the Gods and as a cosmic pillar that enabled communications between Gods and humans. The Queen Mother of the West is widely known for serving peaches to her guests, which would then make them immortal. The frame of the panel is carved with the Eight Buddhist Emblems: the conch shell, lotus, wheel, parasol, endless knot, pair of fish, banner and vase and like the Eight Immortals, these are auspicious symbols.
A rectangular lacquer panel-on-stand, carved with a scene of people in a boat on a lake with mountains behind is in the collection of the National Palace Museum, Taiwan. Another, similar screen-on-stand, carved with a central view of an island with rocks and buildings is in the collection of the Palace Museum, Beijing. A small carrying case that is also in the collection of the Palace Museum in Beijing has the same unusual outline as the present panel. 清乾隆 御製剔彩道教聖賢仙境圖掛屏
來源：英國薩里郡私人收藏，成交金額將全數捐贈英國帕金森基金會。倫敦古董商Spink & Son Ltd，曾在1950年12月於英國Connoisseur雜誌刊登 廣告。倫敦佳士得，Rokeby上校和Nunburnholme勳爵舊藏，1975年6月9日，拍品編號125。
Spink & Son Ltd. Connoisseur, December 1950
A CHINESE CINNABAR LACQUER ‘FLOWERS’ DISH YUAN/EARLY MING DYNASTY
The interior boldly carved through layers of red lacquer to an ochre ground with a naturalistic decoration of flowers, comprising peony, chrysanthemum, camelia, hibiscus and prunus, the exterior with a conforming floral motif above a geometric band to the straight foot, the base with an incised three-character Zhang Cheng mark and a painted red lacquer four-character inscription Eisen or Egawa tobo, 15cm.
£30,000-40,000
Provenance: an English private collection, Surrey, UK, purchased from Ben Janssens Oriental Art, 15th September 2010; sold on behalf of Parkinson’s UK.
Cf. Karamono: Imported lacquerware - Chinese, Korean and Ryukuan (Okinawa), Selections from the Tokugawa Art Museum, vol.2, p.36, no.46, and p.21, no.20, for a similar floral dish with the signature of Zhang Cheng and the collector’s mark Eisen or Egawa tobo, and a larger similarly marked dish decorated with birds and flowers, both in the Tokugawa Art Museum, Nagoya. Signatures on Chinese lacquerware are scarce, but that of Zhang Cheng is known on a number of high quality pieces from the Yuan and early Ming period. Zhang Cheng is recorded to have been active as a lacquer carver in the mid to late 14th century, with some of his pieces mentioned in the Gegu Yaolun (The Essential Studies of Antiquities), originally published in 1388 by the connoisseur Cao Zhao. A number of lacquer pieces with his signature also bear the later Japanese mark Eisen or Egawa tobo, possibly referencing the collection of an individual or a temple. Another example with this combination of marks is found on a dish, also with a decoration of birds and flowers, in The Metropolitan Museum of Art, New York, illustrated in J Watt and B Brennan Ford, East Asian Lacquer: The Florence and Herbert Irving Collection, pp.68-69, no.19. 元末/明初期 剔紅花卉紋碟
《穎川東房》及《張成造》款
來源：英國薩里郡私人收藏，2010年9月15日購於倫敦古董商Ben Janssens Oriental Art。成交金額 將全數捐贈英國帕金森基金會。
A LARGE AND RARE CHINESE THREE-COLOURED LACQUER ‘PRUNUS’ BOX AND COVER QIANLONG 1736-95
Of mallow form, the exterior of the box and cover decorated with prunus blossom and cracked ice carved through layers of red and green lacquer, revealing an ochre ground decorated with low-relief diaper, all contained within red lacquer bands of key frets and lappets to the flat top, to the rims and to the straight foot. The interior and the base lacquered black, the cover with a paper label to the interior inscribed san shi ba hao xiang di yi hao, 40.5cm. (2)
£35,000-45,000
Provenance: an English private collection, Surrey, UK, purchased from Ben Janssens Oriental Art, 2nd May 2004; sold on behalf of Parkinson’s UK.
The exceptional quality of the box and cover offered here is significant and associates this piece with the production of the Imperial workshops. Indeed, there is an identical example in the Palace Museum, Beijing, illustrated in Guyong Bowu Yuancang diaoqi (Carved Lacquer in the Collection of the Palace Museum), pl.228. The Imperial nature of this piece is further supported by the presence of the yellow label to the inside of the cover, reading san shi ba hao xiang di yi hao (first number of thirty-eight boxes). Labels of this type were traditionally used to record pieces in the Imperial collection.
The decoration on this piece, termed bing wei wen (prunus blossom on a cracked-ice ground), is unusual on lacquerware and again closely relates this piece to the example in the Palace Museum, Beijing. It also features on two other identical box and cover, both fitted with nine lacquer trays, one in the National Palace Museum, Taipei, illustrated in Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, p.164, no.181, and one in the National Museum of China, included in the 2023 exhibition Guimao Jinan 2023 Spring Exhibition. A closely related example, with the variant of a band of ruyi-heads in place of the lappets, is in the Toyko National Museum, included in the 1998 exhibition Jixiang, Auspicious Motifs in Chinese Art, cat.242. It is a highly symbolic pattern that references the advent of Spring and by extension the concept of rebirth, the prunus being the first blossom to burst into flower at the end of Winter. As the Chinese festivity that falls at this time of the year, during the months of January and February, is the lunar New Year, the pattern of prunus and cracked ice is often found on gifts exchange during this festivity.
清乾隆 剔彩冰梅紋瓣式盒 附標籤：三十八號箱第一號
來源：英國薩里郡私人收藏，2004年5月2日購於倫敦古董商Ben Janssens Oriental Art。成交金額將 全數捐贈英國帕金森基金會。
79
A CHINESE BLACK TIXI LACQUER BOX AND COVER MING DYNASTY
The circular box and cover carved with juancao scrolls revealing alternating layers of black and red lacquer, the interior applied with plain black lacquer, the base with a label for the R A Pfungst Collection, no.565, together with a silk bag, 8cm. (3)
£8,000-12,000
Provenance: an English private collection, Surrey, UK, purchased from Ben Janssens Oriental Art, 11th October 2013; formerly the collection of Henry Joseph Pfungst (1844-1917); sold on behalf of Parkinson’s UK.
The type of lacquer termed tixi, characterised by a deeply carved all-over pattern of scrolls, originated during the Southern Song dynasty (1127-1279). An early box and cover of this type with a ruyi-head motif can be seen in The Metropolitan Museum of Art, New York, accession no.2005.276a-b, dated to the Southern Song/Yuan dynasty. Lacquerware of this type, also known by the Japanese term guri, owes its Chinese terminology to the conjunction of the words ti (to carve) and xi (rhinoceros), in reference to its similarity with the texture of carved rhinoceros horn. It remained popular throughout the Yuan period, as can be seen in two comparable black tixi boxes of this date in the National Palace Museum, Taipei, illustrated in Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, pp.18-19, pls.3 and 4. The specific pattern on the box and cover offered here is called juancao, or ‘Fragrant Grass’. This decoration with its distinctly asymmetric motif of abstract scrolling tendrils is of archaistic taste, referencing the patterns on early Chinese lacquer and bronzes. It is typically associated with Yuan dynasty lacquer, as seen in a tixi box of this date and design also in the The Metropolitan Museum of Art, New York, accession no.2007.231a-b. It is rarely seen on Ming dynasty pieces, making the piece offered here a rarity, but an early Ming date is suggested by the gently rising scrolls and their U-shaped troughs.
明 剔犀卷草紋蓋盒及錦袋 來源：英國薩里郡私人收藏，Henry Joseph Pfungst (1844-1917)舊藏。附 R A Pfungst收藏標籤。2013年10 月11日購於倫敦古董商Ben Janssens Oriental Art。成交金額將全數捐贈英國帕金森基金會。
A RARE CHINESE THREE-COLOURED LACQUER ‘DRAGON’ TRAY QIANLONG 1736-95
The square dish decorated to the interior with a panel depicting a stylised shou medallion between two five-clawed dragons among ruyi-clouds above rockwork and cresting waves, the cavetto with four floral panels depicting flowering stems of peony, camelia, chrysanthemum and rose, alternating with cranes to the corners, the exterior decorated with panels depicting the babao among foliate lingzhi scrolls, the corners with medallions enclosing the bagua, all carved through layers of red, green and ochre lacquer against a diaper ground, the base with plain black lacquer, 22cm.
£15,000-20,000
Provenance: an English private collection, Surrey, UK, purchased from Ben Janssens Oriental Art, 14th May 2002; sold on behalf of Parkinson’s UK.
The iconography of the shou character being contested by two dragons, or alternatively phoenix, originated on lacquer during the reigns of the emperors Jiajing (1522-1566) and Wanli (1573-1620). This carved decoration features on a Jiajing casket and a Wanli scroll container, both in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Yuan and Ming Dynasties, vol.45, p.178, pl.136, and p.222, pl.175. The elements of this decoration are closely related to the Daoist belief system. This is true not only of its main compositional elements such as the two dragons and symbols of yin and yang forces, but also in its smaller decorative elements around them, such as the clouds in the form of lingzhi, with their reference to immortality. The babao, or Eight Precious Things, and the bagua, or Eight Trigrams, are also auspicious symbols closely related to Daoist practices.
The design of the dish offered here emulates these earlier Ming motifs, as was typical of Qianlong production. The decoration is closely related to the Jiajing and Wanli period lacquerware mentioned above, but its shape and composition is also of Ming derivation, as exemplified by a similar square tray with indented corners and upturned edges of Wanli period also in the Palace Museum, Beijing, illustrated in, op. cit., p.206, pl.163. A closely related tray of Qianlong mark and period can be seen in the National Palace Museum, Taipei, illustrated in Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, p.135, pl.136. Another of Qianlong mark and period is in the Palace Museum, Beijing, illustrated in Gugong Bowuyuan Cang Diaqi (Chinese Lacquer in the Palace Museum), pl.331. A further example of this date from the Edward Krolik collection is illustrated in B St J M Morgan, Carved Lacquer in the Krolik Collection, Oriental Art, vol.11, no.4, fig.7. 清乾隆 剔彩八吉祥雲龍捧壽方盤
來源：英國薩里郡私人收藏，2002年5月14日購於倫敦古董商Ben Janssens Oriental Art
。成交金額將全數捐贈英國帕金森基金會。
82
A CHINESE THREE-COLOUR LACQUER PEACH-SHAPED BOX AND COVER QIANLONG 1736-95
The cover carved with Lü Dongbin with a sword behind his back and a flywhisk in his left hand, followed by a demon carrying a double-gourd, amidst rockwork and beneath a sweet gum tree and swirling clouds, all encircled by a border of cranes and bats in flight against ruyi-clouds, the box similarly decorated with bats above turbulent waves, the leaves and diaper ground carved in multiple layers of green and orange in relief, the base with a paper label for Spink & Son Ltd, 16.5cm. (2)
£4,000-6,000
Provenance: from an English private collection, Sussex, purchased from Spink & Son Ltd.
Cf. J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, London, 2016, p.866, nos.1991-1992.
Lü Dongbin, an historical figure who lived in the Tang dynasty, is one of the Eight Immortals honoured as a great poet and swordsman. He is typically depicted dressed as a scholar, carrying a sword on his back, which is believed to ward off evil spirits.
清乾隆 剔彩呂洞賓桃式盒
來源：英國薩塞克斯郡私人收藏，購於Spink and Son Ltd。
81
A PAIR OF SMALL CHINESE CINNABAR LACQUER ‘SEVEN SCHOLARS’ BOTTLE VASES QIANLONG 1736-95
The globular bodies each decorated with seven scholars playing weiqi, reading poetry and resting with an attendant in a garden, the waisted necks with key fret bands between stylised floral lappets beneath a border of ruyi-heads to the rims, all reserved on a low-relief diaper ground, the short straight feet with narrow key fret borders, the bases lacquered black, 12cm. (2)
£4,000-6,000
Provenance: from an English private collection, London. The depiction of literati was a popular theme on lacquerware from the Qianlong period and the subject of the Seven Sages of the Bamboo Grove was a particular favourite. This group of scholars from the 3rd century AD, comprising Ji Kang, Ruan Ji, Ruan Xian, Xiang Xiu, Shan Tao, Wang Rong and Liu Ling, supposedly retreated from court life during the Three Kingdoms period to seek an escape from political intrigue and moral corruption. Instead they dedicated themselves in exile to the cultivation of scholarly pursuits such as weiqi and poetry, meeting in a bamboo grove close to the private residence of Ji Kang The popularity of this theme can be seen in the number of Imperial carved lacquer pieces with this subject. A brushpot and a cabinet in the Palace Museum, Beijing, are illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, pp.64-65, no.42, and pp.68-69, no.45.
清乾隆 剔紅松下七賢瓶 一對 來源：英國倫敦私人收藏。
A CHINESE YUNNAN-TYPE CINNABAR LACQUER STEM CUP
LATE MING DYNASTY
Carved with four magpies among flowering stems of prunus and pomegranate against a diaper ground, with a key fret band to the flared rim, the slender stem with a conforming floral decoration, the interior with a white metal lining, 10.3cm.
£6,000-8,000
Provenance: from an English private collection, Sussex.
Cf. The Creation of Natural Immensity and Grandeur: The Yang Ming Shan Fang Collection of Lacquer from Song, Yuan, Ming and Qing Dynasties, pp.108-109, no.31, for a similar lacquer stem cup dated to the late Ming dynasty. The deep colouring of the stem bowl offered here would suggest it may be an example of Yunnan lacquer, of the type illustrated in J Watt and B Ford, East Asian Lacquer - The Florence and Herbert Irving Collection, p.91, pl.31. A similar stem cup also presented as Yunnan lacquer was sold at Christie’s Hong Kong, 30th May 2012, lot 4426. 明晚期 剔紅喜上眉梢高足杯 來源：英國薩塞克斯郡私人收藏。
84
A CHINESE WHITE JADE ‘MONKEY AND HORSE’ GROUP 18TH CENTURY
Carved in the form of a recumbent horse, its head turned to the right and supported by the raised front left leg, with the other three tucked beneath the body. The bushy tail is wrapped around its right haunch, and a small monkey is clambering on its back playfully grasping a halter with both hands, together with a wood stand, 6.8cm. (2)
£4,000-6,000
Provenance: from an English private collection, formerly from the Oppenheimer Collection; then the collection of P D Krolik Esq. where it was on loan to the Leicester Museum and Art Gallery, sold Sotheby & Co. London, 24th February 1970, lot 112, for £120.
For more information regarding the Oppenheimers as collectors, see R Davids and D Jellinek, Provenance, p.342. Mrs Louis (Charlotte Emily née Pollak) Oppenheimer was the mother of Raymond Oppenheimer (1905-84), whose collection Bluett’s sold in November 1965. The authors note: ‘Brian Morgan recalls her arrival at Bluett’s in a chauffeured Rolls-Royce, and, to Edgar Bluett’s irritation and surprise, taking Miss Cole, the firm’s redoubtable secretary, to lunch.’ 十八世紀 白玉雕馬上封侯擺件 來源：英國私人收藏，Oppenheimer舊藏；之後P D Krolik Esq舊藏， 曾租借於Leicester Museum and Art Gallery展出，1970年2月24日以£120 的價格於倫敦蘇富比售出。
85
A FINE CHINESE PALE CELADON JADE BELTHOOK QIANLONG/JIAQING
Carved in low relief with an archaistic bird facing a kui-dragon, terminating with a high-relief dragon head, the underside with a circular button and a paper label reading ‘Ex Collectis Erik Hancock’, the stone with faint white veining, 12cm.
£3,000-4,000
Provenance: previously in the collection of Erik Hancock. See, R Davids and D Jellinek, Provenance, p.217, for more information about Erik Hancock.
清乾隆/嘉慶 青白玉雕蒼龍教子紋帶鉤
來源：Erik Hancock舊藏，R Davids and Jellinek的《來源》一書中有關
於藏家Hancock的記載，頁217。
A FINE CHINESE CELADON JADE ‘POMEGRANATE’ GROUP
QIANLONG 1736-95
Carved as two pomegranates issuing from a leafy stem, each fruit carved with a finely defined calyx, a small cicada clambering amidst the foliage and the underside of the larger fruit peeled to reveal the many hexagonal seeds within, the stone with light mottling and scattered instances of russet veining, 9.5cm.
£8,000-12,000
Provenance: from an English private collection, Buckinghamshire, purchased in Hong Kong in the 1950s. The pomegranate is an auspicious motif in China, its many seeds making it a symbol of fertility and abundance. The fruit is often depicted with a section of skin peeled back to show the numerous seeds inside, as seen in the piece offered here. This image forms the rebus liukai baizi, or ‘the pomegranate opens revealing one hundred sons’, conveying the wish for many offspring. For a related white jade pomegranate carving, see the Compendium of Collections in the Palace Museum: Jade, vol.9, p.172, no.162. The additional element of the cicada further enhances this meaning, as the image of the insect high up in tree canopies emitting its calling song is referred to as yiming jingren, comparing it to someone unknown who goes on to achieve great fame with an impressive feat. Hence, the piece offered here also carries the connotation of wishing that those many sons may go on to achieve greatness in their lives. 清乾隆 青白玉雕秋蟬石榴擺件
來源：英國白金漢郡私人收藏，1950年代購於香港。
87
A CHINESE YELLOW JADE CARVING OF SHOULAO 18TH CENTURY
The smiling deity wearing flowing robes supporting himself on a wooden staff, depicted with a high cranium and a long incised beard, the greenish-yellow stone with pale russet markings and minor dark inclusions, together with a reticulated wood stand detailed with fruiting peach branches, 15.3cm. (3)
£4,000-6,000
Provenance: from an English private collection, Sussex. 十八世紀 黃玉雕壽老立像 來源：英國薩塞克斯郡私人收藏。
A GOOD CHINESE YELLOW JADE EWER, GONG QIANLONG 1736-95
The pouring vessel of oval-section, carved in relief with archaistic scrolls and taotie masks, flanked by a handle with a clambering chilong and a smaller handle with a loose ring below the spout, all supported on a gently splayed foot, the stone of an even greenish colour and russet inclusions, together with a reticulated wood stand, 17.5cm. (2)
£10,000-20,000
Provenance: formerly the collection of the Viceroy of Min-Zhe, who served in the Qing government from 1898-1903.
清乾隆 黃玉仿古鳥獸紋螭龍耳觥 來源：清末閩浙總督（1898-1903年在任）舊藏，據其後人描述，其 藏品大多源自慈禧太后、光緒皇帝御賜在家族中一代代流傳至今。
89
A
CHINESE PALE CELADON AND RUSSET JADE ‘BAT AND PEACHES’ GROUP
QING DYNASTY
Naturalistically carved in high relief with two peaches issued from a leafy branch and two small bats, together with a wood stand also carved with openwork peaches and a bat, 11cm. (2)
£2,000-3,000
Cf. A slightly larger white jade example dated to the Qianlong period in the Woolf Collection of Chinese Jade, no.306, illustrated in The Woolf Collection of Chinese Jade, p.190, no.81.
清 青白玉雕福壽擺件
90
A CHINESE MOTTLED CELADON AND GREY JADE VESSEL, GUI MING DYNASTY
The sides decorated with archaistic bosses in relief, below a border of stylised kui dragon-scrolls and mythical beast masks, flanked by a pair of loop handles issuing from the horned dragon heads, the greyish stone with black and brown striations, together with a reticulated wood stand, 18cm. (2)
£3,000-5,000
Cf. The Complete Collection of Treasures of the Palace Museum, Jadeware II, pl.182, for a similar jade incense burner; see also SC Nott, Chinese Jade Throughout the Ages, pl.330.
Provenance: from an English private collection, Sussex. 明 青灰玉仿古龍耳簋 來源：英國薩塞克斯私人收藏。
91
A MASSIVE CHINESE SPINACH-GREEN JADE BOULDER CARVING QIANLONG 1736-95
Well-carved to one side with three figures riding mules and an attendant crossing a bridge, with large pine and maple trees bordering the path and two further mules amongst rocks above, a castellated wall enclosing a pagoda in the distance, the reverse with two figures, one carrying a yoke amongst rockwork and trees, a paper label for Spink & Son Ltd., raised on a reticulated fitted hardwood stand, 28cm. (2)
£20,000-25,000
Provenance: from a deceased estate, Hampshire; formerly in the collection of David Cooper Esq., Monaco, purchased at Spink & Son Ltd., later sold in these rooms on 19th May 2010, lot 335.
Published: Spink & Son Ltd., An Exhibition of Fine Jade, 1981, p.24, no.76.
Cf. A related spinach-green jade mountain carving from the collection of Miss H E Ionides was exhibited at The Royal Academy of Arts as part of the International Exhibition of Chinese Art, 1935-36, catalogue no.2785. 清乾隆 碧玉雕山水人物山子
來源：摩納哥David Cooper先生私人收藏，1982年購於Spink & Son Ltd.，英國威立士2010年5月19日， 標號·335。
出版：Spink & Son Ltd. 精品玉雕展，1981年，頁24，編號76。
Spink & Son Ltd.
An Exhibition of Fine Jade, 1981, no.76
A CHINESE INSCRIBED JADE CEREMONIAL AXE, YUE SHANG DYNASTY OR LATER
The thin trapezoidal blade with rounded sides tapering to a gently curved cutting edge, with a drilled hole to the short edge, one face inscribed with an Imperial poem, the date for the Qianlong jihai year (corresponding to 1779) and two seals reading guxiang and tai yu, the reverse with a subtle bevel running vertically through the centre, the stone with profuse buff and russet mottling, 12.3cm.
£6,000-8,000
Qianlong was known for his love of archaism and left a number of early jades inscribed with his poems. See the bi disk with an Imperial inscription to the edge, now in the Fitzwilliam Museum, Cambridge, accession no.O.38-1946 for a comparable example. Qianlong also commissioned a series of jade axes based on ancient forms, as seen in the yellow jade example incised with an eagle chasing a beast in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware, pp.150, no.121.
The inscription on the piece offered here reads:
玉寓潤溫斧寓剛，古人作佩意誠良。
恊中並取韋弦戒，比德應知仁義方。
成器久當越秦漢，命工時或在殷商。
摩挲全泯夔紋迹，脂白藏英韫栗黃。
乾隆己亥御題
古香、太玉。
商或更晚 玉雕詩文鉞
93
A CHINESE YELLOW AND RUSSET JADE CARVING OF A MYTHICAL BEAST QING DYNASTY
The beast depicted crouching on its four powerful legs as if preparing to pounce, its head turned backwards, detailed with raised eyebrows above bulging eyes, finely incised mane and ridged spine terminating with a bushy tail sweeping across its left haunch, the stone of a greenish-yellow tone with some patches of russet, together with a wood stand, 11.8cm. (2)
£5,000-8,000
Cf. J Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, pp.373-374, pl.26:17, for a related Ming dynasty jade carving; see also Christie’s Hong Kong, 3rd June 2015, lot 3188, for another carving of a mythical beast.
清 黃玉雕瑞獸
94
A CHINESE JADE CARVING OF A RAM QING DYNASTY
Recumbent with its head raised and tilted back, the base with two labels reading ‘Susan Chen Collection’ and ‘Heritage Museum of Asian Art’, the stone mottled profusely with russet inclusions, 7.5cm.
£3,000-5,000
Provenance: formerly the Susan Chen Collection. 清 玉雕臥羊
來源：奉文堂陳淑貞舊藏，附標籤。
95
A CHINESE JADE CARVING OF A MANDARIN DUCK MING DYNASTY
Carved sitting with its feet tucked under its body and its head resting on its back, holding a fruiting peach branch in its beak, the stone of light brown colour mottled with areas of black, 7.2cm.
£2,000-3,000
Provenance: formerly the collection of Donald and Ursula Farm, New Jersey, formed 1970s and 1980s, later Courage and Joy, New York, 2011.
Published: Priestley & Ferraro Chinese Art, From River Bed to Scholar’s Desk:
A Selection of Medieval Chinese Carved Jade Animal-Form Weights, April 2016, no.7.
明 玉雕鴛鴦銜桃擺件 來源：美國新澤西州Donald and Ursula Farm舊藏（建於1970-1980年 代）。紐約Courage and Joy（2011）。
出版：Priestley & Ferraro 覺是軒，From River Bed to Scholar’s Desk:
A Selection of Medieval Chinese Carved Jade Animal-Form Weights，2016 年4月，編號7。
96
A CHINESE CELADON JADE PHEASANT WITH A ZITAN STAND QIANLONG 1736-95
Sitting with its body flattened and tail curved to one side, it holds a fruiting peach branch in its beak, the feathers and feet well-defined, the stand carved with cloud scrolls above a border of stylised ruyi-heads and scrolls, 13cm. (2)
£1,500-2,500
Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s.
清乾隆 青玉雕錦雞擺件及紫檀底座
來源：英國西約克郡私人收藏，購於1970-80年代。
97
TWO CHINESE CELADON JADE ARCHAISTIC VESSELS 18TH CENTURY
One a bowl and cover decorated in low relief with angular scrolls of kui-dragons; the other carved in the form of an archaic bronze pigment container, tulu, the sides decorated with interlaced kui-dragons and shou characters, flanked by a pair of beast handles; together with two wood stands and a wood cover, 11.5cm and 13.3cm. (6)
£2,000-3,000
Provenance: Mr Simon Vos, ex-Chairman of Regent Oil Company Ltd. 十八世紀 青白玉雕夔龍紋蓋碗及四柱式爐 來源：Simon Vox先生收藏，曾擔任Regent石油公司的總裁。
98
A CHINESE CELADON JADE ‘DRAGON’ PENDANT WARRING STATES PERIOD OR LATER
Of circular form carved with two kui-dragons amidst C-scrolls, with two small chilong weaving their way through the scrolling decoration, pierced for suspension to the base of one of the kui-dragons, the semi-translucent stone with russet mottling and veined with calcification, 10.4cm.
£8,000-12,000
Provenance: purchased from Ben Janssens Oriental Art, 22nd November 2017. 戰國或更晚 青白玉雕螭龍紋璧 來源：2017年11月22日購於Ben Janssens oriental Art。
100
A CHINESE YELLOW JADE ‘DRAGON’ PENDANT POSSIBLY SHANG DYNASTY
Carved as a stylised dragon crouching on its haunches, its face and body carved in low relief, the jaws pierced for suspension, the stone of a uniform yellow tone, 5cm.
£3,500-4,500
Cf. Zhendan Art Museum: Jades of the Shang Dynasty, p.116, no.69, for a similar dragon-shaped pendant.
商（可能）黃玉雕龍形佩
99
A SMALL CHINESE JADE PIG-DRAGON CARVING PROBABLY HONGSHAN CULTURE, NEOLITHIC PERIOD
In the form of a coiled dragon with its tail curving towards the head, subtly detailed with a wrinkled snout and bulging eyes, the neck drilled for suspension, the stone of a light green tone with small areas of opaque beige, 4.6cm.
£2,500-3,500
Cf. The Complete Collection of Treasures of the Palace Museum: Jadeware (I), p.64, pl.54 for a similar pendant.
新石器時期 紅山文化（可能） 玉豬龍
101
A CHINESE CELADON JADE ‘BIRD’ PENDANT POSSIBLY NEOLITHIC PERIOD, HONGSHAN CULTURE
Possibly Garuda, carved as a bird with its wings outstretched, the reverse pierced with a hole for suspension, the stone a dark celadon colour with mottled inclusions, 4cm.
£500-1,000
Provenance: previously a private collection, Singapore, acquired in the early 1990s.
Cf. The Complete Collection of Treasures of the Palace Museum: Jadeware (I), pp.3-4, pl.2-3 for two similar pendants. Another example is also illustrated in Teng Shu-Ping, Neolithic Jades in the Collection of the National Palace Museum, p.169, pl.73.
新石器時代 紅山文化（可能） 玉鴞形珮
來源：新加坡私人舊藏，購於1990年代。
102
A CHINESE CELADON JADE ARCHAIC ‘FISH’ PENDANT SHANG/WESTERN ZHOU DYNASTY OR LATER
Carved as a stylised fish with its body curving into a C-scroll, its head and fins with low-relief detailing, the stone a deep celadon colour, 7cm. (2)
£2,000-3,000
Provenance: previously property from the collection of Quincy Chuang, Ben Janssens Oriental Art, London, 2010.
商/戰國或更晚 青玉魚形珮
來源：莊貴侖收藏，2010年Ben Janssens Oriental Art倫敦。
103
A CHINESE PALE CELADON JADE FIGURE OF BUDDHA 19TH CENTURY
Seated in dhyanasana, his hands resting on his lap in samadhi mudra, wearing loose robes and embellished with a gilt-metal double stranded jewelled necklace, tested as 19k, his face with a tranquil expression, 12.5cm.
£4,000-6,000
十九世紀 青白玉嵌百寶菩薩坐像
A MASSIVE CHINESE LAPIS LAZULI ‘CRANE AND PINE’ VASE AND COVER QING DYNASTY
Boldly carved with openwork branches of gnarled pine and crane perched among the foliage, the vase of flattened baluster form, all issuing from a rockwork base, the stone of a bright mottled blue tone with cream and dark veins and gold flecks, 34cm. (2)
£8,000-12,000
Provenance: by repute, purchased from John Sparks, London. In China, lapis lazuli is known as qing jin shi (blue-gold stone). Although lapis beads have been excavated, which date to the Han dynasty, there are no records of the use of lapis before the Qing dynasty. Cf. Ming Wilson, the Colour of Stones, Transactions of the Oriental Ceramic Society, 1997-98, vol.62, p.34. Soame Jenyns notes that the stone was imported from Tibet and that the Emperor officiating at the Temple of Heaven wore a rosary of lapis lazuli beads.
清 青金石雕松鶴延年蓋瓶
來源：購於倫敦John Sparks古董店（傳）。
105
A CHINESE PALE CELADON JADE CARVING OF A RAFT QING DYNASTY
Depicting Magu dressed in elegant flowing robes, holding a ruyi sceptre, beside a basket of peonies, a crane and a deer, with another lady paddling the raft through gentle waves, the stone of even pale greenish-white tone, flecked with minor darker inclusions, together with a reticulated wood stand carved as swirling waves, 18.5cm. (2)
£8,000-12,000
Provenance: formerly the collection of the Viceroy of Min-Zhe, who served in the Qing government from 1898-1903.
清 青白玉雕麻姑乘槎 來源：清末閩浙總督（1898-1903年在任）舊藏，據其後人描述， 其藏品大多源自慈禧太后、光緒皇帝御賜在家族中一代代流傳至今。
107
A CHINESE PALE CELADON JADE ‘PHOENIX’
HAIRPIN
YUAN/EARLY MING DYNASTY
Decorated with an openwork phoenix terminal above a tapering cylindrical stem, the stone with occasional russet inclusions, 16.5cm.
£2,000-3,000
Provenance: from an English private collection, Sussex.
Cf. Chan Lai Pik, Chinese Jades: The Dr SY Kwan Collection, no.118, for a comparable hairpin of this period with a phoenix terminal. See also, Christie’s New York, The Collection of Robert Hatfield Ellsworth Part III - Chinese Works of Art: Qing Ceramics, Glass and Jade Carvings, 19th March 2015, lot 602, for another similar example.
元/明早期 青白玉雕鳳戲牡丹髮簪 來源：英國薩塞克斯私人收藏。
106
A RARE MINIATURE WHITE JADEITE MUGHAL-STYLE CUP
18TH/19TH CENTURY
Finely carved as a chrysanthemum flower, the fluted sides rising to a densely lobed rim, the well centred with a stylised low-relief blossom, all raised on a short foot shaped as a further flowerhead, the translucent stone with white mottling, 4.5cm.
£3,000-5,000
十八/十九世紀 翡翠痕都斯坦式菊瓣杯
108
A CHINESE ARCHAISTIC YELLOWISH-GREEN JADE AXE BLADE, YUE QING DYNASTY
The blade carved in low relief with a taotie mask frieze above a band of geometric lappets and with the hallmark Xing You Heng Tang, all surmounted by two kui-dragons above further taotie masks, 13cm.
£5,000-8,000
The hall Xing You Heng Tang is known to have been the residence of the Manchu official Zai Quan, one of the great grandsons of the Qianlong Emperor. Zai Quan was a famous collector of works of art during the Daoguang and early Xianfeng periods before his death in 1854. Cf. The Complete Collection of Treasures of the Palace Museum, Yixing Ware, pp.94-95, no.70 for an Yixing teapot incised with this hallmark and p.171, no.139 and p.188, no.154 for a Daoguang vase and bowl also with this mark.
清 玉雕仿古行有恆堂款饕餮紋鉞 《行有恆堂》款
109
A FINE CHINESE INSCRIBED WHITE JADE ARCHER’S RING QIANLONG MARK AND PROBABLY OF THE PERIOD
Inscribed with an Imperial poem and marked Qianlong yuti followed by the qian trigram and long seal, all between key fret borders, the stone with russet inclusions to the rim, 3cm.
£8,000-12,000
Cf. The Haiding Qu Museum, Beijing, for a similar example. 清乾隆（可能） 白玉雕御題詩文扳指
110
A CHINESE INSCRIBED YELLOW JADE ARCHER’S RING QIANLONG MARK AND PROBABLY OF THE PERIOD
The face carved with a sampan beneath a tree, the reverse with a poem reading Yu e ceng jing pi su gong, Cheng tu jiao jiao jian yong Zhong. Fei liu yang tiao yi bu jin, Yu guo shi qiao yuan geng qiong and a seal reading gu xi tian zi, the stone with brown inclusions, 3.5cm.
£8,000-12,000
Provenance: formerly the collection of Professor R W Jackson.
清乾隆 黃玉雕御題詩文扳指
來源：Professor R W Jackson舊藏。
111
A CHINESE AGATE ‘DOUBLE-GOURD’ SNUFF BOTTLE
FOUR-CHARACTER QIANLONG MARK AND PERHAPS OF THE PERIOD
Of flattened double-gourd form with a waisted neck and a short oblong foot, the semi-translucent stone with darker markings, 6.2cm.
£5,000-8,000
Provenance: by repute, Robert Kleiner, London. 清乾隆（可能） 瑪瑙福祿鼻煙壺 來源：購於倫敦Robert Kleiner（傳）。
112
A CHINESE AVENTURINE-SPLASHED BROWN GLASS SNUFF BOTTLE QING DYNASTY
The compressed rectangular body inscribed to both sides with a poem by the Tang dynasty poet Cui Shu, the side with a paper label reading ‘Ex collectis Erik Hancock’, 6.8cm.
£4,000-6,000
Provenance: previously in the collection of Erik Hancock. See, R Davids and D Jellinek, Provenance, p.217, for more information about Erik Hancock.
清 金星石料鼻煙壺
來源：Erik Hancock舊藏，R Davids and Jellinek的《來源》一書中有關
於藏家Hancock的記載，頁217。
113
A CHINESE RED OVERLAY GLASS ‘DRAGON’ SNUFF BOTTLE QIANLONG 1736-95
The tapering milky-white body overlaid in dark ruby-red with a dragon encircling the vessel chasing a flaming pearl, above another smaller dragon emerging from the breaking waves below, 7cm.
£300-500
Provenance: from the collection of Colonel William Edmund Pye (1872-1949). Commissioned into the British Army in 1892, he served with the Indian Army in Tirah between 1897-98, then in 1900 was sent to China as the leader of the British Section of the International Police. It was at this time he started his collection, which has passed by descent to the current owner. Other items from his collection were sold at Christie’s South Kensington, 13th May 2011. 清乾隆 涅白地套紅料鼻煙壺
來源：William Edmund Pye上校（1872-1949）收藏，他曾在1892年參軍，並在1897-1890年加入了印度軍隊，之後1900年以英國國際刑警警長身 份被派往中國。在這期間，他開始收藏中國藝術品，之後被其後人繼承。他的部分藏品曾在2011年5月13日於肯辛頓佳士得售出。
114
TWO CHINESE FAMILLE ROSE SNUFF BOTTLES 18TH AND 19TH CENTURY
One of pebble form, decorated with formal trailing lotus interspersed with bats and beribboned cash motifs, the base with a four-character Qianlong mark; the other of tapering form with a depiction of Magu to one side, and an erotic scene and two boys to the other, the base with a six-character Daoguang mark, 6.2cm and 5.8cm. (2) £400-600
Provenance: from the collection of Colonel William Edmund Pye (1872-1949). Commissioned into the British Army in 1892, he served with the Indian Army in Tirah between 1897-98, then in 1900 was sent to China as the leader of the British Section of the International Police. It was at this time he started his collection, which has passed by descent to the current owner. Other items from his collection were sold at Christie’s South Kensington, 13th May 2011.
十八/十九世紀 粉彩花卉紋及人物故事紋鼻煙壺 一組 兩件
《乾隆年製》及《大清道光年製》礬紅篆書款 來源：William Edmund Pye上校（1872-1949）收藏，他 曾在1892年參軍，並在1897-1890年加入了印度軍隊，之
後1900年以英國國際刑警警長身份被派往中國。在這期 間，他開始收藏中國藝術品，之後被其後人繼承。他的部 分藏品曾在2011年5月13日於肯辛頓佳士得售出。
115
FOUR CHINESE SNUFF BOTTLES QING DYNASTY
One a famille rose ‘hundred boys’ snuff bottle, with a four-character Qianlong mark; another a famille rose ‘eighteen luohan’ snuff bottle, with a four-character Daoguang mark; a third a famille rose snuff bottle with a scene of figures in a garden and a roundel portraying a lady reserved against a garden setting; and a painted enamel snuff bottle decorated with phoenix among foliate scrolls, 5cm, 5.6cm, 6.3cm and 7.6cm. (4)
£200-300
Provenance: from the collection of Colonel William Edmund Pye (1872-1949). Commissioned into the British Army in 1892, he served with the Indian Army in Tirah between 1897-98, then in 1900 was sent to China as the leader of the British Section of the International Police. It was at this time he started his collection, which has passed by descent to the current owner. Other items from his collection were sold at Christie’s South Kensington, 13th May 2011.
清 粉彩人物故事紋及鳳戲牡丹鼻煙壺 一組四件 《乾隆年製》及《道光年製》礬紅篆書款
來源：William Edmund Pye上校（1872-1949）收藏，他曾在1892年參軍，並在1897-1890年加入了印度軍隊，之後1900年 以英國國際刑警警長身份被派往中國。在這期間，他開始收藏中國藝術品，之後被其後人繼承。他的部分藏品曾在2011年 5月13日於肯辛頓佳士得售出。
116
THREE CHINESE FAMILLE ROSE SNUFF BOTTLES
ALL WITH FOUR-CHARACTER DAOGUANG MARKS AND OF THE PERIOD 1821-50
One painted with scenes from the subjugation of Zhang Ge’er or Jihāngīr, his defeat in battle on one side and his execution in Beijing on the steps of the temple of Imperial ancestors on the other side, the sides with two moulded drop handles issuing from mythical beast masks; another decorated with an interior scene of figures at leisure and with two figures on a doorstep conversing with a water-carrier; the third with a phoenix and three cranes among flowering peony, 5.3cm, 5.5cm and 5.6cm. (3)
£500-1,000
Provenance: from the collection of Colonel William Edmund Pye (1872-1949). Commissioned into the British Army in 1892, he served with the Indian Army in Tirah between 1897-98, then in 1900 was sent to China as the leader of the British Section of the International Police. It was at this time he started his
collection, which has passed by descent to the current owner. Other items from his collection were sold at Christie’s South Kensington, 13th May 2011.
Cf. Robert Hall, Chinese Snuff Bottles XV, the SB Collection, London, 2001, cat. no.148 for a very similar example for the bottle depicting Zhang Ge’er
清道光 粉彩平定張格爾叛亂紋及鳳戲牡丹紋鼻 煙壺 一組三件 《道光年製》礬紅篆書款 來源：William Edmund Pye上校（1872-1949）收 藏，他曾在1892年參軍，並在1897-1890年加入 了印度軍隊，之後1900年以英國國際刑警警長 身份被派往中國。在這期間，他開始收藏中國藝 術品，之後被其後人繼承。他的部分藏品曾在 2011年5月13日於肯辛頓佳士得售出。
117
THREE CHINESE SNUFF BOTTLES LATE QING DYNASTY
One decorated with two dragons chasing flaming pearls, with a four-character Kangxi mark; another painted with two pigeons amongst orchids and two Pekingese dogs performing tricks, with a four-character Daoguang mark; and the third decorated with a multitude of iron-red Buddhist lions playing with brocade balls, 6cm, 6.2cm and 6.5cm. (3)
£500-1,000
Provenance: from the collection of Colonel William Edmund Pye (1872-1949). Commissioned into the British Army in 1892, he served with the Indian Army in Tirah between 1897-98, then in 1900 was sent to China as the leader of the British Section of the International Police. It was at this time he started his
See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
collection, which has passed by descent to the current owner. Other items from his collection were sold at Christie’s South Kensington, 13th May 2011. 清晚期 粉彩及礬紅鼻煙壺 一組三件 《道光年製》及《康熙年製》款 來源：William Edmund Pye上校（1872-1949）收 藏，他曾在1892年參軍，並在1897-1890年加入了 印度軍隊，之後1900年以英國國際刑警警長身份被 派往中國。在這期間，他開始收藏中國藝術品，之 後被其後人繼承。他的部分藏品曾在2011年5月13 日於肯辛頓佳士得售出。
LOTS 118-153
CHINESE CERAMICS
119
A CHINESE BLUE AND WHITE ‘LADIES’ VASE
KANGXI 1662-1722
The slender baluster-shaped body painted with a continuous scene featuring four ladies enjoying daily life in a pavilion garden amidst plantain and rockwork, the base with a Chenghua mark, 25.3cm.
£3,000-4,000
清康熙 青花四妃觀音瓶
《成化年製》款
118
A CHINESE BLUE AND WHITE ‘DRAGON’ MEDALLION BOWL
KANGXI 1662-1722
The thinly potted bowl gently flared and painted to the exterior with five dragon roundels above a band of lotus and lappets, the interior and base with two further scaly dragons, 15.3cm.
£1,000-2,000
Provenance: from an English private collection, London.
清康熙 青花蓮花團龍紋碗
來源：倫敦英國私人收藏。
121
A SMALL CHINESE BLUE AND WHITE MEIPING
YONGZHENG 1723-35
Decorated with a daoshi and a fisherman meeting in a rocky landscape beneath a willow tree, 16.5cm.
£3,000-5,000
清雍正 青花人物故事紋梅瓶
120
A CHINESE DOUCAI ‘FLORAL MEDALLION’ BOWL
YONGZHENG 1723-35
The exterior is decorated with four medallions of stylised fruit trees divided by pairs of pomegranate motifs, the interior with leafy frond-like forms in green enamel, the base with a six-character Chenghua mark, together with a wood stand, 11.7cm. (2)
PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
£500-800
Provenance: from a British collection, Kent.
清雍正 鬥彩多子多福團花紋碗
來源：英國肯特郡收藏。 注：本拍品不設底價。
122
A CHINESE BLUE AND WHITE JAR, GUAN JIAJING/WANLI
The baluster-shaped body painted with a wide central register with peacocks between flowering peony bushes on a zig-zag terrace, the shoulder with four panels of mythical beasts on a band of diapers, the short neck with flowers and foliage, and with a wide band of lappets above the foot, 26.5cm.
£3,000-5,000
Provenance: from an English private collection, Sussex.
Cf. R Krahl and J Ayers, Chinese Ceramics in the Topkapi Saray Museum Istanbul, vol.2, p.666, no.1049 for a related guan 明嘉靖/萬曆 青花富貴吉祥紋罐 來源：英國薩塞克斯郡私人收藏。
123
A CHINESE BLUE AND WHITE EWER WITH MIDDLE-EASTERN GILT-COPPER MOUNTS 17TH/18TH CENTURY
The pear-shaped body raised on an oval flared foot, decorated with stylised floral sprays and scrolling tendrils within geometric borders, the curved spout painted with wispy clouds, with a metal handle and openwork hinged dome cover, marked with pseudo-English hallmarks, 24.5cm the vase, 37cm overall.
£2,000-3,000
十七/十八世紀 青花牡丹花繪紋壺鑲鎏金銅把手
124
A RARE AND LARGE CHINESE BLUE AND WHITE ‘BAJIXIANG’ TRIPOD INCENSE BURNER JIAJING 1522-66
The cylindrical body decorated with the Eight Buddhist Emblems amidst trailing formal lotus, beneath a moulded band and a border of further scrolling lotus, all raised on three short cabriole legs painted with floral motifs, 27.8cm.
£8,000-12,000
A similar smaller incense burner, excavated from a eunuch’s tomb in Chengdu city, Sichuan province, is illustrated by Zhang Bai in Complete Collection of Ceramic Art Unearthed in China, vol.10, Beijing, no.175, where it is dated to the Jiajing period.
The bajixiang, or ‘Eight Buddhist Emblems’, originated in India and came to China with the introduction of Tibetan Buddhism during the Yuan dynasty. They were rapidly incorporated into the decorative arts, particularly for use on votive objects, such as altar vases, candlesticks and incense burners, as seen on the piece offered here. The shape of the present lot, featuring low cabriole legs and a moulded band below the rim, was adapted in the Ming period for use in porcelain from earlier bronze incense burners. Compare with a related porcelain example, dated to the Hongzhi period and decorated with a Daoist scene, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglaze Red (II), vol.35, pp.46-47, no.43.
Provenance: Christie’s New York, 13th-14th September 2012, lot 1172. 明嘉靖 青花八吉祥紋三足爐 來源：紐約佳士得2012年9月13-14日 編號1172。
125
A RARE CHINESE SOFT-PASTE WHITE-GLAZED VASE 18TH CENTURY
The ingot-shaped body with sharp shoulders decorated with archaistic low-relief dragons contesting flaming pearls, beneath a waisted quatrefoil neck decorated with plantain leaves and applied with openwork handles, on a raised quatrefoil foot, the base with a moulded ruyi sceptre, 13cm.
£800-1,200
Provenance: from an English private collection, London.
Cf. Sotheby’s New York, 16th September 2014, lot 165, for a comparable example. A soft-paste vase of Qianlong mark and period with similar openwork handles and decorated with archaistic motifs is illustrated in the catalogue of the Min Chiu Society Exhibition of Monochrome Ceramics, 1977, no.141.
A globular-shaped vase of the Qianlong period featuring similar sharply outlined shoulders is illustrated in John Ayers, Chinese Ceramics from the Koger Collection, no.140.
十八世紀 白釉趕珠龍紋瓶 來源：英國倫敦私人收藏。
126
A SMALL AND RARE CHINESE GE-TYPE DISH
17TH CENTURY
The tapering body rising from a short foot to a flared foliate rim, decorated all over with a greyish glaze suffused with irregular dark and russet crackles, 9.5cm. £3,000-5,000
Provenance: from an English private collection, London.
The Ge kiln is regarded as one of the Five Great Kilns, or Wu Da Ming Yao, of the Song dynasty, along with Ru, Jun, Guan and Ding. Imitations of ge-type glazes on porcelain bodies first appeared during the Ming dynasty, and Imperial pieces of this type were produced during the reigns of the Emperors Xuande (1426-35) and Chenghua (1465-87). Later during the Qing dynasty the imitation of ge-type wares was reinvigorated, in particular during the reign of the Emperor Yongzheng (1723-35) when it reached new levels of sophistication.
十七世紀 仿哥窯花口洗 來源：英國倫敦私人收藏。
127
A SMALL CHINESE GE-TYPE CONG-SHAPED VASE QING DYNASTY
The moulded square-section body rising from a short foot to a circular tapering rim, decorated all over with a greyish glaze suffused with irregular dark and russet crackles, together with a wood stand, 12.2cm. (2)
£500-1,000
Provenance: from an English private collection, London.
清 仿哥窯琮式瓶
來源：英國倫敦私人收藏。
128
A CHINESE CIZHOU ‘PARTRIDGE FEATHER’ GLAZED BOWL
PROBABLY NORTHERN SONG DYNASTY
The tapering circular body raised on a short straight foot, decorated with an unctuous black glaze with mottled russet-brown markings draining from the rim, the exterior with a paper label reading George Eumorfopoulos, no.B.231; together with three small Jun-type vessels, 10.5cm max. (4) £1,000-1,500
Provenance: the bowl, formerly the Eumorfopoulos Collection.
Literature: RL Hobson, The Eumorfopoulos Collection, 1926, vol.2, p.52, no.B231, pl.58.
The distinctive type of decoration seen on the piece offered here, known as zhegu ban or ‘partridge feathers’, was achieved by applying a slip infused with iron-oxide onto the dark glaze prior to firing. Cizhou wares with these abstract russet splashes likely drew inspiration from teabowls of the Southern Jian kilns and were produced throughout the Northern Song period into the Jin dynasty. They were much in demand with the literati, whose tea drinking culture called for dark vessels to off-set the light froth of the powdered tea popular at this date. A number of ‘partridge feather’ glazed vessels are recorded to have been in the Eumorfopoulos Collection, alongside the piece offered here. See, RL Hobson, The Eumorfopoulos Collection, p.52 and pl.58.
北宋（可能） 磁州黑釉鷓鴣斑碗及鈞窯鳥食罐 一組四件 來源：磁州碗為Eumorfopoulos（尤莫佛裡斯）舊藏。
出版：RL Hobson, The Eumorfopoulos Collection, 1926年, 卷2, 頁52, 編號 B231, pl.58.
RL Hobson, The Eumorfopoulos Collection, no. B231, pl.58
129
A RARE CHINESE CIZHOU STEM CUP YUAN DYNASTY
The shallow bowl with a flat everted rim, decorated to the exterior with a wide iron-brown band between line borders, raised on a tall, flared cylindrical stem with two ribs, covered with a creamy buff-coloured glaze stopping short of the foot, 9.8cm.
£2,000-3,000
Provenance: privately purchased in 1996, London.
Cf. Christie’s London, 12th March 2014, lot 555, for a related stem cup from the Plesch Collection.
元 磁州窯高足杯
來源：1966年購於倫敦。
A PAIR OF CHINESE PAINTED POTTERY FIGURES OF GUARDIANS TANG DYNASTY
Each depicted standing with one hand raised and the other at the hip, with traces of pigment decorating their armour and helmets, their well-defined faces with elaborate moustaches and arched eyebrows, together with two wood stands, 68cm. (4)
Together with a copy of the Oxford Authentication Thermoluminescence Analysis Report, sample no.C202d57, dated 13th December 2002.
£2,000-3,000
Provenance: from an English private collection, Sussex.
The type of armour depicted on this pair of figures first appeared in the 6th century and became widespread during the Sui and Tang periods. The chests are covered by breastplates which on the soldiers of the time would have consisted of metal plates held together by cords. The painted decoration on these figures would originally have depicted this armour in great detail, as can be seen in a slightly earlier pair of guardians illustrated in Eskenazi, Six Dynasties Art from the Norman A Kurland Collection, vol.2, pp.154-155, no.20.
唐 陶加彩武士立俑 一對 來源：英國薩克塞斯郡私人收藏。 附：紀年測試證書。
A MASSIVE CHINESE POTTERY HORSE TANG DYNASTY
The horse depicted standing proudly four-square on a rectangular base, its head raised and turned slightly to the left, with a restless expression conveyed through bulging eyes, flaring nostrils and the left ear cocked back, with a deep groove to the neck originally for fixing the mane and the tail set with white and grey horse hair, with traces of black and red pigment to the surface, 92.5cm.
Together with a copy of the Oxford Authentication Thermoluminescence Analysis Report, sample no.77d18, dated 21st December 1994.
£4,000-6,000
Provenance: from an English private collection, Sussex.
During the Tang dynasty, horses were valued as an important status symbol in Chinese society. Strict sumptuary laws regulated the ownership of horses, which were only the privilege of the aristocracy. Hence, they figured prominently not only in the painting and poetry of the time but were also a popular theme in funerary wares. The type of horses depicted was Ferghana stock from Central Asia, an import highly prized in China since the Han dynasty. Usually portrayed tacked up with saddles and other trappings, the example offered here is unusual for being untacked, thereby placing a greater emphasis on the strong physical appearance of the animal. This composition closely relates it to two glazed examples reputedly excavated from the tomb of General Liu Tingxun (d.728) in Luoyang, Henan province, later in the collection of George Eumorfopoulos and now in The British Museum, London, accession nos.1936,1012.226 and 1936,1012.227. Another similar glazed example can be seen in The Metropolitan Museum of Art, New York, accession no.51.66.
唐 馬俑
來源：英國薩克塞斯郡私人收藏。
附：紀年測試證書。
133
A CHINESE BLANC DE CHINE INCENSE BURNER
LATE MING CENTURY
The compressed circular body applied with two lion-mask handles and raised on a short tapering foot, the base with an impressed four-character Chenghua mark, 14.2cm.
£2,000-3,000
Provenance: from an English private collection, Sussex.
Cf. Marchant, Exhibition of Blanc de Chine, November 2014, nos.85, 86 and 87 for comparable examples. See also, R Krahl, Chinese Ceramics from the Meiyingtang Collection, vol.2, no.1000, where the author notes: ‘This shape derives from a bronze prototype of the Ming dynasty’.
明晚期 德化白瓷獸耳爐
來源：英國薩克塞斯郡私人收藏。
132
A RARE CHINESE CORAL-GROUND BRUSH WASHER
18TH CENTURY
The compressed lobed body below a shaped rim and raised on eight small ruyi-head feet, 15.5cm.
£1,500-2,500
Provenance: from an English private collection, London. 十八世紀 珊瑚紅釉花口洗 來源：英國倫敦私人收藏。
A CHINESE CELADON GLAZED HU-SHAPED VASE SIX-CHARACTER YONGZHENG MARK BUT PROBABLY LATER
With a globular body and a waisted cylindrical neck, the shoulder applied with two mask handles with fixed rings, all covered with an even pale celadon clouded glaze, together with a wood stand, 32cm. (2)
£4,000-6,000
Provenance: from the collection of David Allen Erskine Bell (1885-1938), a member of a British military family who served as an HSBC employee from 1906 to 1937. He worked as a manager for the Hong Kong and Shanghai Bank in various locations, including Xiamen, Malacca, Kobe, Tianjin, and Shanghai. Within HSBC he played a significant role in the development and financing of China’s railway systems during the early 20th century.
For an almost identical vase see Christie’s London, 12th November 2010, lot 1039.
清雍正或更晚 青釉弦紋獸耳壺 《大清雍正年製》青花楷書款 來源：David Allen Erskine Bell（1885-1938）收 藏，出生於英國軍官家庭，在1906-1937年間 在匯豐銀行工作。他曾是匯豐香港及上海銀行 的多個辦事處的總經理，其中包括廈門、馬六 甲、天津、上海等。 在匯豐銀行工作期間， 他對中國鐵路系統的建設和融資擔當著重要 的角色。
135
The flared bowl painted to the exterior with wide lappets of diaper against alternating grounds of yellow, puce, turquoise and pink, beneath a rim of floral scrolls with gilt decoration, the inside with a floral spray including peony and finger citron, 11.7cm.
£2,000-3,000
Provenance: from an English private collection, London.
Cf. A similar bowl together with its lid is illustrated in GC Williamson, The Book of Famille Rose, pl.21.
清雍正 粉彩花卉紋撇口碗 《大清雍正年製》青花楷書款 來源：英國倫敦私人收藏。
136
Decorated with a spray of chrysanthemum to the well and painted to the cavetto with flowering prunus, magnolia and peony, extending over the rim to the exterior of the dish, 20.4cm.
£2,000-3,000
Provenance: from an English private collection, Sussex.
Cf. The Mount Trust Collection of Chinese Art, London, 1970, pl.115 for a related dish.
清雍正 粉彩折枝菊花紋碟 《大清雍正年製》青花楷書款 來源：英國薩塞克斯郡收藏。
137
A CHINESE FAMILLE ROSE TEABOWL
SIX-CHARACTER YONGZHENG MARK AND OF THE PERIOD 1723-35
Decorated to the sides with scrolling peony and a butterfly, together with a wood stand, 7.1cm. (2)
£1,000-2,000
Provenance: from an English private collection, London.
清雍正 粉彩折枝花卉紋碗 《大清雍正年製》青花楷書款 來源：英國倫敦私人收藏。
A PAIR OF CHINESE BLUE AND WHITE JARDINIERES KANGXI 1662-1722
Each painted with dignitaries and their attendants before a screen on a terrace, with plantain trees to the reverse, artemisia leaf marks to the bases, 22cm. (2)
£15,000-25,000
Provenance: formerly the collection of GRA Murray. 清康熙 青花故事人物圖花盆 一對 來源：GRA Murray舊藏。
139
AN UNUSUAL CHINESE WUCAI INK STONE WANLI 1573-1620
Perhaps for the Japanese market, of trapezoidal shape decorated with a dragon and a dragon-fish rising from crashing waves to contest a flaming pearl amidst scrolling clouds, the sides painted with breaking waves, together with a hardwood cover with three gilt characters and a tomobako wood box and cover, 16.6cm. (3)
£1,500-2,500
Cf. A related inkstone of a waisted shape decorated in underglaze blue with a dragon below breaking waves and a tiger amidst bamboo, illustrated in M Kawahara et al., Ko-Sometsuke, vol.1, pp.134-135, no.105.
明萬曆 五彩海水趕珠龍紋硯
140
A CHINESE FAMILLE VERTE ‘FIGURAL’ BRUSHPOT, BITONG KANGXI 1662-1722
With a flared cylindrical body, painted with scholars and officials in a terraced garden, 13.4cm.
£1,000-2,000
清康熙 五彩人物故事紋筆筒
A RARE AND UNUSUAL CHINESE WUCAI ‘DRAGON AND CARP’ ALMS BOWL SHAPED VESSEL MID 17TH CENTURY
The compressed globular body painted with a dragon-fish and two carp leaping from whirlpools and cresting waves beneath wispy clouds, all raised on the shoulders of three boys wearing long robes decorated with stylised floral motifs, together with a Japanese bronze cover with a flower finial, 16cm. (2)
£3,000-5,000
Provenance: from an English private collection, London.
The unusual shape of this vessel is rarely found in Chinese ceramics. This structure must have been known by the 17th century, as seen in a Kangxi period cloisonné vessel of a comparable alms-bowl shape featuring three gilt-bronze figures supporting the piece, sold at Bonhams Hong Kong, 29 November 2023, lot 870. 十七世紀中期 五彩魚化龍三足爐 來源：英國倫敦私人收藏。
A RARE CHINESE WUCAI SILVER-GILT MOUNTED BOWL JIAJING 1522-66
The exterior painted with iron-red, green and turquoise panels of pheasants and foliage reserved on an iron-red ground, the interior decorated with an underglaze-blue medallion of a waterbird among lotus to the well and a band of diaper to the rim, the sides with two paper labels, ‘Oriental Ceramic Socy., 1950 Exhib’n., 119’ and ‘Oriental Ceramic Socy., 1957 Exhib’n., 219’, the base with a further paper label, ‘AC 516’, the silver-gilt mounts late 16th/early 17th century, possibly Augsburg or Nuremberg, 14.6cm.
£8,000-12,000
Provenance: formerly the collection of RW Brandt by 1923; then the collection of Mr and Mrs Alfred Clark; sold by Sotheby’s London, 24th March 1953, lot 60, to Bluett & Sons, London; purchased by Mr Charles J Aron, 19th May 1953; sold by Mrs Charles Aron, 24th April 1963, to Bluett & Sons, London; purchased by Mrs Irene Dreyfus, 5th July 1963; with Ralph M Chait Galleries Inc, New York, 1980s; later the property of an important Charleston collection.
Exhibited: Oriental Ceramic Society, Polychrome Porcelain of the Ming and Manchu Dynasties, 1950, no.119; Oriental Ceramic Society, The Arts of the Ming Dynasty, 15th November - 14th December 1957, no.219.
Published: RL Hobson, The Wares of the Ming Dynasty, pp.116-117, pl.6, fig.2; Warren E Cox, The Book of Pottery and Porcelain, vol.1, p.485, and pl.140; Roy Davids and Dominic Jellinek, Provenance, p.50.
The extensive provenance, exhibition history and publication of the wucai bowl offered here give a clear illustration of the artistic and historical importance of this piece. Dated to the 16th century, it is a testament to the early phase of economic and cultural exchange between China and the West, before the consolidation of the trade routes that would emerge over the course of the following centuries. After the founding of the Dutch East India Company in 1602, the volume of pieces exported from China would increase significantly, but at this date porcelain reaching Europe was extremely rare. The principal conduits were the Portuguese, who had established a trading base in Macau in 1557, and the Spanish, with their Central American colonies providing an ideal mid-point for their alternative shipping route, as well as the historic overland route via Central Asia to Turkey. Through them, a limited number of wares made in Jingdezhen were able to reach the West, so highly priced that they were only available to the very richest echelons of society.
Consequently, porcelain was treated with the same reverence as other exotica displayed in the fashionable kunstkabinetts, or ‘cabinet of curiosities’, of the day. In much the same way as nautilus, coconuts and ostrich eggs, porcelain was applied with metal mounts that adapted it to Western taste and signalled its value to contemporary viewers. Thus when displayed in an effort to expand knowledge even as Europe embarked on its first explorations of Africa, Asia and the Americas, it took its place amongst the many forms of naturalia and artificialia collected at the time. Similarly mounted porcelain bowls of the Jiajing period can be seen in The Victoria and Albert Museum, such as the ‘Trenchard’ bowl, accession no.M.945-1983, and a contemporary kinrande-type bowl, accession no.M.16-1970, the latter illustrated in Stacey Pierson, From Object to Concept: Global Consumption and the Transformation of Ming Porcelain, fig.2.7. Two further mounted kinrande-type bowls are also in The Metropolitan Museum of Art, accession nos.79.2.1122 and 68.141.125a, b, the former illustrated in Suzanne G Valenstein, A Handbook of Chinese Ceramics, p.178, no.174. 明嘉靖 五彩錦上添花紋盌鑲銀鎏金耳 來源：RW Brandt舊藏（1923年前）；Alfred Clark伉儷舊藏；Bluett & Sons於1953年3月24日在倫敦蘇富比購入，拍品編號60；Charles J Aron先 生於1953年5月19日購入，其後Bluett & Sons於1963年4月24日從Charles J Aron太太購回；Irene Dreyfus女士於1963年7月5日購入；Ralph M Chait Galleries Inc於1980年代購入，其後成為美國南卡羅來納州查爾斯頓市重要收藏。
展覽： 東方陶瓷學會，Polychrome Porcelain of the Ming and Manchu Dynasties, 1950年, 編號119。 東方陶瓷學會，The Arts of the Ming Dynasty, 1957
年11月15日至12月14日, 編號219。
出版：R L Hobson, The Wares of the Ming Dynasty, 頁116-117, 圖版6, 圖2; Warren E Cox, The Book of Pottery and Porcelain, 第 1 卷, 頁485, 及圖版140; Roy Davids and Dominic Jellinek, Provenance, 頁50。
R L Hobson, The Wares of the Ming Dynasty 1962
143
A PAIR OF CHINESE FAMILLE VERTE BOTTLE VASES
KANGXI 1662-1722
The pear-shaped bodies and slender tapering necks decorated with a continuous scene of two blue and green birds perched on trailing branches of flowering prunus and bamboo issuing from rockwork, 19.5cm.
£4,000-6,000
Provenance: from an English private collection, London, purchased from Vanderven & Vanderven, 20th June 1987; a copy of the receipt is available.
Cf. A closely related pair illustrated in the exhibition catalogue for Marchant, Kangxi Famille Verte, 30th October - 10th November 2017, no.19, and another from the collection of Major AJA Douglas sold at Sotheby’s London, 27th February 1973, Lot 104.
清康熙 五彩喜上眉梢紋瓶 一對 來源：英國倫敦私人收藏，1987年6月20日購於 Vanderven & Vanderven（附發票複印件）。
A SMALL CHINESE FAMILLE VERTE ‘PHOENIX’ VASE KANGXI 1662-1722
The baluster body painted with a continuous scene of two phoenix perched on rockwork beneath a wutong tree, together with further birds including cranes, a pheasant, mandarin ducks and a peacock, the base with a paper label reading ‘Marchant London Kangxi 1662-1722’, 21.6cm.
£3,000-5,000
Provenance: from an English private collection, London, purchased from Richard Marchant Ltd, 27th May 1986; a copy of the receipt is available.
清康熙 五彩百鳥朝鳳紋瓶
來源：英國倫敦私人收藏，1986年5月27日購於Richard Marchant Ltd. 馬錢特古董店（附發票複印件）。
146
A CHINESE IRON-RED AND UNDERGLAZE-BLUE ‘DRAGON’ DISH
SIX-CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95
With rounded sides rising to a gently everted rim above a short slightly tapered foot, the interior with a roundel depicting a sinuous five-clawed iron-red dragon writhing above crashing waves, the exterior with nine further iron-red dragons against crashing waves beneath a formal floral border to the rim, 18cm.
£3,000-5,000
Provenance: Christie’s London, 5th November 2019, lot 139.
Cf. An identical dish of Qianlong mark and period in The Metropolitan Museum of Art, New York, accession no.1976.403.1, illustrated in S Valenstein, A Handbook of Chinese Ceramics, pl.291.
清乾隆 青花礬紅彩海水龍紋盤
《大清乾隆年製》 青花篆書款
來源：購於倫敦佳士得，2019年11月5日，拍品編 號139。
145
A CHINESE DOUCAI ‘DEER’ DISH SIX-CHARACTER YONGZHENG MARK AND OF THE PERIOD 1723-35
The interior with a roundel depicting a deer in a fenced garden with lingzhi growing from rockwork below two bats and scrolling clouds, the cavetto painted with a monkey sitting on a fruiting peach tree along with a bird, insects, cockscomb and further lingzhi, the exterior with four scrolling ruyi-heads, 20.3cm.
£4,000-6,000
Provenance: formerly from a distinguished European private collection, acquired in June 1979 from an important French private collection, Paris; Bonhams London, 8th November 2012, lot 103.
Deer have traditionally been symbols of longevity, wealth and grace in Chinese culture, as the character for deer, lu (鹿), is a homophone for blessings, lu (祿). They are frequently depicted beside Shoulao, the God of Longevity, as they are understood to have the gift of seeking out lingzhi, the fungus of immortality. As a subject in doucai porcelain the deer became popular during the Yongzheng period, having appeared in small numbers during the Kangxi reign. Compare the piece offered here with an earlier Kangxi example with an apocryphal Xuande mark in the Shanghai Museum, illustrated in Wang Qingzheng, Kangxi Porcelain Wares from the Shanghai Museum Collection, pp.262-263, no.170.
清雍正 鬥彩猴鹿紋盤 《大清雍正年製》青花楷書款 來源: 歐洲著名私人舊藏，1979年6月購於法國巴
黎重要私人收藏，其後購於倫敦邦瀚斯，2012年
11月8日， 拍品編號103。
A PAIR OF CHINESE PUCE-ENAMELLED BLUE AND WHITE ‘EIGHT IMMORTALS’ BOWLS
SIX-CHARACTER GUANGXU MARKS AND OF THE PERIOD 1875-1908
Each having gently rounded sides rising from a short slightly tapered foot, the exteriors painted in underglaze blue with the Eight Immortals with their attributes, riding on various sea creatures or plants and journeying across a ground of puce-enamel crashing waves, the interiors similarly decorated with central medallions enclosing Shoulao standing beside a spotted deer amidst waves below swirling clouds, 22.2cm. (2)
£15,000-20,000
The decoration on the present lot is derived from Kangxi period examples and became particularly popular in the 19th century, as discussed in Christiaan JA Jörg et al, Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam: The Ming and Qing Dynasties, pp.132-133, nos.138-139. Although following the same design, it is underglaze red that features on the Guangxu period bowl in the Rijksmuseum, Amsterdam, accession nos.AK-NM-12466. For another Guangxu example with puce enamel, see G Avitabile, From the Dragon’s Treasure: Chinese Porcelain from the Nineteenth and Twentieth Centuries in the Weishaupt Collection, p.59, pl.72. A further closely related Guangxu bowl from the collection of Simon Kwan was included in the exhibition Imperial Porcelain of Late Qing at the Chinese University of Hong Kong, 1983, cat. no.112.
清光緒 青花胭脂紅八仙過海紋大盌 一對
《大清光緒年製》青花楷書款
149
A SMALL CHINESE IMPERIAL YELLOW-GROUND ‘DRAGON’ SAUCER DISH
SIX-CHARACTER GUANGXU MARK AND OF THE PERIOD 1875-1908
Decorated to the centre with incised dragons contesting a sacred pearl amidst flames within a double line border, one dragon highlighted in aubergine enamel, the other picked out in green, the border with six fruit and flower sprays, the reverse with two chilong, all reserved on an egg yolk-yellow ground, 10.8cm.
£800-1,200
Provenance: from an English private collection, London.
Cf. H Li, Chinese Ceramics, The New Standard Guide, p.297, no.622, for a dish with a similar design.
清光緒 黃地褐綠彩趕珠龍紋碟
《大清光緒年製》楷書款
來源: 英國倫敦私人收藏。
148
A CHINESE AUBERGINE AND GREEN-ENAMELLED ‘DRAGON’ BOWL
SIX-CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722
The exterior decorated with two sinuous five-clawed dragons chasing flaming pearls among wispy clouds above breaking waves and rockwork, 13.3cm.
£4,000-6,000
Provenance: formerly an English private collection, Sussex, acquired in the 1990s.
Cf. Two comparable Kangxi marked bowls are in the Helen and Peter Lin Collection, illustrated in Joined Colors: Decoration and Meaning in Chinese Porcelain, Chinese Ceramics from the Min Chiu Society, Hong Kong, pp.90-91, nos.19 and 20. A similar Kangxi bowl but of different proportions is in the Palace Museum, Beijing, published in Gugong Bowuyuan cang gu taoci ciliao xuancui (Selection of ancient ceramic material from the Palace Museum), vol.2, pl.88. Another is in the Asian Art Museum of San Francisco, illustrated in He Li, Chinese Ceramics: A New Standard Guide, pl.615. A further comparable example is in the Shanghai Museum, published in Wang Qingzheng, Kangxi Porcelain Wares from the Shanghai Museum Collection, pl.196.
The design is based on a Ming prototype, as seen in a larger Wanli marked bowl with the addition of a key fret band to the foot, illustrated in Porcelain of the National Palace Museum: Enamelled Ware of the Ming Dynasty, vol.3, pl.9. The colour combination of the piece offered here became popular in the early Qing period and is also known on examples from the Yongzheng and Qianlong reigns, remaining in use into the 19th century. At the time of Qianlong green-enamelled porcelains with purple dragons were apparently reserved for guiren, or sixth-rank consorts. See Splendours of China’s Forbidden City: The Glorious Reign of Emperor Qianlong, pp.197-202.
清康熙 綠地褐彩趕珠龍紋盌
《大清康熙年製》青花楷書款 來源: 英國薩塞克斯郡私人舊藏，購於1990年代。
150
A CHINESE IMPERIAL REVERSE-DECORATED BLUE AND WHITE ‘DRAGON’ DISH
SIX-CHARACTER JIAQING SEAL MARK AND OF THE PERIOD 1796-1820
With shallow rounded sides, rising from a subtly tapered foot to an everted rim, the central roundel enclosing a fiery five-clawed dragon pursuing a flaming pearl amidst flames and cloud scrolls on an inky blue ground, the cavetto and exterior similarly decorated with the dragons in profile, 25.2cm.
£6,000-8,000
Provenance: from the collection of Alice, Lady Nightingale (died c.1970), and thence by descent.
Cf. Christie’s London, 15th May 2007, lot 270 for a Qianlong mark and period blue and white example. 清嘉慶 青花雲龍趕珠紋盤
《大清嘉慶年製》青花篆書款
來源：Alice Nightingale 女士 (1970年逝) 收藏，之後由其後人繼承。
A LARGE AND RARE CHINESE BLUE AND WHITE LANTERN-SHAPED VASE YONGZHENG 1723-35
The cylindrical body rising from a gently stepped foot to a short waisted neck with a flared rim, decorated to the body with an archaistic motif of kui-dragons among stylised trailing peony between formal bands of plantain leaves and ruyi-head lappets, the neck and foot with foliate scrolls and bands of geometric flowers and ruyi-heads, 36.5cm.
£4,000-6,000
Provenance: from an English private collection, London.
The archaistic style of this piece is typical of work produced under the Yongzheng Emperor who actively promoted the revival of Ming porcelain designs at the Imperial kiln of Jingdezhen. Tang Ying (1682-1756), director of the kiln at this time, records a number of antiquities from the Imperial collection being sent down as prototypes, particularly underglaze-blue porcelains produced during the reigns of Yongle (1403-25) and Xuande (1426-35). These wares were copied meticulously, down to the fine detail of their characteristic feature of ‘heaping and piling’, as seen in the piece offered here. By contrast, the ‘lantern’ shape was an innovation of the Yongzheng period, often featuring additional vase-shaped flanges to either side and originally used with Guan-type or Ge-type glazes, such as the two Yongzheng examples in the Palace Museum, Beijing, illustrated by Geng Baochang, Gugong Bowuyuan cang Qingdai yuyao ciqi, pls.174 and 206. 清雍正 青花夔龍牡丹紋燈籠瓶 來源: 英國倫敦私人收藏。
A RARE CHINESE BLUE AND WHITE MING-STYLE ALTAR CANDLESTICK FOUR-CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95
Constructed in two sections, the lower tier with a wide tray below a knop stem and the upper tier with a baluster stem above a similar tray and terminating in a drip pan, decorated with bands of differing formal designs including trailing lotus, peony and other flowers, ruyi-heads, plantain leaves, breaking waves and foliate lappets, 25cm.
£5,000-8,000
Provenance: from an English private collection, London.
Candlesticks of this type traditionally featured as part of the garniture of the five vessels, wu gong, made for the principal altar of a temple. This sacrificial set comprised a pair of flower vases, two candlesticks and a tripod incense burner. A larger pair of Ming-style candlesticks with a presentation inscription by Tang Ying (1682-1756), director of the Imperial kiln at Jingdezhen during the early Qianlong period, is in The Victoria & Albert Museum, accession no. FE. 129-1975, donated from the Bushell Collection and illustrated in Rose Kerr, Chinese Ceramics: Porcelain of the Qing Dynasty 1644-1911, pp.66-67 and 69, pl.45. Another pair signed by Tang Ying and dated to 1740 is in the Hildesheim Museum, Germany, illustrated in Ulrich Wiesner, Chinesisches Porzellan. Die Ohlmer’sche Sammlung im Roemer-Museum, Hildesheim, pp.44 and 108-109. Compare also with the pair sold in these rooms, 13 November 2013, lot 169.
清乾隆 青花纏枝蓮紋燭臺
《乾隆年製》青花篆書款
來源: 英國倫敦私人收藏。
A GOOD CHINESE BLUE AND WHITE ‘BINGJI AND THE BUFFALO’ GU-SHAPED VASE TRANSITIONAL PERIOD C.1640
Decorated with two continuous narrative scenes from the account of the travels of Bingji, the upper register depicting the chengziang rising from his sedan in the midst of his entourage to confront the farmer on account of his suffering buffalo, the lower register with Bingji studying under a willow tree in the company of a scholar, all above a border of plantain leaves to the splayed foot, 44.7cm.
£10,000-20,000
Provenance: Carrycoats Hall, Northumberland.
The scenes on the present lot relate to the story recorded by the historian Ban Gu (32-92 AD) in the Hanshu (History of the Han) relating to the inspection tours of Bingji (d.55 BC), the chengziang or Grand Chancellor during the reign of the Emperor Xuan (74-49 BC). While on reconnaissance outside the capital, Bingji is recounted to have witnessed two events that signalled to him an imbalance in the harmony of qi in the empire. The first was a group of people fighting violently with the dead strewn on the ground, a scene by which he was initially unconcerned, and the second was an encounter with a farmer leading a stricken buffalo, its parched tongue hanging out. Alarmed at this sight, Bingji leapt from his sedan to confront the farmer on the animal’s condition, seeing in it an omen of an imbalance in the cosmos. This moment is the event depicted on the lot offered here and was a popular scene for the decoration of wares during the Transitional period. See, for instance, the rolwagen and the double-gourd vase both from the Sir Michael Butler Collection, illustrated in T Canepa and K Butler, Leaping the Dragon Gate, respectively pp.208 and 210-211, no.III.2.41a,b, and p.236, no.III.2.65, the latter sold at Christie’s Hong Kong, 30th November 2023, lot 3042. Another similar rolwagen was sold at Sotheby’s London, 16th May 2018, lot 119.
明末清初 青花丙吉問牛紋花觚
來源：英國諾森波蘭郡Carrycoats Hall莊園收藏。
JAPANESE & KOREAN WORKS OF ART
TUESDAY 21ST & WEDNESDAY 22ND MAY 2024
ENQUIRIES
Alexandra Aguilar | + 44 (0)1722 424583 | aa@woolleys.live
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MODERN BRITISH & 20TH CENTURY ART
WEDNESDAY 5TH JUNE 2024
22
Estimate £15,000 - 20,000*
ENQUIRIES
Victor Fauvelle
+44 (0)1722 446961
vf@woolleys.live
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Sir Jacob Epstein (1880–1959) Second Portrait of George Bernard Shaw (Head) Signed Epstein (to the back of neck) Bronze with green patina, on a black stone base, conceived in 1934 43.8 x x 29.4cmFINE ARTS & CRAFTS
WEDNESDAY 19TH JUNE 2024
Four Martin Brothers stoneware bird jars and covers (From over 30 lots of Martin Ware)
ENQUIRIES
Michael Jeffery | +44 (0)1722 424505 | mj@woolleys.live
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FURNITURE, WORKS OF ART & CLOCKS
WEDNESDAY 3RD &
THURSDAY 4TH JULY 2024
Estimate £3,000 - 5,000*
ENQUIRIES
Mark Yuan-Richards
+44 (0)1722 411854 | myr@woolleys.live
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An Italian gilt-bronze Grand Tour figure of Apollo, in the manner of Massimiliano Soldani Benzi
