Fine Chinese Paintings & Works of Art...CHINESE CERAMICS AND WORKS OF ART Asaph Hyman +44 (0) 20 7468 5888 [email protected] ENQUIRIES Chinese Works of Art ... Sui 589-618 Tang

Fine Chinese Paintings & Works of Art New York | July 21, 2020

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Fine Chinese Paintings & Works of ArtNew York | Tuesday July 21, 2020 at 12 noon

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PRINCIPLE AUCTIONEERSJacqueline Towers-Perkins - 2068426-DCAIan Ehling - 2068610-DCA

Bonhams & Butterfields Auctioneers Corp.2077070-DCA

IMPORTANT SHIPPING NOTICEPlease note that due to the mandated closures of nonessential businesses in New York and California, Bonhams US can provide post-sale shipping quotes, however, we are unable to release property for collection or shipping until such mandates are lifted and our physical offices reopen. All lots which have been paid for in full will be held in our storage facilities free of charge until our premises re-open and for a thirty (30) day period after we notify you that lots are available for collection. Storage charges will apply after this 30-day period for any lots which have not been collected. After we notify you that lots are available for collection, we ask that you make an appointment for the retrieval of your purchases by calling our main telephone number (212) 644 9001. Please also inform us of any special instructions regarding the retrieval, shipping and/or transportation of any purchases.

ILLUSTRATIONSFront Cover: lot 8Back Cover: lot 172Inside Front Cover: lot 25Inside Back Cover: lot 77

SALE NUMBER: 26127Lots 1 - 194

CATALOG: $45

BIDS+1 (212) 644 9001+1 (212) 644 9009 [email protected]

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Please see pages 198 - 203 for bidder information including Conditions of Sale, after-sale

collection and shipment.

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

ENQUIRIESChinese Works of Art

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

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

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

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

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Rachel HymanLondon, Knightsbridge

Colin SheafDeputy Chairman

Dessa GoddardUS Head, Asian Art

Asaph HymanGlobal Head, Chinese Art

Xibo WangHong Kong

Keason TangHong Kong

Ian GlennieEdinburgh

Asha EdwardsEdinburgh

Aude Louis CarvesParis

Rosangela AssennatoLondon, Knightsbridge

International Chinese Works of Art and Paintings Team

Benedetta MottinoLondon, New Bond Street

Edward LuperLondon, New Bond Street

Global

Europe

Asia

Iris MiaoHong Kong

Dick LinSan Francisco

Australia

USA

Asia Representatives

Ming HuaNew York

Harold YeoNew York

Daniel HerskeeSan Francisco

Ling ShangSan Francisco

Amelia ChauSan Francisco

Rachel DuLos Angeles

Yvett KleinSydney

Jenny TsaiTaipei

Bernadette RankineSingapore

Bruce MacLarenNew York

Bobbie HuTaipei

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NEOLITHIC CULTURES

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

EARLY DYNASTIES

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

IMPERIAL CHINA

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

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

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

REPUBLICAN CHINA

Republic 1912-1949 People’s Republic 1949-

Chronology

Chinese Art from the Kelton Collection

Lots 1 - 46

PROPERTY FROM THE KELTON COLLECTION OF CHINA TRADE PAINTINGS AND WORKS OF ART

Some collectors are known to have great passions for their specialty, but few could match those of Richard Kelton (1929-2019). His varied interests were focused on the Pacific, and within those he was omnivorous. He collected Polynesian, Australian Aboriginal, Hawaiian, and Asian and Western art concerned with the historic trade between Asia, Europe and the Americas. His interests were visual and intellectual, so he collected two and three-dimensional works of art, but also nautical instruments, maps and books: anything that would shed light on what engaged and inspired him.

He established the non-profit Richard Kelton Foundation in 1983 to share his love of science and art, and generously loaned his collections to multiple museum exhibitions. One of the first, drawn from his collection, was Trade and Treasure and the Race for Riches – The China Trade at the Pacific Asia Museum (1987), and the last he lent to was The Dragon and the Eagle: American Traders in China; Century of Trade from 1784 to 1900, Hong Kong Maritime Museum (December 14, 2018 to April 14, 2019). The loans to both were drawn from his Asian export art collection, a portion of which is offered by Bonhams.

The selections offered here include China trade paintings of ports, including Foochow (Fuzhou), Canton (Guangzhou), Hangzhou, Hong Kong, Shanghai, and Macau. Chinese artists represented include Tonqua, Lamqua, and Sunqua, and later artists such as Woo Cheong and Yeu Qua, and includes a masterpiece portrait of Sir Jamesetjee Jeejebhyo by Lamqua.

In addition, China trade silver, porcelain, textiles, and furniture offered in the sale further contextualize the artistic and historic interactions between Chinese artists and Western clients that was so important to Richard Kelton’s passion for collecting and sharing.

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PROPERTY FROM THE KELTON COLLECTION

1ANONYMOUS, CANTON SCHOOL Waterfront at Canton, circa 1855 Oil on canvas, on stretcher, framed and glazed. 17 x 29in (43.2 x 73.6cm)

US$20,000 - 30,000

佚名沙面　布面油畫　鏡框　約一八五五年作 Provenance Christie’s, London, 23 March 1987, lot 314A 來源倫敦佳士得，1987年3月23日，拍品編號314A This unusual view is of Shamian (Shameen or Shamin) Island to the west of the hongs at Canton. On the hill at the far right is the Five-Story Pagoda (Zhenhai Tower), now the Guangzhou Museum in Yuexiu Park. After the Second Opium War and the destruction of the hongs, this area was given as concessions to the British and the French. Prominent within the view is an American side-wheeler, a steam powered vessel that stands in stark contrast to the smaller, local craft that crowd the river. Although its visible differences give the ship a foreign appearance, paddle wheel ships had been a presence in Chinese naval life since the 5th century.

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2ANONYMOUS, CANTON SCHOOLNemesis and Ships on Boca Tigris Forts, circa 1841 Oil on canvas, on a stretcher, framed and glazed. 17 x 20in (43.1 x 50.8cm)

US$15,000 - 20,000

佚名　虎門砲台前的復仇女神號　布面油畫　鏡框　約一八四一年作 This is a north-west view into the Bocca Tigris (Humen), the entrance to the Pearl River leading to Canton. The straits of Bocca Tigris are about thirty miles south of Whampoa. On either side are the fortified islands of North and South Wantong (left) and Annunghoi (right), with one Western ship homeward bound. Nemesis was a British warship that launched in 1839 and used in the First Opium War. The ship is seen in the foreground with the British flag. On January 7th, 1841 Nemesis attacked the Bocca Tigris forts, against the Chinese fleet.

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3ANONYMOUS, CANTON SCHOOLFukien Junks on Pearl River with Fort, circa 1820 Gouache on paper, framed and glazed. 13 x 17 1/2in (33 x 44.5cm)

US$6,000 - 8,000

佚名　砲台與泊在珠江上的福建商船　水粉紙本　鏡框　約一八二〇年作 Provenance Christie’s, South Kensington, 19 June 1998, Lot 643 來源倫敦南肯辛頓佳士得，1998年6月19日，拍品編號643 Along with larger trans-oceanic merchant vessels and clipper ships that populated the Pearl River Delta at the height of the China trade, Chinese junks also played a crucial role in the international trade. These smaller vessels, here depicted at their moorings near the Dutch Folly Fort, would have been the type that carried Chinese goods to the closer markets in South Asia and the Philippines.


4ANONYMOUS, CANTON SCHOOLChinese House and Water Gardens with Figures, circa 1865 Oil on canvas; in a frame of lacquered wood with gilt decoration. 20 x 24 1/2in (50.8 x 62.2cm)

US$10,000 - 15,000

佚名　庭園小景　布面油畫　鏡框　約一八六五年作 Provenance Sotheby’s, London 來源倫敦蘇富比

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5ANONYMOUS, CANTON SCHOOLScene from Seloka’s Garden, circa 1820 Gouache on paper, framed and glazed. 14 1/2 x 19in (36.8 x 48.3cm)

US$4,000 - 6,000

佚名　園景　水粉紙本　鏡框　約一八二〇年作　 Provenance Sotheby’s New York, 10-11 April 1986, lot 59 來源紐約蘇富比，1986年4月10-11日, 拍品編號59

6ANONYMOUS (19TH CENTURY) Map of CantonRed ink on paper, framed and glazed; covering the area from ‘Po Kik Fort’ to the north to ‘Ho Nam Temple’ to the south. 17 3/4 x 27in (45 x 68.5cm) sight

US$1,000 - 1,500

佚名　廣州城規劃圖　紙本　鏡框　十九世紀

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7ATTRIBUTED TO LAMQUA (GUAN QIAOCHANG, ACTIVE 1820-1860)La Surprise after Claude-Marie Dubufe, circa 1840-1845 Oil on canvas, on a stretcher, framed. 14 x 10in (35.6 x 25.4cm)

US$15,000 - 25,000

（傳）林呱　臨克勞德·馬立·杜卜夫《驚喜》　布面油畫　鏡框　約1840-1845年作 Provenance Childs Gallery, Boston, MA, 1987, by repute 來源據藏家，1987年購於麻省波士頓Childs畫廊

Lamqua (Guan Qiaochang 關喬昌, active 1820-1860) was one of the most prominent Chinese painters specializing in portraiture and skilled in copying Western prints, as evinced by the portrait of Sir Jamesetje Jeejeebhoy offered in this sale (Lot 8). Having studied under the British painter George Chinnery (1774-1852), Lamqua was the first named Chinese painter working in the Western manner to be exhibited in America. La Surprise was copied from a print by S. Cousin and W. Rofle after a painting by Claude-Marie Dubufe (French, 1790-1864), now in the National Gallery, London. Dubufe was a student of Jacques-Louis David and exhibited at the 1810 Salon. La Surprise is similar in execution to Lamqua’s painting of the Grande Odalisque, now in the collection of the Peabody Essex Museum. That composition was created from an 1825 lithograph of an 1814 painting by Jean-Auguste-Dominique Ingres (1780-1867).

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8ATTRIBUTED TO LAMQUA (ACT. 1820-1860)Portrait of Sir Jamsetjee Jeejeebhoy, 1st Bt. (1783-1859), circa 1844 Oil on canvas, on a stretcher, framed and glazed. 19 x 26in (48.3 x 66cm)

US$70,000 - 90,000

（傳）林呱　Jamsetjee Jeejeebhoy男爵肖像　布面油畫　鏡框　約一八四四年作 Provenance Geoffrey Benison Martyn Gregory Gallery, London, 1986 Label on frame, “John Stone, Lot 51 21/5/97, 19/Sep/95, Property no. 20102791 Robert Sawers, London Published Martyn Gregory, Canton and the China Trade, Cat. 43, Summer 1986, no. 101, ills. p. 70 Patrick Conner, George Chinnery 1774-1852: Artist of India and the China Coast, Woodbridge: Antique Collectors’ Club, 1993, pp.216-217, 219, plate 90 Patrick Conner, The Hongs of Canton: Western Merchants in South China 1700-1900, London: English Art Books, 2009, p. 119, fig. 5.5 來源 Geoffrey Benison珍藏倫敦Martyn Gregory畫廊, 1986 標籤, “John Stone, 拍品編號51 21/5/97, 19/Sep/95, Property no. 20102791 Robert Sawers, 倫敦出版 Martyn Gregory, Canton and the China Trade, 1986年夏第101期, 圖錄編號43, 70頁 Patrick Conner, George Chinnery 1774-1852: Artist of India and the China Coast, Antique Collectors’ Club, 1993年, 圖版90，216-217, 219頁 Patrick Conner, The Hongs of Canton: Western Merchants in South China 1700-1900, English Art Books, 2009年, 插圖5.5, 119頁 The Merchant Prince of Bombay, Sir Jamsetjee Jeejeebhoy (1783-1856) William R. Sargent Called the Merchant-Prince of Bombay, Sir Jamsetjee Jeejeebhoy was the best known of the Parsi merchants trading with China who, alongside other Parsis and Indians, played a major role in the globalization of Asian economies. Born in 1783, he turned to the sea and international trade for a career when he was orphaned in 1799, and until 1806 made five journeys to Canton. On a voyage aboard the East India Company ship Brunswick in 1804 he met William Jardine (1784-1843) who would become a lifelong friend and business colleague. After leaving the sea he established his own business and by 1820 was a ship owner with trading contacts throughout the East. By 1830 he and his eldest son Cursetjee were trading with Magniac & Co., which was superseded in 1832 by Jardine, Matheson & Co., Hong Kong, the company co-founded by William Jardine and James Matheson (1796-1878). Jeejeebhoy’s extensive trade with the company “dwarfed all the others” between 1827 and 1843. Jardine Matheson was responsible for over more than $2million of Jeejeebhoy’s business a year.

In 1822, among the first of his beneficence, he paid the debts of all debtors in the Bombay civil jail. He went on to finance hospitals, colleges, waterworks and causeways, as well as to champion the education of women. Among the institutions that benefited from his support were the Sir J J Hospital, the Sir J J Parsi Benevolent Institution, the Bandra–Mahim Causeway, the Grant Medical College, the Sir J J Poona Waterworks, and the Sir J J School of Art. In May 1842 he was presented the Patent of Knighthood from Queen Victoria, the first Indian to be knighted. In December 1842 he “received a further mark of her Majesty’s approbation of his generosity and public spirit in the shape of a gold medal set in diamonds,” which bore the image of the Queen with an inscription on the reverse: ‘Sir Jamsetjee Jeejeebhoy, Bart., from the British Government, in honour of his munificence and his patriotism.’” Jeejeebhoy is depicted in the portrait wearing traditional Parsi garb – a flowing jama (floor length double-breasted coat) and pichoree (waist cloth) of linen and cotton, and wearing nokh jutti (pointed slippers), and a tall pagdi (headgear). The original painting may have been created in celebration of this recognition as the medal is prominently featured in the lithograph and in subsequent copies in oil on canvas. He was justly proud of the medal and is shown wearing it in other portraits, including one later in life that served as a source for multiple statutes and prints. Although he was great honored by the knighthood he then set out to secure a hereditary title and these portraits may have served as support for those endeavors. His efforts succeeded: In 1855 Jeejeebhoy was given the Freedom of the City of London, and in 1857 a hereditary baronetcy was conferred. He died in 1859 when a prize medal was created for the Grant Medical College (Mumbai). His portrait is on the obverse and his arms on the reverse, with the appropriate motto, “INDUSTRY AND LIBERALITY.” Jeejeebhoy had not been in Canton since 1806, but when the great China trade hong merchant Houqua (Wu Bingjian, b. 1769) died in 1843, Jeejeebhoy wrote to Houqua’s son thanking him for the “...two portraits of your late respected Father.” Those portraits were undoubtedly painted by Lamqua and so it might be more than a coincidence that Lamqua was commissionted to paint Jeejeebhoy’s portrait at the same time. This portrait and two similar examples are attributed to Lamqua (Guan Qiaochang), the best-known nineteenth century Cantonese artist working in the Western manner. A second example was offered by Martyn Gregory Gallery (2005-6) and a third example is in the Zoroastrian Building, Causeway Bay, Hong Kong. These paintings are after a lithograph inscribed “PAINTED IN BOMBAY BY J. SMART,” drawn by Richard James Lane (1800-1872), and printed by M & N Hanhart (active 1839-1882). The example now in the Royal Asiatic Society was inscribed by Jeejeebhoy, “My dear Crawford, Yours everything Jamsetjee Jeejeebhoy.” In 1839 Robert Wigram Crawford (1813-1889) received a letter from his father William, who was in Bombay, looking after the interests of Jeejeebhoy.

Lamqua had a studio in Canton, on New China Street in 1820, and later worked in Macau and Hong Kong. He worked in a style that reflected the influence of George Chinnery (1774-1852), the English artist resident in India and later in Macau. Lamqua maintained a studio where assistants helped produce large numbers of paintings, but the finer examples may be assumed to be directly from his hand. He was adept at portraiture of both Chinese and Western merchants and is known also for portraits of patients of Dr. Peter Parker, now at Yale University and the Gordon Museum, Guy’s Hospital, London. Lamqua was adept in his own efforts at original portraiture, but also copied Chinnery paintings and used Western prints as sources for paintings. Charles Toogood Downing wrote in 1838 that Lamqua “stood at the head of his profession.” Lamqua gained recognition in the West after having his paintings exhibited in London (1835 and

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1845), New York (1841), Pennsylvania (1851), and Boston (1851). One of his most remarkable paintings, of a similarly high quality as this portrait, was done from a print after Ingres’ Grande Odalisque, which is signed lower right in both English script and Chinese characters. The sensitivity and luminosity of both strongly suggests the same hand. A portrait of Jeejeebhoy at the Oriental Club, London, is also recorded as by John Smart. A similar waist-length portrait, apparently by

Smart, is in Matheson & Co., Ltd. These portraits, all facing to the sitter’s right, are not as sympathetic as the lithograph, or the Lamqua examples. This portrait, perhaps one of the most sympathetically executed, is one of the rarest portraits of an Asian merchant and is a visual record of an extraordinary man rightly deemed “The Merchant Prince of Bombay.”


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9ANONYMOUS, CANTON SCHOOL Entertainments in a Pavilion, circa 1830 Oil on canvas, on a stretcher, framed and glazed. 17 1/2 x 23in (44.5 x 58.4cm)

US$8,000 - 12,000

佚名　賞園　布面油畫　鏡框　約一八三〇年作 Provenance Martyn Gregory, London 來源 Martyn Gregory，倫敦

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10THOMAS ALLOM (1804-1872)The Culture and Preparation of Tea, circa 1840 Hand-colored copperplate engraving on paper, framed and glazed, inscribed ‘Drawn by T. Allom’ (lower left), ‘Fisher, Son, & Co, London & Paris’ (center), ‘Engraved by A. Willmore’ (lower right). 7 x 8 1/2in (17.8 x 21.6cm)

US$1,200 - 1,500

Provenance Lyon’s Ltd. Antique Prints, California

來源加州 Lyon’s Ltd. Antique Prints

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11THOMAS ALLOM (1804-1872)Emperor ‘Teaou-Kwang’ Reviewing His Guards, Palace of Peking, circa 1840 Hand-colored copperplate engraving on paper, framed and glazed, inscribed ‘Drawn by T. Allom’ (lower left), ‘Fisher, Son, & Co, London & Paris’ (center), ‘Engraved by A. Willmore’ (lower right). 7 x 8 1/2in (17.8 x 21.6cm)

US$1,500 - 2,000

Provenance Lyon’s Ltd. Antique Prints, California 來源加州 Lyon’s Ltd. Antique Prints

12THOMAS ALLOM (1804-1872)Junks Passing an Inclined Plane on the Imperial Canal, circa 1848 Hand-colored copperplate engraving on paper, framed and glazed, inscribed ‘Drawn by T. Allom’ (lower left), ‘Fisher, Son, & Co, London & Paris’ (center), ‘Engraved by A. Willmore’ (lower right). 7 x 8 1/2in (17.8 x 21.6cm)

US$2,000 - 3,000

Provenance Lyon’s Ltd. Antique Prints, California 來源加州 Lyon’s Ltd. Antique Prints


13ANONYMOUS, CANTON SCHOOL , 19TH CENTURYPortrait of a Sea Captain, circa 1810 Oil on canvas, on a stretcher, framed and glazed. 13 x 10 1/2in (33 x 26.7cm)

US$6,000 - 8,000

佚名　船長肖像　布面油畫　鏡框　約一八一〇年　 Provenance Eldred’s Auction, Massachusetts, 1995, by repute 來源據藏家，1995年購於麻省Eldred’s拍賣行

14WOO CHEONG (19TH CENTURY)Portrait of an American Woman, circa 1865 Oil on canvas, on a stretcher, framed and glazed, Signed in stencil ‘Woo Cheong’ (verso). 22 1/4 x 17 1/4in (57.1 x 43.82cm)

US$5,000 - 7,000

Woo Cheong 美國女士肖像　布面油畫　鏡框　約一八六五年作 Provenance Marine Arts Gallery, Salem, MA, 1992 來源 1992年購於麻省塞勒姆Marine Art畫廊

15ATTRIBUTED TO SUNQUA (ACT.1830-1870)Mary Queen of Scots with Lord Chastelard, circa 1840 Oil on canvas, on a stretcher, framed and glazed. 8 x 10 1/4in (20.3 x 25.9cm)

US$3,000 - 5,000

（傳）新呱　蘇格蘭女王瑪麗一世與查特拉爾勛爵　布面油畫　鏡框　約一八四〇年作 Provenance Northeast Auctions, Portsmouth, NH, lot 783 (lot tag) 來源據藏家，新罕布夏州普利茅斯Northeast拍賣行，拍品編號783 (附拍品標籤) Mary, Queen of Scots (1542-1587), also known as Mary Stuart or Mary I of Scotland, ascended the throne of Scotland as an infant in 1542 following the death of her father. Through her grandmother Margaret Tudor (1489-1541), she had the strongest claim to the throne of England after the children of Henry VIII. She posed a strong threat to the ascension of Henry’s daughter Elizabeth I, who eventually had her executed in 1587.

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This painting depicts Mary and Pierre de Bocosel, Lord Chastelard, a French nobleman who courted the young Mary while she was living in France. When Mary returned to Scotland in 1561, Chastelard could no longer publicly pay court as a suitor and plotted to remain near to his lover by serving as her confidant and secretary. Mary, was formally betrothed to Henry Stuart (Lord Darnley). Chastelard vainly tried to continue their romance. One evening, he hid himself under her bed, where he was discovered by her maids of honor. Mary pardoned the offence, but to no avail. Weeks later, he was discovered a second time, sentenced, and beheaded shortly after. The present painting’s composition is based on a print by Andrew Duncan, first published in 1830, and after a painting by Henri Jean-Baptiste Victoire Fradelle (1778-1865).

16YEUQUA (ACTIVE 1850-1885)Portrait of a U.S. Naval Captain, circa 1870 Oil on canvas, on a stretcher, framed and glazed, signed in Chinese in pencil, and in stencil ‘Yeu Qua Portrait Painter Queen’s Road No 93’. 22 3/4 x 17 1/4in (57.8 x 43.8cm)

US$4,000 - 6,000

煜呱　美國海軍船長肖像　布面油畫　鏡框　約一八七〇年作 Provenance Vallejo Gallery, Newport Beach, California, 1992, by repute 來源據藏家，1992年購於加州Vallejo畫廊


17ATTR. TINGQUA (GUAN LIANCHANG, 1809-1870)Poontinqua Gardens, circa 1847 Gouache on paper, framed and glazed. 8 x 9 3/4in (20.2 x 24.8cm) sight

US$2,500 - 3,500

(傳) 庭呱潘启官花園　水粉紙本　鏡框　約一八四七作 Along the Huadi garden, the splendid Guangzhou garden of the hong merchant Poontinqua (Puankhequa, or Pan Qiguan 1714-1788) and his son Puankhequa II, was legendary among the foreign community during the late 18th and early 19th centuries. A watercolor of the garden was painted by George West while he served as an official painter during Caleb Cushing (1800-1879)’s diplomatic mission to China, and is now in the collection of the Library of Congress.

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In his 1849 account The Canton Chinese, the American factor Osmond Tiffany described the gardens as follows: “The house stood in the midst of the water, and was approached by bridges winding about in various directions, and guarded by balustrades as intricate and fantastic as the ivory carvings. There were bridges beginning every where, and ending in nothing at all” (online edition cited). By the second half of the 19th century the garden fell into a state of disrepair.

18STUDIO OF TINGQUA (1809-1870)Antiques, Furniture and Lanterns Eight paintings, gouache on paper, four depicting interior settings with antiques, furniture, fruit and flowers, each two within one frame, the other four lantern painting in one frame. 10 x 7 1/2in (25.4 x 19cm) each of the lantern; 7 1/2 x 10in (19 x 25.4cm) each of the interiors (8).

US$1,200 - 1,800

庭呱畫室　彩燈及清供吉祥圖　水粉紙本　鏡框八幅　十九世紀

19ANONYMOUS, CANTON SCHOOL Portrait of a Chinese Lady with Manchu Style Yellow Robe, circa 1850 Oil on canvas, on a stretcher, framed and glazed. 14 1/4 x 12 1/8in (37.5 x 30.8cm)

US$6,000 - 8,000

佚名　半身女士肖像　布面油畫　鏡框　約一八五〇年作 Provenance Sotheby’s, New York, 25 September 1986 來源紐約蘇富比，1986年9月25日

20ANONYMOUS, CANTON SCHOOL Portrait of a Woman Reading, circa 1830 Oil on canvas, framed and glazed, original hardwood frame. 18 x 24in (45.7 x 61cm)

US$6,000 - 8,000

佚名　執書女士肖像圖　布面油畫　鏡框　十九世紀 Provenance Estate of Chiu Lin Tsui, Pacific Asia Museum Auction, by repute 來源據藏家加州帕莎蒂納市亞太博物館義籌拍賣

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21ANONYMOUS, CANTON SCHOOL The Great Fire, Canton, 1822 Oil on canvas, on a stretcher, framed and glazed. 8 1/2 x 10 3/4in (21.6 x 27.3cm)

US$8,000 - 12,000

佚名　廣州商館大火　布面油畫　鏡框　約一八二二年作 Provenance Sotheby’s, New York, 10-11 April 1986, lot 66 來源紐約蘇富比，1986年4月10-11日，拍品編號66 The present lot depicts the devastating fire that swept through the Foreign Factories in Canton in November of 1822. The view illustrates the buildings ablaze with junks bearing witness to the conflagration in the foreground. A second depiction of the 1822 fire is in the collection of the Hong Kong Museum of Art and illustrated in Sargent, Views of the Pearl River Delta, Macau, Canton, and Hong Kong, 1997, pp. 174-175.

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22ANONYMOUS, CANTON SCHOOL Pagoda Anchorage, Fuzhou, circa 1845 Oil on canvas, on stretcher, framed and glazed, with an inscription reading ‘Tou-Chow’ on the lower edge of the composition. 17 x 29in (43.2 x 73.7cm)

US$8,000 - 12,000

佚名　福州羅星塔泊船口　布面油畫　鏡框　約一八四五年作 Provenance Robert Sawyers, London, by repute 來源據藏家，購自倫敦Robert Sawyers

This view is from the Southern bank of the River Min looking northeast toward Pagoda Island with the anchorage in the foreground. The seven-tiered pagoda after which the island is named is seen on the hill to the right. The limited development suggests a pre-1855 date for this scene. Foochow (Fuzhou) was one of five ‘treaty ports’ of China opened under the terms of the Treaty of Nanking in 1842. A similar oil painting dated possibly to the same period is documented in D.E.R. Brewington, Marine Paintings and Drawings in Mystic Seaport Museum, Connecticut, 1982, p.201. A similar but slightly earlier view is in the Mystic Seaport Museum (acc. no. 1963.523), without the building below the pagoda, and with a Chinese junk in the foreground instead of a Western ship. See also Picturing Cathay Maritime and cultural images of the China trade, cat. 60, p. 119.

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23ATTRIBUTED TO NAM CHEONG (ACT. 1845-1870)Junks and Yellow Pagoda Fort, circa 1845 Oil on canvas, on stretcher, framed and glazed. 12 x 16 1/2in (30.5 x 52cm)

US$5,000 - 7,000

（傳）Nam Cheong　布面油畫　鏡框　約一八四五年作 Provenance Christie’s, New York, 14 June 1988, lot 228 來源紐約佳士得，1988年6月14日，拍品編號228 The subject of the this composition is the Yellow Pagoda Fort, also known as the Macau fort, situated in the Pearl River Delta, south of the city of Canton. During the Second Opium War, in January 1857, the fort was the site of a clash between British and Chinese troops.

24ANONYMOUS, CANTON SCHOOL Dutch Folly Fort on the Pearl River, circa 1847 Oil on canvas, on a stretcher, framed and glazed. 16 5/8 x 21 3/4in (42.2 x 55.3cm)

US$6,000 - 8,000

佚名　海珠炮台　布面油畫　鏡框約一八四七年作 Provenance Christie’s, London, 24 March 1986 來源倫敦佳士得，1986年3月24 The Dutch Folly Fort was a recognizable landmark known to China Traders on their trips through the Pearl River Delta. The Dutch Folly Fort embraced a garrison, a governor’s house, and several other buildings. It was located a short distance down river from the foreign hongs at Canton. The British flag is seen flying from the ramparts, suggesting this painting dates from the period when British troops occupied Canton in 1847. An engraving of the same site is illustrated in H. Colburn, Narrative of the Voyages and Services of the Nemesis, from 1840 to 1843, London 1844, facing p.384.

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25ATTRIBUTED TO SHANG TAI, 19TH CENTURYPraya Grande, Macau from Offshore, circa 1855 Oil on canvas, on a stretcher, framed and glazed, titled in Chinese and Roman characters lower center, signed in stencil on the reverse ‘Shang Tai Portrait Painter Macao’. 16 1/2 x 28 1/2in (42 x 72.4cm)

US$20,000 - 30,000

（傳）Shang Tai　澳門南灣　布面油畫　鏡框　約一八五五年作 Provenance Christie’s, New York, 15 October 1986, lot 62 Vose Galleries (acquired from the above sale) 來源紐約佳士得，1986年10月15日，拍品編號62 麻省波士頓Vose畫廊 The Praya Grande was the chief waterfront promenade in Macau when the Portuguese held the peninsula. It was the site of storehouses, consulates, and government offices. The present view shows the small San Pedro Fort with a flagpole in the center of the beach. To the left is Penha Hill and its church, to the right is the Palacio and the East India Company House. This is the only known port view we have by Shang Tai, an otherwise unrecorded artist.

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26ANONYMOUS, CANTON SCHOOL The Bund of Shanghai, circa 1855 Oil on canvas, on a stretcher, framed. 29 x 44in (73.6 x 111.8cm)

US$15,000 - 25,000

佚名　外灘　布面油畫　鏡框　約一八五五年作 Provenance Christie’s, New York, 15 March 1988 來源紐約佳士得，1988年3月15日 The port of Shanghai was opened to Western trade under the terms of the Treaty of Nanking in 1842 ending the first ‘Opium War’. Soon after, wharves and trading houses were built along banks of the Huangpu river. This early view of the European and American trading houses and consulates along the west bank of the Huangpu river illustrates the Bund in its formative stage.

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27GEORGE HENRY MASON (1770-1851)Eleven Plates from the 1804 series ‘the Costumes of China’ Eleven hand-colored aquatint plates by Dadley after the paintings of the Guangzhou artist Puqua (act. 1780-1810), now framed and glazed, with a description affixed to the reverse of the frames. 12 3/4 x 9 1/4in (32.5 x 23.5cm) sight (11).

US$1,200 - 1,500

喬治·亨利·梅森中國人物風俗圖　　鏡框十一幅　一八〇四年版 Provenance Asiaphile, Los Angeles, CA, 23 October 1987, by repute 來源據藏家，1987年購於加州洛杉磯Asiaphile

28STUDIO OF TINGQUA (1809-1870)Two River Scenes with Tradesmen at work, circa 1847 Each gouache on paper, framed and glazed, one image illustrating labors guiding a ship under a bridge with two ropes, the other showing commercial traffic along a river. 9 1/2 x 8in (24.2 x 20.3cm) (2).

US$1,500 - 2,500

庭呱畫室　沿江小景　水粉紙本　鏡框兩幅約一八四七年作 Provenance Christie’s, New York, 29 January 1986 (the bridge) 來源紐約佳士得，1986年1月29日（其一：橋頭小景）


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29CANTON SCHOOLChinese City with Street Entertainments, circa 1840 Oil on canvas, on a stretcher, framed and glazed. 17 1/2 x 22 1/2in (44.5 x 57.1cm)

US$5,000 - 7,000

佚名街景　布面油畫約一八四〇年作 Provenance Northeast Auctions, Portsmouth, New Hampshire (lot tag on the back) 來源據標籤，新罕布夏州普利茅斯Northeast拍賣行

30ANONYMOUS, CANTON SCHOOL, AFTER LT. COL. WILLIAM G. MASTERS (ACT. 1840-1861)Attack on the Taku Forts, circa 1861 Oil on canvas, on a stretcher, framed and glazed 12 x 19 3/4in (30.5 x 50.2cm)

US$6,000 - 9,000

佚名仿William G. Masters 大沽口戰役　布面油畫　鏡框　約一八五九年作 Captain William Godfrey Rayston Masters, R.M. (fl. 1840-1861) served in the Anglo-Chinese war of 1859-60 as an officer in the Royal Marines, attached to the frigate Chesapeake. A series of eight lithographs by the English maritime artist Thomas Goldsworthy Dutton (1820–1891) illustrating “Operations at the entrance of the Pei-ho River” after Masters’ drawings were published by Day & Son in 1861. [Martyn Gregory, Artists of the China Coast, London: 1994, 23, no. 39.] This view is seen from the junks along the Peiho river during the Battle of the Taku Forts on June 25, 1859. The present lot shows the American ship Toey-Wan under the command of Josiah Tattnall attempting to aid the British forces lead by Admiral Hope. The story of the Toey-Wan and Josiah Tattnall (1795-1871), who was first a commander of the Confederate Navy, are recounted in many volumes, see for example: Sir William Laird Clowes, et al., The Royal Navy: A History from the Earliest Times to the Death of Queen Victoria, Vol. 7, London, 1903, 128-132.

31UNKNOWN ARTIST, CHINABeauty with Cats, 19th century Ink and color on silk, hanging scroll, framed and glazed 75 1/2 x 23in (191.8 x 58.4cm)

US$6,000 - 8,000

佚名　戲貓圗　設色絹本　十九世紀 Provenance Bonham’s, London, 10 September 2002, lot 155 Gerald Godfrey Collection

來源倫敦邦瀚斯，2002年9月10日，拍品編號155Gerald Godfrey珍藏

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32ATTRIBUTED TO YO SHEN (ACTIVE CIRCA 19TH CENTURY)Hong Kong Harbor, circa 1895 Oil on canvas, on a stretcher, framed and glazed, a wood piece attached to the frame signed Yo Shen in Chinese. 12 1/2 x 28 3/8in (31.8 x 72.1cm)

US$20,000 - 30,000

（傳）祐昌眺望香港布面油畫鏡框約一八九五年作 Provenance J.J. Dealing, Inc., Maine, by repute 來源據藏家，緬因州J. J. Dealing

Numerous Western countries’ flags are visible on vessels in the harbor in this composition. Hong Kong effectively became a British colony early in January 1841, when Captain Charles Eliot and his warships exacted an agreement that Hong Kong Island would be yielded to Britain. Although the Emperor repudiated this agreement, in August 1842 the cession was ratified by the Treaty of Nanking. Within the space of a year, the shore became a sizable town. In 1869 Britain gained the adjacent peninsula of Kowloon, and in 1898 obtained a 99-year lease on the New Territories.

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33UNKNOWN ARTIST, CHINAThe life of the silkworm, circa 1795-1800 Eight paintings, water and gouache on paper, now framed and glazed. 23 1/2 x 20 3/4in (59.7 x 52.7cm), each (8).

US$5,000 - 8,000

佚名蠶的一生水粉紙本鏡框八幅　約1795-1800年作 Provenance Northeast Auctions, New Hampshire 來源新罕布夏州普利茅斯Northeast拍賣行 The eight paintings in this album depicting details of the life cycle of the common silk worm (bombyx mori) were of notable scientific interest to collectors, as silk remained a major trade commodity even into the early twentieth century, despite its gradual eclipse by tea as the primary trading good between China and the West.

33FINE CHINESE PAINTINGS AND WORKS OF ART | 31

34UNKNOWN PAINTER, CHINAWhampoa Anchorage, circa 1845 Oil on canvas, on a stretcher, framed.

US$20,000 - 30,000

佚名黃埔碼頭布面油畫約一八四五年作

Provenance Sotheby’s, New York, 7 April 1988

來源紐約蘇富比，1988年4月7日

This large and fine view of the anchorage at Whampoa (Huangpu) is taken from a hill overlooking the foreign cemetery on Dane’s Island. In the distance is the Whampoa (Pazhou) Pagoda, on Pazhou Island, Haizhu District, Guangzhou, which survives today. The pagoda was a landmark for Western sailors and is featured in many Chinese paintings for the Western market. It was at Whampoa that Western ships were made to anchor in the Pearl River, with only officers continuing on to Canton. American and other foreign ships are at anchor, and the buildings used by foreign traders can be seen in the distance. Chigang pagoda, now surrounded by the southern suburbs of Guangzhou can be seen on the left. Foreigners could not be buried on Chinese soil so land was ceded for the purpose of a cemetery for sailors from Europe and the United States. In 1979 ninety-six graves of Americans were recorded at Whampoa (L.K. Little, Last Harbor: American Graves at Whampoa, South China, January 1979, unpublished 14-page manuscript.) A view including the cemetery, which has recently been restored by the Chinese government, would have been a poignant reminder of the gains and losses of trade.

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35FOUR CHINESE WALLPAPER PANELS19th century Polychrome paint on paper, backed with cloth and mounted on wood panels, each panel with flowering trees, insects and exotic birds surrounding figures in a garden setting. 138 x 45in (350 x 114cm), each panel. (4).

US$18,000 - 25,000

外銷花鳥人物壁紙四幅　十九世紀　 Provenance Sotheby’s New York, 23 April 1987 來源紐約蘇富比，1987年4月23日

Large format pictorial wallpaper panels such as these were produced in workshops in Guangdong and the Yangtze River Delta during the early 18th century. It is believed that panels like these were produced solely for export to the European market, and the domestic demand was essentially non-existent. Initially the colorful and hand painted panels were sought by Europeans as a less expensive alternative to patterned textiles that were then used as wall coverings in noble homes. Often depicting outdoor garden settings of exotic birds and flowers that would stretch from floor to ceiling, the wallpaper would be a key decorative element for a “Chinese room”. The figures depicted in the present set of wallpaper panels are unusually large, especially when compared with other pictorial Chinese wallpaper panels that have a figural element. For an overview of the reception of Chinese wallpaper see Chinese Wallpaper in Britain and Ireland by Emile de Bruijn.

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36WILLIAM SAUNDERS (1832-1892)A wood-covered photo albumen prints, ca 1870 The massive leather binding enclosing a high relief recessed boxwood panel depicting a wealthy family in a lush garden setting, the album including 51 hand-tinted albumen prints each mounted above type-written commentary about contemporary Chinese society covering such topics as ‘AN ITINERANT PIEMAN,’ ‘SHANGHAI COOLIES,’ and ‘DECAPITATION.’ 16 X 21 1/2 x 3in (40.6 x 54.6 x 7.6cm) dimensions of book 8 1/2 x 10 (20.6 x 25.4cm) dimensions of most prints

US$5,000 - 8,000

Provenance Christie’s Swire, Hong Kong, 9 October 1990, lot 1550 來源香港佳士得，1990年10月9日，拍品編號1550 The British William Saunders opened one of Shanghai’s first photography studios in the 19th century. Unlike other examples of Saunders’ photography offered by Bonhams in the past, the present lot is characterized by the addition of hand-tinting to the photos. In some cases the tinting adds details to the scene-- fanciful Chinese-style writing on banners in the decapitation scene, and a enhanced traditional physiognomy diagram in the fortune telling scene for example.

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37FELICE BEATO (FELIX BEATO) (1832-1909), PHOTOGRAPHER, TINGQUA (ATTR.) (1809-1870), PAINTERPortrait of Prince Kung (1860) Photographic print and gouache; framed and glazed. 5 7/8 x 4 3/4in (15 x 12cm)

US$15,000 - 25,000

Felice Beato攝影庭呱加繪恭親王肖像照

This gouache on print was based upon a photograph taken by Felice (Felix) Beato, an Italian photographer who was one of the first of his profession to enter China and to document the Second Opium War. He visited Beijing in October and November of 1860, where he took photos of Lord Elgin and of Prince Kung, who signed the piece treaty on behalf of the Xianfeng Emperor ending the Second Opium War.

ProvenanceSotheby’s, London, Chinese Works of Art, October 30, 1987

來源倫敦蘇富比，1987年10月30日

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38A LARGE CHINESE EXPORT SILVER PITCHER AND BASINMark of Gem Wo, Canton, mid 19th century The basin with repoussé panels showing processions surrounding the central scene of an emperor watching a ritualized hunt; the pitcher with chased repoussé scenes of warriors in battle surrounding an oval reserve inscribed with two characters Nichu, the curved handle with incised flora design, each stamped with two character Chinese mark reading Shenchang and G.W. 14in (36cm) height of pitcher, 20in (51cm) diameter of basin, total silver weight approximately 141oz troy (4385gm)

US$3,000 - 5,000

十九世紀中期外銷銀壓花人物故事圖冷水壺及大盆《慎昌》款 Provenance Sotheby’s New York, 10 and 11 April 1986, lot 329 來源紐約蘇富比，1986年4月10-11日，拍品編號329

39A CHINESE EXPORT SILVER CHALICEMark of Yatshing, mid 19th century Of inverted bell-shaped form, the exterior finely chased and repousséd with a lively design of a waterside scene surrounding a blank shield-shaped panel, the trumpet-form stem encircled by the adjoined tails of three dragons, the side of the foot ring marked with

the character Hui and the initials Y.S. 12in (30.5cm) high, silver weight approximately 48oz troy (1493gm)

US$2,000 - 3,000

十九世紀中期外銷銀壓花山水人物圖高足盃《匯》款

40A LARGE CHINESE EXPORT SILVER PUNCHBOWLLate 19th century The body with six lobed sides, repoussé decorated with Chinese genre scenes, chrysanthemums, and dragons in pursuit of flaming pearls, the scalloped and pierced rim with chased dragon design, the bottom engraved with an eight point star bearing the inscription Shanghai Volunteer Corps, April 4, 1865 with Chinese characters gongbuju (municipal council) and the motto Juncta In Uno Omnia (all joined in one), the outside edge of the foot ring marked with makers mark reading Xinyuan and S.O. 6 1/2in (16cm) high, total silver weight approximately 70oz troy (2177gm)

US$3,000 - 5,000

十九世紀中銀壓花上海公共租界工部局龍紋山水人物圖盌《信遠》款 The Latin motto Juncta In Uno Omnia belongs to the Shanghai International Settlement, established in 1863 from the merger of the British and American enclaves in Shanghai.

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42A CHINESE SILVER GILT FILIGREE BASKET AND COVER19th century Of lobed form, the basket and cover elaborately decorated with dragons and flowers, the handle mounted with filigree flowers, raised on stylized feet. 8 1/2in (21.5cm) across

US$2,500 - 3,500

十九世紀掐絲鎏金銀龍紋蓋籃

41A CHINESE EXPORT SILVER GOBLETDated by inscription 1856 The exterior of the body decorated in repousse with a garden scene replete with flowering plants, birds and human figures, supported by a stem in the form of a hawk with outstretched wings standing on a rock, the bamboo form handle surmounted by a perched bird, the partial gilt crest inscribed ‘Roland, from his uncle Frederic, Shanghai, 1856’. 7in (18cm) high, weight approximately 11oz troy (342gm)

US$1,500 - 2,500

1856年外銷銀壓花庭園圖英雄獨立式高足盃 Provenance Eldred’s Auction, Massachusetts, Boston, 23 November 1991

來源波士頓Eldred’s拍賣行， 1991年11月23日


43THREE ARMORIAL PORCELAINS TOGETHER WITH THE COAT OF ARMS GRANTCirca 1826 Consisting of an octagonal dinner plate, an oblong octagonal platter framed with the original Grant of Arms, executed in gold and colors on vellum and signed by the Principal King of Arms, with original tooled leather covered and lined case, English, 1726, together with a circular punch bowl, restored. 9in (dinner plate); 11 1/2in (29.2cm) (platter length and bowl diameter) (4).

US$3,000 - 4,000

Provenance Christie’s New York, 22 September 1987 The porcelains from this service are extremely rare examples of Chinese enamellers misunderstanding orders from the West. Coats of arms are very precise in their designs and colors, but when a bookplate was sent to China of the Dobree arms with the required colors inscribed on the bookplate, instructions were not clearly delivered and the enamellers could not read English. The decorators mistook the inscriptions for part of the design, incorporating the words and then coloring the service inaccurately in four areas: two of blue mantling show the word ‘red’ and two of rose show the word ‘green.’ Only one other service with this type of error is known, made for the Andros family, related to the Dobrees by marriage.

The arms are those of the Dobree family of the Channel Islands, with the motto ‘Spe vivitur’ (We live in hope). The service may have been made for Thomas Dobree, whose great-uncle William, a merchant in London, had the arms registered for himself and his three brothers at the College of Arms in 1726. Between 1750 and 1760, six armorial services were made for the Dobree family and four of them have the shield incorrectly painted blue instead of red. These examples are from the sixth and last service. Related works: For a plate in the Peabody Essex Museum, see William R. Sargent, Treasures of Chinese Export Ceramics from the Peabody Essex Museum, Salem, 2012, 380, no. 207, acquired at Bonhams’ London, March 22, 2005 (lot 17); Shirley Mueller, “Chinese Export Porcelain Curiosities, Oriental Art, Vol. XLVI, No. 1, 2000, 18, figs. 6a-6b), another example in a private collection. Heirloom & Howard Limited offered a plate from this service in List 75, March 2014, no. 16.

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44A PAIR OF EUROPEAN SUBJECT ‘JUDGEMENT OF PARIS’ PLATES18th century Each decorated with central scenes of Paris offering the golden apple to Aphrodite, flanked by Juno and Minerva, with Cupid seated on the lushly draped robes, all within gilt foliate scroll borders, all under a clear glaze. 9in (23cm) diameter (2).

US$1,500 - 2,500

Provenance Sotheby’s, London, 9 October 2002, Lot 248 Paris was the second son of Priam, King of Troy, and was known for making fair and just decisions. Zeus selected him to be the judge of a beauty contest between Hera, Athena, and Aphrodite. The winner would be awarded the golden apple from Eris, the goddess of discord. Each of the three goddesses offered him a bribe in an attempt to influence his decision. In the end, Paris chose Aphrodite who offered him Helen, who was said to be the most beautiful woman in the world. Paris’ choice of Aphrodite was one of the events that led to the Trojan War. Though the origin of the story is obscure, its appearance in Homer’s Iliad could be the the first instance it was placed into a larger narrative. The scene has remained a popular icon in Western art.

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45A LARGE CANTON ENAMEL ROSE MEDALLION PUNCH BOWLLate Qing dynasty The massive deep bowl covered in numerous scenes of wealthy garden denizens and bird and flower reserves separated by bands of elaborate floral and butterfly scroll, all rendered in the typical enamel palette of green and pink with gilt highlights. 19 3/4in (50.2cm) diameter

US$3,000 - 5,000

清末廣彩開光人物花鳥圖大盌


46AN EMBROIDERED BLUE SILK GAUZE ‘NINE DRAGON’ ROBE19th century Couched with nine dragons in gold-wrapped threads, against an embroidered ground of auspicious emblems and clouds in polychrome threads, all bordered by lishui stripes and terrestrial diagrams emerging from churning waves, the sleeves terminating in horse-hoof cuffs, the collar band and cuffs similarly embroidered. 58in (147.4cm) long

US$4,000 - 6,000

十九世紀藍地納紗繡金龍紋吉服 Provenance Sotheby’s New York, 8 April 1986 來源紐約蘇富比，1986年4月8日

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Chinese Furniture and Scholar’s objects from

the Collection of Florence and

Herbert Irving Lots 47 - 76

PROPERTY FROM THE COLLECTION OF FLORENCE AND HERBERT IRVING

47 YA PAIR OF HUANGHUALI CONTINUOUS YOKEBACK ARMCHAIRS, NANGUANMAOYILate 19th/early 20th century Each with a curved and arched crestrail above a gently curved splat reticulated near the top with a ruyi-head between cusped edges, the gently curved armrests with mid-section supports continuing in a curve to the corner posts through the hard cane seat with ice-plate edges, the straight legs joined by a footrest and cusped apron to the front, and stretchers and simple aprons to the sides and back, the wood with an attractive graining and rich warm tone. 36 5/8 x 22 1/4 x 16 3/4in (36.2 x 56.5 x 42.5cm)

US$10,000 - 15,000

十九世紀末/二十世紀初黃花梨南官帽椅一對

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48 YA HUANGHUALI KANG TABLELate 19th/early 20th century The rectangular top panel set within a mitered frame, over a recessed waist and aprons carved in low relief with flowers and scrolling leaves, the beaded edges extending to form squared-scrolls, the middle and ends of the legs carved with scrolls, pegs to extend the height of the table tenoned into the base of the feet. 15 3/8 x 38 3/8 x 24 5/8in (39 x 98 x 62.5cm)

US$4,000 - 6,000

十九世紀末/二十世紀初黃花梨炕桌

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49 YA HUALI CORNER-LEG BENCH, ERRENDENGEarly 20th century The rectangular hard cane seat enclosed within a mitered frame with an ice-plate edge over a narrow waist, set above square-corner legs joined by humpback stretchers and terminating in horse-hoof feet. 26 x 62 3/4 x 20 7/8in (66 x 159.5 x 53cm)

US$4,000 - 6,000

二十世紀初黃花梨二人凳

50 YA HUANGHUALI TWO-TIERED PICNIC BOX, TIHE19th century Of rectangular form, comprising two stacked trays, an interior fitted tray and a cover, all housed in a rectangular frame, beneath a U-shaped handle half-lapped to vertical rails through-tenoned into the frame and supported by curved spandrels, all secured by a metal pin inserted through the vertical rails and the cover. 5 1/2 x 8 x 4 5/8in (14 x 20.3 x 11.2cm)

US$2,000 - 3,000

十九世紀黃花梨雙層提盒

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51 YTWO HUANGHUALI BOXES19th century Each of rectangular form fitted with hinged cover, the edges softly rounded, the rim of the box and cover with beading, the sides of the box mounted with metal bail handles and circular discs, the front with a circular escutcheon and ruyi-shaped hasp, the interior fitted with a shallow tray, the wood of a warm reddish-brown color. 5 1/4 x 13 3/8 x 8 1/4in (13.5 x 34 x 21cm) each

US$4,000 - 6,000

十九世紀黃花梨書箱兩件

52 YA HUANGHUALI PORTABLE CHEST, TIXIANG20th century Of upright rectangular form, the removable front panel door fitted with a metal pull, an escutcheon and secured with a pin, opening to reveal three drawers in the interior, each fitted with a metal pull, the side stiles of the straight handle through-tenoned into the plinth and reinforced with metal braces, the wood of a warm chestnut color. 16 5/8 x 15 x 9 1/2in (42.2 x 38.2 x 24.2cm)

US$6,000 - 8,000

二十世紀黃花梨提箱

51

52


46 | BONHAMS

53 YA CLOISONNE ENAMEL-INSET HUANGHUALI SIDE TABLEThe Cloisonne panel, 16th/17th century; the table 18th century The slightly convex rectangular cloisonne panel decorated with a vignette of a paradise flycatcher perched on the branch of a blossoming peony bush growing from behind a garden rock, surrounded by bamboo, all against a floral diaper ground and enclosed with a lotus scroll border, set within a mitered frame above a recessed waist, the apron carved with entwined vines rising from the beaded edges, and carved with scrolling tabs, echoed on the inside edges of the rectangular legs, the top panel joined to the legs by ‘giant’s arm braces’. 30 3/4 x 37 1/4 x 18 3/4in (78.2 x 94.6 x 47.5cm)

US$8,000 - 12,000

十八世紀黃花梨霸王棖條桌嵌十六/十七世紀掐絲琺瑯綬帶鳥圖板 Provenance Roger Keverne Ltd., London

來源Roger Keverne, 倫敦

A similar cloisonne panel, dated 17th century and also depicting exotic birds and flowers among garden rocks, featuring a similar diaper ground and lotus border, is in the collection of the Les Arts Decoratifs-Musee des Arts Decoratifs, 23.675, gift of David David-Weill, illustrated in Beatrice Quette ed, Cloisonne Chinese Enamels from the Yuan Ming and Qing dynasties, plate 7.25.


54 YA HUALI THREE-DRAWER COFFEREarly 20th century The rectangular top with panels set within a mitered frame, over three drawers with set with square metal escutcheon with bail handles and slide bolts, over an interior compartment fronted by two rectangular panels, with simple aprons and spandrels supporting the tabletop. 34 x 74 x 24 1/4in (86.3 x 188 x 61.5cm)

US$7,000 - 10,000

二十世紀初花梨木連三櫥

54

48 | BONHAMS

55 YA HUANGHUALI LOWBACK ARMCHAIR, MEIGUIYI19th century Constructed with a straight toprail supported on short back posts, the horizontal arms supported by two front posts, the posts all connected by carved beaded aprons with scrolled decoration above low railings supported on struts, all extending above the frame of the hard mat seat on three sides, the legs joined by humpback stretchers and struts with stretchers above plain aprons at the sides and front, and a simple apron above a stretchers at the rear, some joints reinforced with metal hardware. 33 1/2 x 22 5/8 x 17 1/4in (85 x 57.3 x 43.7cm)

US$10,000 - 15,000

十九世紀黃花梨玫瑰椅

55


56A CELADON JADE ‘CHILONG’ GRAIN MEASURE, DOU18th/19th century Of square section, flaring towards the mouth, each side carved in high relief with a clambering chilong peering into the interior, the straight handle spanning the mouth carved with an entwined dragon, the semi-translucent stone with cloudy inclusions. 3 1/4in (8.2cm) across

US$3,000 - 5,000

十八/十九世紀青白玉雕螭龍紋斗

56

57

57A WHITE JADE ‘DRAGON’ CARVING17th/18th century Finely carved in a crouching pose with a long curved neck, the tail tucked between its legs and held close to the body, the head surmounted by a pair of antlers, the bulging eyes set over an open mouth, the lustrous stone with enhanced russet fissures. 2 1/8in (5.5cm) long

US$3,000 - 5,000

十八世紀白玉雕臥龍把件

50 | BONHAMS

58 YA HUANGHUALI YOKEBACK ARMCHAIR, SICHUTOU GUANMAOYI17th century with early 20th century modifications The curved crestrail supported on the gently curved back splat, carved with a ruyi-shaped panel enclosing entwined leafy vines, the stiles tennoned just below the protruding ends of the crestrail and continuing through the seat frame forming the back legs, the arms supported by curved side posts and goose-neck front posts, extending to form the front legs, the rectangular seat frame enclosing a hard woven mat, the straight legs joined by a cusped apron carved with scrolling vines and a foot rest in the front, curved aprons above stretchers to the sides and a simple apron and stretcher in the rear, the wood of a rich honey tone. 46 1/8 x 22 1/4 x 18in (117.2 x 56.5 x 45.7cm)

US$20,000 - 30,000

十七世紀黃花梨四出頭官帽椅二十世紀初經修改

58


59 YA HONGMU CORNER-LEG TABLE19th century Constructed with four flush sides, the paneled top enclosed within a wide, straight-edged frame mitered to the straight square-section legs, connected by stepped mitered stretchers and pairs of struts with beaded edges. 33 5/8 x 50 3/4 x 19 1/2in (85.3 x 128.9 x 49.5cm)

US$4,000 - 6,000

十九世紀紅木四面平條桌

60 YA BURLWOOD-INSET HONGMU STAND19th century Of square section, the top inset with an attractively-patterned burlwood panel, surrounded by a beaded edge within the hongmu frame with rounded edges, tennoned into four tall rounded legs joined by humpback stretchers and supported on pad feet. 25 7/8 x 8 1/2 x 8 1/2in (65.7 x 21x 21cm)

US$1,200 - 1,500

十九世紀紅木鑲癭木方几

59

60

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61 YA PAIR OF HONGMU SPINDLE-BACK ARMCHAIRS20th century Each with humpback toprail, between slender rear post flanking eight gently curved vertical spindles, the stepped armrest supported by five straight spindles, all emerging from the frame of the hard cane seat, the squared legs joined by a humpback stretchers with two pairs of struts and a foot rest to the front and stretchers to the sides and rear. 36 7/8 x 20 7/8 x 16 1/2in (93.8 x 53 x 42cm)

US$5,000 - 7,000

二十世紀紅木梳背椅一對

61


PROPERTY OF VARIOUS OWNERS

62 YA HUANGHUALI AND MIXED WOOD RICE CHEST18th century Constructed with mortise and tenons, the front facade composed of multiple rectangular panels, the top board hinged into the rear and opening at the front, with a scalloped apron, supported by four stile legs, the wood of rich color and patina. 32 x 31 x 23 1/2in (81.3 x 78.7 x 59.7cm)

US$15,000 - 25,000 十八世紀黃花梨及硬木米柜

62

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PROPERTY OF A CONNECTICUT COLLECTOR

63A ZITAN SEAL CHEST, GUANPIXIANG19th century Fitted with a mansard-style cover, opening to reveal a shallow compartment, above two doors fronting four drawers, all set within a conforming base, fitted with yellow brass escutcheon, lockplate, pulls, hinges and handles, the dark brown wood with an attractive grain. 12 1/2 x 12 1/2 x 9 1/4in (31.8 x 31.8 x 23.5cm)

US$5,000 - 7,000

十九世紀紫檀盝頂官皮箱


64 YA HUANGHUALI ‘BAMBOO’ BASINQing dynasty Of circular section with a flat well, the exterior of the straight upright walls divided into three sections by split ridges carved to resemble bamboo nodes, giving the basin the look of a thick bamboo section, the wood of variegated honey tones with attractive graining. 8 5/8in (21.8cm) diameter

US$4,000 - 6,000

十八/十九世紀黃花梨竹節式盆

63

64


65 YA HUANGHUALI ‘FLORAL’ BRUSHPOT, BITONG18th century Of cylindrical form, the exterior walls carved as large upright overlapping petals, overlaid with relief carvings of flowering begonia, magnolia, orchid, and prunus, all growing from a level rocky plane, the wood of variegated honey tones. 6 7/8in (17.5cm) high

US$15,000 - 20,000

十八世紀黃花梨雕四季花圖葵瓣式筆筒 A similar 18th century huanghuali brushpot was sold at Sotheby’s New York, 15 March 2016, lot 17; and two similar examples, dated 17th century, were sold at Christie’s Hong Kong, 3 June 2015, lot 2946 and 31 May 2017, lot 3164.

65

56 | BONHAMS

66 YA HUANGHUALI KANG TABLE17th/18th century The rectangular top panel set within a mitered frame with raised lip above molded edges, over a recessed waist above a canted ledge and aprons carved in low relief with confronting kuilong with intertwined vines between them, the ends of the vines forming the beaded edges of the cusped apron, the beading extending along the inside edges of the legs to the pad feet, the profile of the legs echoing the cusped edge of the aprons, the wood of warm golden brown. 10 1/4 x 25 x 18 5/8in (28 x 63.5 x 47.2cm)

US$12,000 - 18,000

十七/十八世紀黃花梨束腰雕夔龍紋炕桌

The present table is notable for its elegant proportions and the carving of the inside surfaces of its legs. A slightly larger 17th century example with similar dragon decoration was sold at Sotheby’s New York, 16 September 2008, lot 197, and another dated Late Ming-Early Qing dynasty, was sold at Sotheby’s Hong Kong, 3 April 2019, lot 3694. Another 17th century table with similar decoration and a similar side profile to the present lot was sold at Christie’s New York, 13 September 2019, lot 873.

66


67A ZITAN DOCUMENT BOXQing dynasty Of rectangular form, with a hinged cover, the rim of the cover and box both with a beaded edge, the front fitted with a brass circular escutcheon and ruyi-form hasp, the dark-brown wood attractively grained. 4 x 10 3/4 x 6in(10.2 x 27.3 x 15.2cm)

US$2,000 - 3,000

清紫檀蓋盒

67

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68A HARDWOOD ‘IMMORTALS’ BRUSHPOTQing dynasty Gently waisted with thick walls, deeply carved to the exterior with Shoulao on a deer and the immortals Li Tieguai, Liu Hai, Hanshan and Shide, each with their identifiable attributes crossing a sea of turbulent waves beneath a band of loosely scrolling clouds encircling the rim, the foot with a central plug and carved with a seal reading Zeng Xiao, the dense wood with a dark brown color and faint tortoise-shell patterning. 7 5/8in (19.5cm) high

US$15,000 - 25,000

清木雕仙人過海圖筆筒

68


69TWO ‘LIUQING’ CARVED BAMBOO BRUSHPOTSSigned Zhu Wenyou, Qing dynasty Each delicately carved to the exterior in the liuqing technique utilizing the skin of the bamboo to accentuate the continuous scene of a waterscape with boatmen and houses and pavilions surrounded by trees with mountains in the distance, one brushpot inscribed with the title of the scene Jiangnan shuixiang ju yi xian (idyllic lifestyle in a waterside village in south China), signed Wenyou with one seal Zhu; the other with a seal of the artist reading Zhu Wenyou zhi, and a hall seal mark, both set with hardwood rims and footed bases. 4in (10.3cm) high, the taller

US$5,000 - 7,000

清竹雕留青山水圖筆筒兩件《朱文右製》《朱》印

69

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70 A JADE AND HARDSTONE-INLAID LACQUER PANELthe jade 19th century, the panel Late Qing Republic period The rectangular panel lacquered dark-brown and intricately inlaid with jade, coral, cinnabar lacquer, hardwood and other stones, to form a vignette of antique vessels supported on carved wood stands and filled with flowering plants, fruits and auspicious objects, the top right with four characters reading mei shou wan nian (longevity for ten thousand years), framed. 51 1/2 x 22in (131 x 56cm)

US$20,000 - 30,000

十九世紀褐漆嵌百寶博古圖掛屏

All the plants and fruits in this panel are filled with auspicious symbolism related to longevity, good fortune and progeny. Such inlaid panels were popular decorations in halls in the Forbidden City. An example in the Suian Shi (Chamber of Pursuing Tranquillity) is illustrated in Classics of Forbidden City: Life in the Forbidden City of Qing Dynasty, Beijing, 2007, p.115, pl.175. Related panels have sold at Sotheby’s New York, 14 September 2011, lot 136, and Christie’s Hong Kong, 20 May 2012, lot 4092.

70



71 YA CORAL CARVING OF THE EIGHT IMMORTALSThe large multi-armed branch elaborately carved as an ancient pine tree with a profusion of pine needles in circular clusters, seven cranes and the eight immortals resting in its branches, the immortals portrayed with smiling faces their respective attributes, wire-inlaid wood stand. 14in (35.5cm) across (2).

US$25,000 - 40,000

珊瑚雕八仙獻壽擺件

The Eight Immortals are believed to represent various aspect of the human condition - male, female, old age, youth, wealth, poverty, officialdom and the free-spirited. As a group they are a popular birthday motif, used to symbolize a long life filled with blessings. The present carving is especially fine for its deep carving and intricate design. The beauty of the material is further enhanced by the carver’s skillful use of space, with close attention paid to the minutest details, such as the depiction of each immortals’ facial features and their attributes.

71

62 | BONHAMS

72 YA CORAL CARVING OF MAGU AND DEERThe upright arm of the thick bifurcated branch carved as immortal Magu holding aloft a large ruyi scepter, the hair dressed as two large loops, clad in long, elaborately detailed layered robes, the outstretched arm carved as two deer and a child, supported on a rocky ledge, extending from a profusion of open blossoms, wood stand. 11 1/2in (29.2cm) high

US$15,000 - 20,000

珊瑚雕麻姑獻壽像

72


73 YA CORAL FIGURE OF A DRAGONThe branch carved as a striding dragon with undulating body, head held upright, mouth agape issuing a spray of water supporting a large pearl, its long mane swept back over its serrated dorsal fin running the length of its body towards its tail, the details finely incised, wood stand. 16 1/2in (42cm) long (2).

US$7,000 - 9,000

珊瑚雕龍吐珠像

74 YA CORAL CARVING OF TWO BEAUTIESEach arm of the bifurcated branch carved as an elaborately dressed standing beauty, the long layered robes finely detailed, the hair pulled up into a large double-chignon, holding a large flowering branch over the right shoulder, beside a bamboo cluster growing from a rocky outcrop, wood stand. 11in (28cm) high (2).

US$8,000 - 12,000

珊瑚雕二喬立像

73

64 | BONHAMS

74


75 YA CORAL FIGURE OF A BEAUTY AND CHILDThe beauty carved standing upright with a lotus bouquet held at her shoulder, dressed in long layered robes with long flowing scarf, the boy hugging her legs and holding an open blossom, the details finely incised. 6 3/4in (17.2cm) high

US$2,500 - 4,000

珊瑚雕美人童子像

75

76

76 YA CORAL FIGURE OF A BEAUTYThe slender figure carved clad in layered robes with long ribbons suspending ornaments from her waist, the hair dressed in a knotted bun adorned with flowers, affixed to a malachite stand. 7 1/2in (19 cm) high

US$3,000 - 5,000

珊瑚雕美人像

66 | BONHAMS

Fine Chinese Textiles Lots 77 - 86

77 (details)

68 | BONHAMS

During the reign of the Qianlong emperor all members of the Imperial hierarchy were required to wear a surcoat over their formal court robes. The prescriptions regarding these surcoats were laid out in the Huangchao liqi tushi (Illustrated Precedents for the Ritual Paraphernalia of the Imperial court). The surcoat for the emperor was called a gunfu and had four roundels with front-facing dragons. Each of the roundels over the shoulders bore one of the twelve symbols of Imperial power. The sun disc with the three-legged cockerel over the left shoulder, and the moon disc with the hare over the right. In addition, the front and back roundels also included a shou (longevity) medallion. An illustration of the emperor’s gunfu from the Huangchao liqi tushi is reproduced by Gary Dickinson and Linda Wrigglesworth, Imperial Wardrobe, Berkeley, 2000, pl.102, p.122; and a detail of a shoulder roundel from a gunfu is illustrated, ibid, p.103, p.123. An 18th century gold-couched gunfu is illustrated by Chris Hall, John E. Vollmer, et. al, Power Dressing: Textiles for Rulers and Priests from the Chris Hall Collection, Singapore, 2013, no.20, pp.138-139; and a Jiaqing period embroidered gauze gunfu was sold at Christie’s Hong Kong, 6 April 2015, lot 183.

77

PROPERTY FROM THE COLLECTION A SOUTHERN GENTLEMAN

77A RARE IMPERIAL MIDNIGHT-BLUE EMBROIDERED YARDAGE FOR AN EMPEROR’S SURCOAT, GUNFU18th/early 19th century The rectangular panel stitched together from two lengths of silk, divided down one half to provide the front opening of the robe, embroidered and couched with four front-facing dragon roundels, the dragons couched against a ground of dense foliate scrolls bearing lotus blossoms with scattered peaches over turbulent waters, enclosed within a border of dense cloud scrolls and bats, the front and rear roundels with a shou medallion couched above the dragons’ heads, the left shoulder roundel with the Imperial moon symbol above the dragon’s head and the right with the Imperial sun symbol, the long edge roughly hemmed, lined in light blue silk. 102 1/4 x 51in (259.7 x 129.5cm)

US$25,000 - 35,000

十八/十九世紀初御製石青緞繡盤金四團龍皇帝袞服料


78

78 (detail)

78 PA RARE IMPERIAL MIDNIGHT-BLUE GOLD AND SILVER COUCHED PRINCE’S SURCOAT, BUFU18th/early 19th century The front-opening coat secured by a gilt-metal button at the neck, intricately couched in gold and silver-wrapped threads with four front-facing five-clawed dragon roundels on the front, back and shoulders, each dragon in pursuit of a flaming pearl, surrounded by dense cloud scrolls over churning waves, the eyes with embroidered details, lined with pale-yellow silk. 50 1/2in (128.2cm) long

US$20,000 - 30,000

十八/十九世紀初御製石青緞盤金四團龍皇子補服

Surcoats of the upper ranks of the Imperial nobility were decorated with dragon roundels. Bufu with four front-facing dragon roundels were assigned to all the sons of the emperor, huangzi, while princes of the first rank, qinwang, usually a title bestowed upon the emperor’s brothers, were allowed front-facing dragons on the front and back with side-facing dragons on the shoulders. The bufu was worn over a dragon robe, as a result the edges of the sleeves and hems were left unadorned in order to reveal the horse hoof cuffs and lishui border of the robe beneath. A 19th century embroidered gauze qinwang bufu was sold at Christie’s New York, 24 March 2004, lot 30; and a late 18th/19th century gauze example, also made for a qinwang was sold at Christie’s Hong Kong, 28 May 2014, lot 3351. A mid-19th century uncut kesi yardage with four front-facing dragon roundels was sold at Christie’s, South Kensington, 9 November 2012, lot 1291.

70 | BONHAMS

79 PAN IMPERIAL MIDNIGHT-BLUE EMBROIDERED WOMAN’S SURCOAT, LONGGUA18th/early 19th century The front-opening coat secured by five gilt-metal buttons, intricately embroidered with eight five-clawed dragon roundels, the roundels on the front, back and shoulders enclosing front-facing dragons in pursuit of flaming pearls, the remainder with side-facing dragons clutching flaming pearls, each dragon worked in couched gold and silver-wrapped threads and surrounded by dense cloud scrolls with bats and tongues of flame over churning waves, the hem embroidered with a wide lishui stripe border with a band of clouds and terrestrial diagrams rising from churning waves throwing up auspicious objects, lined with blue silk. 60 3/4in (154.4cm) long

US$20,000 - 30,000

十八/十九世紀初御製石青緞繡盤金八團龍龍褂

Imperial consorts and noblewomen wore this type of front-opening surcoat called longgua. An illustration of a longgua from the Huangchao liqi tushi (Illustrated Precedents for the Ritual Paraphernalia of the Imperial court) commissioned by the Qianlong emperor in 1759 is reproduced by Gary Dickinson and Linda Wrigglesworth, Imperial Wardrobe, Berkeley, 2000, pl.170, p.188 and an embroidered longgua is illustrated ibid, pl.171, p.189. A late 18th century kesi example is illustrated by John E. Vollmer, Silks for Thrones and Altars, Paris, 2003, pp.42-43. A Jiaqing period embroidered gauze example was sold at Christie’s New York, 22-23 March 2018, lot 979.

79


80A RARE FIRST CLASS CIVIL RANK BADGE, BUZIKangxi period Finely embroidered with a central crane roundel, the white feathers of the cranes finely worked in satin stitch, the black neck and wingtip feathers embroidered using peacock feather filaments, and the red crown executed in knotted stitch, surrounded by cloud scrolls, beneath a red sun and above a rock rising from churning waves, set against a shimmering ground of gold-wrapped threads, couched in an irregular patchwork pattern, framed by scroll border also rendered in peacock feather filaments. 14 1/4 x 14in (36.2 x 35.5cm)

US$20,000 - 30,000

清康熙刺繡文官一品團鶴方補

The execution of this rank badge is extremely fine. The stitches are placed with such precision, with clearly defined interstices between the feathers, giving the piece a three-dimensional effect. The use of the knot stitch, also called the Forbidden stitch, in the crane’s crown, echos the actual texture of the crown in real life. A less fine, but similar Kangxi period crane rank badge made for the front of a surcoat was sold at Christie’s Hong Kong, 30 May 2012, lot 4032. Other Kangxi period rank badges, where the bird is confined to a circle against a couched gold-wrapped thread ground, have been sold at Christie’s New York, 19 March 2008, lot 28, depicting a silver pheasant; and 13-14 September 2012, lot 1317, depicting a peacock.

80

72 | BONHAMS

81A RARE NEEDLELOOP EMBROIDERY PANELMing dynasty The black silk panel finely embroidered in needleloop technique over gilded paper, to form a scene of two blossoming lotus plants growing from lotus roots with fish and water weeds below, interspersed with birds, butterflies and other flowering aquatic plants, enclosed within a border of scrolling aquatic plants with floral motifs and coins at the corners, open chain stitches and skipped stitches in the embroidery creating geometric patterns allowing the gilded paper to show through. 14 5/8 x 14 3/8in (37.2 x 36.5cm)

US$25,000 - 35,000

明黑地刺繡蓮塘圖方屏

The needleloop technique utilizes rows of detached buttonhole stitches over gilded paper. The tiny holes that form the geometric patterns are created by skipping stitches within the row, allowing the gilded paper to show through. In the narrow stems, open chain stitches are used to hold the gilded paper in place. A Yuan dynasty needleloop embroidery panel of peonies and butterflies in the collection of the Metropolitan Museum of Art of New York is illustrated by James C.Y. Watt and Anne E. Wardwell, When Silk Was Gold: Central Asian and Chinese Textiles, New York, 1997, no.54, p. 185. A Yuan/early Ming dynasty needleloop embroidery in the Cleveland Museum of Art is illustrated, ibid., no.55, p.187; and a Yuan dynasty panel of tree peonies is illustrated by Francesca Galloway, Textile Splendours of the East, London, 2019, no.8. For a discussion on the origins of the needleloop technique, see Patricia Berger, ‘A Stitch in Time: Speculations on the Origin of Neddlelooping’ Orientations, August 1989, Vol.20, no.8, pp.45-53.

81



82AN EMBROIDERED SILK GAUZE FORMAL COURT ‘DRAGON’ ROBE, CHAOFULate Qing dynasty The midnight-blue robe embroidered with fine couched gilt threads and polychrome silk floss to form energetic five-clawed dragons pursuing precious pearls on the chest, back, and each shoulder amid ruyi-clouds and auspicious emblems, framed by lishui stripes with soaring mountain peaks rising from crashing waves churning further auspicious symbols, the waist band decorated with paired dragons and clouds on either side of the terrestrial diagram above waves, the design repeated on the edge of the pleated skirt below seventeen dragon roundels and a square flap with an additional front-facing dragon, all bordered in black and gold brocade. 50 1/2in (128.2cm) long

US$10,000 - 15,000

清末石青地繡五爪金龍彩雲葛紗朝袍

The formal court robe, known in Chinese as chaofu, or chaopao, is the most important of the ceremonial costumes of the Qing court. Several examples of these important robes can be found in museum collections, including a similar deep-blue silk gauze chaofu, dated to 1870-80, in the Museum of Fine Arts Boston, number 1974.408, and another embroidered silk chaofu in the Metropolitan Museum of Art, New York, number 35.84.3, dated to the second half of the 19th century.

82

74 | BONHAMS

83A RARE SILK AND METAL-WRAPPED THREAD EMBROIDERED PANEL OF GUANYIN AND ATTENDANTSEarly Qing dynasty Embroidered in satin stitch with silk floss to portray Guanyin beneath a celestial canopy strung with fluttering knotted ribbons, seated in lalitasana on a recumbent mythical beast, the right hand held in karanamudra, the left hand resting on a stack of sutras, the face with a solemn expression given a three-dimensional effect by the batting-filled nose, the attendants Longnu and Shancai standing to the left and right respectively, Longnu holding the darkness-dispeling pearl and Shancai with hands clasped in anjalimudra, all the figures depicted on a terrace between a lotus pond and a balustrade, Guanyin’s vase bearing stalks of willow and the filial parrot each resting on the top of one balustrade post on either side of the central figure, some details outline with metal foil-wrapped threads, mounted with pale blue silk borders with reinforced backing. 36 1/2 x 16 5/8in (92.7 x 42.2cm)

US$20,000 - 30,000

清初刺繡觀音圖掛屏 Provenance Reverend Dr. Adolph H. Behrenberg (1914-1977), Metuchen, New Jersey Aalten’s Orange Auction Galleries, East Orange, N.J., Estate sale of Dr. Adolph Behrenberg, 12 March 1978, lot 358 Estate of Sydney L. Shaper 來源新澤西州Adolph H. Behrenberg 醫生牧師（1914-1977年）珍藏新澤西州Aalten’s Orange Auction Galleries，Adolph H. Behrenberg 醫生牧師珍藏拍賣，1978年3月12日，拍品編號358 Sydney L. Shaper 舊藏 Guanyin is the most popular Buddhist deity in China, and according to the Lotus sutra, Guanyin can take any form necessary to save sentient beings. Thirty-three forms are mentioned in the sutra, but this particular grouping of Guanyin with Longnu and Shancai, accompanied by the filial parrot has no basis in Buddhist scripture but instead finds its roots in numerous precious scroll narratives, folk tales and legends concerning Guanyin. In the Chinese Mahayana tradition, it is believed that the two acolytes each represent one of the important sutras of that tradition. Shancai personifies the Avatamsaka Sutra, while Longnu represents the Lotus Sutra. The parrot represents the most important of Chinese virtues, filial piety, and appears in the Yingge Baozhuan (The Precious Scroll of the Parrot). Guanyin’s vase is believed to hold the elixir of life and the willow with its evil dispelling properties is used to sprinkle the elixir when Guanyin dispenses blessings. Such Chinese folk tales surrounding Guanyin were so popular that elements from these folk tales made their way into the popular iconography of Guanyin. A Late Ming dynasty example depicting a Daoist deity seated beneath a celestial canopy and flanked by two attendants was sold at Sotheby’s London, 6 November 2019, lot 345. 83


84A BLUE SILK KESI DRAGON ROBELate 19th century Woven with nine five-clawed dragons with embroidered details, surrounded by auspicious emblems and animals amid clouds, all bordered by lishui stripes and terrestrial diagrams emerging from churning waves, the collar and sleeve bands similarly woven and edged in brocade, the details of the decorations accented with black pigment. 49in (124.5cm) long

US$4,000 - 6,000

十九世紀末藍地緙絲雲龍紋吉服

85 No lot

84

76 | BONHAMS

86A FINELY EMBROIDERED TEXTILE PANEL18th century Embroidered in satin stitch with silk floss to depict a garden scene with exotic birds, garden rocks and blossoming flowers framing two elaborately furnished boats and two standing figures, with a pagoda in the deep distance, some details painted with pigment. 20 1/2 x 16in (52 x 40.6cm)

US$5,000 - 7,000

十八世紀米黃地繡湖畔別墅圖掛屏

86


Chinese Jade and Hardstone

Lots 87 - 104

PROPERTY FROM THE ESTATE OF ROBERT P. YOUNGMAN

87TWO JADE ARCHAIC CARVINGSWestern Zhou and Late Shang/early Western Zhou dynasty The first a Western Zhou dynasty slit disc, jue, of circular form, pierced with a hole in the center with a slit through the edge, one side incised with a stylized dragon; the second a Late Shang/early Western Zhou dynasty pendant, the flat plaque shaped as a stylized dragon in profile, a hole pierced through the mouth, the body after the shoulders terminating in a curled tail. 2 1/8in (5.4cm) long, the pendant

US$5,000 - 7,000

商/西周古玉器兩件 Provenance J.J. Lally & Co., New York, 2016 來源 2016年，紐約，J.J. Lally & Co.

87

88


88A GOLD AND AGATE LADLELiao/Jin dynasty The agate bowl of reniform section, thinly carved with a flat base, the rim bound in gold and fitted with a gold socket, chased with leaves against a pearl-punch ground, the tip of the gently-curved agate shaft fitted with a gold cap similarly chased and punched. 9in (23cm) long

US$4,000 - 6,000

遼/金瑪瑙鑲金勺

80 | BONHAMS

89A CELADON JADE MUGHAL-STYLE CHRYSANTHEMUM DISHQing dynasty Finely carved as three concentric rings of narrow petals radiating from a central floral disc, the outer ring curving upwards to form the walls of the dish, the underside similarly carved with two rings of petals, the tips of the petals in the second ring curling to form the foot ring, the translucent stone with streaky white inclusions. 5 1/2in (14.2cm) diameter

US$7,000 - 9,000

清青白玉痕都斯坦式菊紋盤 Provenance N. M. Heeramaneck Collection, since 1960s 來源自20世紀60年代，N.M Heeramaneck珍藏

89


90A SPINACH JADE ARCHAISTIC VASE18th century Of flattened octagonal hu shape, with a squared, lipped-rim above the short neck, flanked by stylized archaistic phoenix head handles suspending rectangular rings, the body carved in low relief with a band of taotie masks constructed of elements from deconstructed phoenix, all supported on a pedestal foot, the dark green stone with black and white inclusion and natural fissures. 9 5/8in (24.6cm) high

US$7,000 - 10,000

十八世紀碧玉雕夔鳳饕餮紋八方壺

Provenance Acquired in Asia in the 1960s (by repute) From a Californian Estate, Santa Barbara 來源據藏家，1960年代購於亞洲加利福尼亞州聖塔芭芭拉市一遺產故藏

90

82 | BONHAMS


91A CELADON JADE FIGURE OF ZHOU TANZIQing dynasty Carved as a boy with hair dressed in two double-buns on either side of the head, holding a pail in one hand, the other hand clutching the leg of a deer pelt draped over the back, the stone of a pale gray-green color with russet accents. 2 3/4in (7cm) high

US$4,000 - 6,000

清青玉雕鹿乳奉親把件 Provenance Marchant, London, 1995 Exhibited Post-archaic Jades from Private Collections Marchant, London, 1995, cat.no. 23 Published Youngman, Robert P., The Youngman Collection of Chinese Jades from Neolithic to Qing, Chicago, 2008, pl.182 來源 1995年，倫敦，Marchant 展覽 Post-archaic Jades from Private Collections Marchant,倫敦，1995年，圖錄編號23 出版 Youngman, Robert P., The Youngman Collection of Chinese Jades from Neolithic to Qing，芝加哥，2008年，圖182

92A CELADON JADE ‘THREE RAMS’ CARVINGQing dynasty Carved as a recumbent ram with legs tucked, the head crowned with a pair of long, curved horns, one kid resting by its side, a smaller kid resting on its back, the lustrous gray-green stone with some russet-stained fissures. 1 3/4in (4.5cm) long

US$3,000 - 5,000

清青玉雕三陽開泰把件

91

92

Provenance Anunt Hengtrakul, New York Published Youngman, Robert P., The Youngman Collection of Chinese Jade from Neolithic to Qing, Chicago, 2009, pl. 126. 來源紐約，Anunt Hengtrakul 出版 Youngman, Robert P., The Youngman Collection of Chinese Jade from Neolithic to Qing, 芝加哥, 2009年, 圖126.


93A CELADON JADE ‘PHOENIX’ CARVING17th/18th century Finely carved in the form of a recumbent phoenix, the long curling crest feathers extending down the neck, the head turned over its back, grasping a branch bearing two ripe peaches in its beak, the upper wings each decorated in low-relief with a scrolling archaistic dragon above the long pointed pennaceous feathers, the tips resting on base of the curling tail feathers, the underside carved with the tucked legs, the whole comforming to the outline of the pebble, the pale green stone with a lustrous finish and opaque white inclusions. 4 3/8in (11.1 cm) long

US$8,000 - 12,000

十七/十八世紀青玉雕臥鳳獻桃把件 Provenance The Peking Gallery, Toronto, Canada, 11th February 1974 來源 1974年2月11日，購於加拿大，多倫多 The Peking Gallery A similar 17th/18th century carving of a phoenix grasping a peach branch from the Robert Hatfield Ellsworth Collection was sold at Christie’s New York, 19th March 2015, lot 622.

93

84 | BONHAMS

94

95

94TWO SMALL WHITE JADE FIGURESQing dynasty The first of a smiling boy with a tuft of hair on one side of the head, crouching on bent knees and supported on the elbows, grasping a sprig of lingzhi, naked except for an apron; the second of a kinnara, carved crouching with wings folded above the fan tail, blowing into a reed organ; both figures with an even color and lustrous polish. 2 1/2in (6.4cm) long, the longer

US$4,000 - 6,000

清白玉雕人物兩件

95A CELADON JADE SMALL ‘DAOIST’ MOUNTAIN19th century or later Carved as an irregularly shaped rock with numerous protrusion and hollows, one side with a Daoist seated beneath a tree with a young maiden in attendance, flanked by a deer and a crane, with a long tailed bird descending from the sky, the other side with a recumbent deer beneath a tree, the green stone with a refined polish and a cloudy inclusion. 3 3/8in (8.6cm) high

US$3,000 - 5,000

十九世紀或更晚青玉雕仙人小山子


96A WHITE JADE ‘MELON AND BUTTERFLY’ CARVINGNaturalistically carved as a large melon growing from an openwork leafy vine, issuing two smaller melons with two small butterflies highlighted by the gray inclusion resting on a leaf, the translucent white stone with additional opaque white inclusions, wood stand. 3 3/8in (3.6cm) long (2).

US$5,000 - 7,000

十九世紀白玉雕瓜瓞綿綿紋把件

97A BROWN AND CELADON JADE ‘LION’ CARVINGMing dynasty Portrayed crouching with a ribbon-tied brocade ball between the forepaws, the head turned with the broad jaws tugging one end of the ribbon, the end of the ribbon curling across the creature’s back, the top of the broad head crowned with a tightly curled mane, above the closely spaced round eyes, the pale green stone with patches of dark brown and brown-stained fissures. 2 3/4in, (7cm) long

US$4,000 - 6,000

明青褐玉雕獅戲繡球把件 Provenance Collection of Wellington Wang Weisbrod Chinese Art, Ltd., New York 來源王度收藏紐約，Weisbrod Chinese Art, Ltd.

96

97

86 | BONHAMS


98A CELADON JADE ‘ELEPHANT AND BOYS’ GROUPLate Qing dynasty Carved as a plump elephant standing foursquare with its head turned to the left, two boys crouching on a large lotus leaf on its back, one boy emptying a jug of water over the elephant’s side, the jug inscribed with the character fu, the water cascading in streams as the other boy scrubs the elephant with a brush, the smoothly finished gray-green stone with cloudy-white and speckled brown inclusions. 4 5/8in (12cm) long

US$10,000 - 12,000

清青玉雕太平喜象擺件

The elephant was a popular subject for jade carvers during the Ming and Qing dynasties. Apart from being a symbol of wisdom and strength, the Chinese word for elephant, xiang, is a homophone for the word ‘auspicious.’ In the current example, additional auspicious elements appear, such as the vase, whose Chinese name, ping is a homophone for the word ‘peace’, and the action of washing the elephant, xi sounds the same as the word ‘happiness.’ Together these elements form the rebus taiping xixiang (When there is peace signs of happiness appear). A jade carving of two boys washing an elephant is illustrated in Views of Antiquity in the Qing Imperial Palace, Museu de Arte de Macau, Macau, 2005, cat. no. 109.

98


99A CELADON JADE MUGHAL-STYLE GEMSTONE AND GOLD EMBELLISHED VASE AND COVEROf pear shape with a galleried rim, pedestal foot and domed cover surmounted by a bud finial, the exterior decorated with gold wire inset with colored gemstones to form arabesque designs of birds perched in trees and floral sprigs beneath a band of linked oval fruit encircling the neck, the cover decorated en suite, the pale celadon stone with some black inclusions, fitted box. 4 1/2in (11.5cm) high (3).

US$15,000 - 25,000

青白玉痕都斯坦式錯金嵌寳花卉紋蓋瓶

99

88 | BONHAMS

102 101

100

100A CELADON JADE FIGURE OF MAGUQing dynasty The immortal of longevity carved standing upright holding a peach in the left hand, the hair swept up into a double topknot and wearing long layered robes, a deer standing by her side, all supported on an irregularly-shaped rock-like plinth, the pale green stone with some white inclusions and brown-stained fissures. 5 1/2in (14cm) high

US$4,000 - 6,000

清青白玉雕麻姑獻壽像

101 YA SOAPSTONE FIGURE OF A LUOHANLate Qing dynasty/Republic period Carved in a recumbent posture, leaning with arms folded against a sack with left knee raised, wearing long flowing robes finely incised with gilt-filled foliate-scroll borders accented with turquoise pigment, the bemused expression beneath a receding hairline and centered by a curled mustache, the stone of variegated pink and cinnabar-red tones, wood stand. 5 1/4in (13.2cm) long (2).

US$4,000 - 6,000

清末/民國壽山石雕羅漢臥像

102A JADE INSET SILVER CYLINDRICAL BOX AND COVERThe jade, Ming dynasty; the silver, 19th century The circular jade plaque reticulated with a writhing dragon amid clouds, against a secondary ground of scrolling vines, accented with hints of russet, set into the top of the tall cylindrical cover, the side chased with scrolling peony between bands of key fret, the plain cylindrical box with a lip around the rim and fitted with another cover, the foot impressed with a seal reading Shengyuan. 1 5/8in (4.2cm) diameter of plaque

US$2,000 - 3,000

十九世紀銀嵌明代青白玉鏤雕雲龍紋牌筒式蓋盒


103

104

103A CELADON JADE ‘BATS AND PEACHES’ CARVINGQing dynasty The substantial irregularly ovoid pebble worked as two bulbous fruits raised atop a gnarled and leafy blooming undercut branch adorned in tiny raised relief bats, the stone of mottled celadon hue streaked in notable patches of russet skin. 6in (15.2cm) wide

US$8,000 - 12,000

清青玉雕福壽紋擺件

104A YELLOW JADE ‘CONCH SHELL’ WASHERCarved as a slightly flattened conch shell, the aperture forming the well, the whorls on the spire carved with arcs, the body whorl carved in low relief with stylized lotus blossoms borne on scrolling foliage with one leaf extending over the lip, the stone a greenish-yellow color with enhanced russet. 5 1/4in (13.4cm) long

US$2,500 - 4,000

黃玉螺式洗

90 | BONHAMS

Fine Chinese Bronzes, Silver and Gold

Lots 105 - 122

105A RARE BRONZE CEREMONIAL HALBERD BLADE, GELate Spring and Autumn Period Cast with a pointed tongue-shaped blade, each side incised with a human figure battling a tiger, sharpened along both edges, the lower edge sweeping in an arc to connect to the hollow socket pierced with a longitudinal hole and decorated with cloud scrolls and surmounted with a phoenix beneath an openwork collared tiger facing in the direction of the blade while grasping the wings of the phoenix with its forepaws and the head with its rear, a smaller tiger on its back biting the collar, the details clearly rendered, the surface with small areas of malachite encrustation. 5 1/8in (13.2cm) long

US$4,000 - 6,000

春秋晚期青銅虎鳳紋戈 Provenance Ariadne Galleries, 1990s Published Tina Pang, Treasures of the Eurasian Steppes: Animal Art from 800 BC to 200 AD, New York, 1998, no.185

來源Ariadne畫廊，20世紀90年代

出版Tina Pang, Treasures of the Eurasian Steppes: Animal Art from 800BC to 200AD, 紐約，1998年，圖錄185 Larger examples with similar motifs and decoration have sold at Sotheby’s New York, 19 March 2019, lot 103; and Sotheby’s Paris, 16th December 2015, lot 36. Other similar example are illustrated in Xueqin Li and Sarah Allan, Chinese Bronzes: A Selection from European Collections, Beijing, 1995, pl.130 and 131.

106A BRONZE FIGURAL MAT WEIGHTHan dynasty Cast as a male figure seated in a half kneel, leaning forward slightly with the left arm bearing the weight, the right hand with extended figures raised to shoulder level, the face with alert eyes flanking the broad nose above the mustachioed lips, the facial features framed by a cowl, the glossy brown patina with patches of silvery-green. 3 5/8in (9.2cm) high

US$5,000 - 7,000

漢銅六博俑席鎮 Provenance Private Collection, Connecticut, old inventory number 17555

來源康州私人收藏

105

106

92 | BONHAMS

107TWO BRONZE FIGURAL MAT WEIGHTSHan dynasty Each cast as a kneeling male figure with left hand placed on the left knee, dressed in a tunic, with a round expressive face beneath hair gathered into a topknot; one figure with outstretched right arm and open palm, with traces of gold inlay, the other figure with open right palm raised to ear level and green surface patination. 3 1/8in (8cm) high

US$12,000 - 18,000

漢青銅六博俑席鎮兩件 Provenance Private collection, New York Christie’s East, New York, 20 March 2000, lot 268 來源紐約私人收藏紐約佳士得，2000年3月20日，拍品編號268

Such bronze mat weights would originally have come in sets of four, such as the Han dynasty set in the collection of the Metropolitan Museum of Art in New York, accession number 2003.522.4, consisting of two liubo players, similar to the two figures in the present lot, and two spectators, one of which is similar to lot XXXX. Another set of four similar bronze weights unearthed in 1971 in the city of Xi’an in Shaanxi province is illustrated in Treasures from the Han, The Empress Place Museum, Singapore, 1990, p. 59; and a set of four dated Eastern Han dynasty was sold at Christie’s New York, 16 September 2010, lot 893. A set of four gold-inlaid bronze figures excavated from a Western Han dynasty tomb at Dayun Mountain, Xuyi, Jiangsu province, now in the Nanjing Museum are illustrated in Chang wu xiangwang: du Xuyi Dayunshan Jiangdu wangling (A Survey of the Mausoleum of the Prince of Jiangdu at Dayunshan, Xuyi), Nanjing, 2013, pp.322–327. Liubo was an ancient Chinese board game invented no later than the middle of the 1st millennium BCE. Though widely played during the Han dynasty, it rapidly declined in popularity thereafter.

107


108TWO GOLD AND SILVER INLAID BRONZE FERRULESWarring States The first a dun of hollow cylindrical form with an almond-shaped cross-section, divided into two registers by a raised band, each register finely inlaid with a design of winged mythical beasts, geometric patterns and scrolls; the second a zun, divided along its length into three sections by raised bands with a raised ridges, the top two sections of almond-shaped cross-section, the third tapering towards the end and terminating in a horse-hoof foot, each section inlaid with patterns of abstract birds, scrolls and waves; both with a longitudinal piercing, lucite stands. 6 1/4in (16cm) high, the taller

US$15,000 - 20,000

戰國銅錯金銀卷雲飛獸紋鐏鐓兩件 Provenance Susan Chen Ltd., Hong Kong, 13 January 1997 Property from the Collection of William N. Wood Prince, Chicago, Illinois Christie’s, New York, 10-11 January 2012, lot 335 來源Susan Chen Ltd.，香港，1997年1月13日芝加哥William N. Wood Prince舊藏紐約佳士得，2012年1月10-11日，拍品編號335

The Warring States period encompassed the latter part of the Zhou dynasty when a number of states declared independence from the Zhou and fought each other for dominance. Both functional and ceremonial articles of war became important status and power symbols for the military and ruling elites of these states. Finely cast and inlaid fittings, like the present examples, form a large category of luxury items that adorned functional articles of war. Both these fittings served as butt-ends to the wooden or bamboo shafts of bronze halberds or spears. The longitudinal piercing would have allowed a pin to be inserted to secure it tightly to the shaft once the ferrule was put on. Ferrules with flat bottoms are referred to as dun, while those with horse-hoot ends are called zun. Similar Warring States period examples are illustrated in Pierre Uldry, Chinesisches Gold und Silber, Zurich, 1994, nos. 65-67. A silver-inlaid bronze zun is illustrated in Ancient Chinese and Ordos Bronzes, Hong Kong Museum of Art, Hong Kong, 1990, no. 88; and a gold and silver inlaid zun was sold at Sotheby’s New York, 10 September 2019, lot 259.

108

94 | BONHAMS

109A BRONZE CENSERDaoguang mark and possibly of the period Cast with a compressed globular body with a wide mouth and broad everted rim, the sides set with opposing loop handles, all supported on a flared foot ring with a lipped edge, surrounding the dated hall mark within a recessed square reading Daoguang wushen (1848) Xingyouheng tang zhi. 8in (20.4cm) across; Weight 5.1 lbs (2.3kg)

US$5,000 - 7,000

清道光銅蚰耳爐《道光戊申行有恒堂製》款 Xingyouheng Tang is the hall mark of the fifth Prince Ding, Zaichuan, a great-great-grandson of the Qianlong emperor, who inherited the title upon the death of his father in 1836.

109


110AN UNUSUAL BEIJING ENAMEL BOX AND COVERYongzheng mark The outline of the box conforming to the silhouette of two pouches side-by-side, the cover molded in relief and painted to depict the two pouches, each tied with a bow around the neck, one decorated with bamboo sprigs and curling leaves on scrolling stems, the other with scattered floral diapers, the sides of the box decorated with ears of grain and bamboo, the foot inscribed with the four-character mark enclosed by a pair of archaistic phoenix within a border of C-scrolls and dots, the interior enameled turquoise, fitted box. 5 1/8 (13cm) long (2).

US$5,000 - 7,000

北京銅胎畫琺瑯包袱紋蓋盒《雍正年製》款

110 (detail)

96 | BONHAMS

111A FINE AND UNUSUAL GILT SILVER PRESENTATION BOXFrederick Elkington, Birmingham, 1876 Of square form, the upper panel hinged for opening, and wrapped by a faux tie, the gilt washed silver engraved on five of the sides with auspicious symbols and bird and flower imagery, surrounded by leafy scrolling vines, two of the sides bearing a cartouche enclosing the Chinese characters reading Huan Zhu or Huan Cong, with a third cartouche on the lid with an indecipherable inscription, marked along the upper edge of one side panel Frederick Elkington, Birmingham, 1876. 55.1oz (1562gm) 7 x 6 5/8 x 6 1/2in (18 x 16.9 x 16.5cm)

US$5,000 - 7,000

1876年鎏金銀禮盒英國伯明翰Frederick Elkinton製

Frederick Elkington’s studios were at the center of the Arts and Crafts movement in Birmingham England in the late 19th century. Elkington, Mason & Co, and later Elkington & Co., mastered the process of electroplating but also continued to do traditional silversmithing as seen in this unusual presentation box. The Chinese themes on this box represents the Asian influence of the Aesthetic Movement and is also seen on a tea service by Elkington & Co. now in the collection of the Victoria and Albert Museum (M.48-2009, M.49-2009, M.50-2009). The V & A tea service is also dated 1876.

111 (mark)


112TWO SMALL GILT-BRONZE FIGURES OF BODHISATTVASTang dynasty One cast in a half-kneel, the left elbow resting on the raised left knee and holding a stupa, the right hand resting on the right foot; the other seated in lalitasana, the right elbow resting on the right knee, holding a willow twig in the right hand, the left hand holding a vase; both supported on a lotus throne, detachable from the stepped lotus-petal base. 2 1/4in (5.6cm) high

US$8,000 - 12,000

唐鎏金銅供養菩薩像一對 Provenance New York Art Market, 1980s, old invoice no. 17262

來源20世紀80年代購於紐約

A similar pair of small Tang dynasty bodhisattva are illustrated in Buddhist Images in Gilt Metal, Taipei, 1993, no. 70. Another similar pair from the Idemitsu Museum of Art, Tokyo, are illustrated in Ancient Chinese Arts in The Idemitsu Collection, Tokyo, 1989, no. 347, and were sold at Christie’s Hong Kong, 29 May 2019, lot 2715; and another pair were sold at Christie’s New York, 17 March 2017, lot 1023.

112

98 | BONHAMS

113A LIMESTONE HEAD OF BUDDHANorthern Qi The well-proportioned head carved with a low-domed ushnisha above the face carved with half-closed, willow-leaf shaped eyes beneath a subtle brow extending from the bridge of the narrow nose, the crisp undulating lips forming a gentle smile above the fleshy chin, all flanked by long ears, the hair carved as raised whorls, metal stand. 7 1/4in (18.5cm) high

US$5,000 - 7,000

北齊石灰岩雕佛首 Provenance Ariadne Galleries, 1990s, old invoice no. 17276

來源Ariadne畫廊，20世紀90年代

113


114

114A SILVER-INLAID BRONZE FIGURE OF GUANYINQing dynasty Heavily cast, the elegant figure portrayed standing and clad in long flowing robes finely inlaid with silver wire forming clusters of scrolling clouds bordered with scrolling foliage along the edges, the face with a serene expression framed by the elaborately coiffed hair beneath the cowl and a beaded necklace adorning the chest, the back inlaid with a four-character mark in archaic script reading Yutang Shisou, wood stand. 19 1/8in (48.7cm) high (2).

US$6,000 - 8,000

清銅錯銀絲觀音菩薩立像 A similar 19th century figure was sold at Sotheby’s Hong Kong, 29-30 November 2018, lot 562.

100 | BONHAMS

115A LARGE GILT-LACQUERED WOOD FIGURE OF LONGNU17th/18th century Carved with hands hidden by a presentation cloth, supporting a now-missing flaming pearl on an offering dish, wearing a ruyi-cloud collar with beaded-edge beneath a shawl, the borders of the long sleeves and three-quarter-length overskirt finely decorated with floral scrolls, the head slightly turned to the right, the face with delicate features beneath the hair, pulled back into double loops at the back. 33in (83.8cm) high

US$12,000 - 15,000

十七/十八世紀漆金木雕龍女立像 Longnu is the daughter of the Dragon King, and would have stood to the left of an image of Guanyin. The present figure with its head turned slightly to the right would have been facing worshipers as the figure would have been angled slightly to the right on the altar, with a matching figure of Shancai on the right, angled slightly left towards the central image of Guanyin.

115


116A ROOT AMBER SNUFF BOTTLE19th century Of slightly flattened ovoid form, surmounted by a flaring tubular neck with a broad lip and small mouth, the shoulders finely carved with lion mask and mock ring handles, all supported on an inset concave oval foot, the swirled variegated ocher material with patterns resembling burl wood. 3in (7.6cm) high

US$3,500 - 5,000

十九世紀琥珀雕鋪首銜環耳鼻煙壺

116

117

117A CINNABAR RED SNUFF BOTTLEImperial, Beijing Palace Workshops, 18th century Of flattened shield shape, each side carved cinnabar lacquer with sixty stylized shou characters on an ocher lacquer wan-fret diaper, all within a leiwen border, with a waisted neck. 2 1/2in (6.4cm) high

US$2,000 - 3,000

十八世紀剔紅雕萬壽紋鼻煙壺 Several identical, similarly dated bottles have been published, leading scholars to believe the bottles were originally part a of set commissioned to celebrate an imperial birthday. Given the count of sixty shou medallions, the birthday was likely a significant one. For similar bottles see Hugh Moss, Victor Graham and Ka Bo Tsang, A Treasury of Chinese Snuff Bottles, The Mary and George Bloch Collection, vol.7 part 1, Hong Kong，2009, no.1543, and sold in our Hong Kong rooms 29 May 2010, lot 110; Bob C. Stevens The Collector’s Book of Snuff Bottles, New York, 1976, no. 760, and Clare Lawrence, Miniature Masterpieces from the Middle Kingdom, The Monimar Collection of Chinese Snuff Bottles, London, 1996, no 8.

102 | BONHAMS

118

118A WHITE JADE ‘MALLOW BLOSSOM’ SNUFF BOTTLEQianlong period, 1736-1795 Well-hollowed, the shape of the bottle carved in the outline of a mallow blossom, each main face lightly carved to depict an open bloom with six curled overlapping petals radiating from a circular flower heart, surmounted by a short tubular neck with a flat lip, the stone an even white color. 2 1/4in (5.6cm) high

US$10,000 - 15,000

清乾隆 1736-1795年白玉雕葵花式鼻煙壺 Provenance A Private Canadian collection formed prior to 1955 Sotheby’s, New York, Important Chinese Snuff Bottles, 17 March 1997, lot 273 來源加拿大私人收藏，1955年之前形成重要中國鼻煙壺，紐約蘇富比，1997年3月17日，拍賣編號273

FINE CHINESE ART | 103

119A CLOISONNE ENAMEL DOUBLE-GOURD SNUFF BOTTLEQianlong mark and of the period Of flattened form, the upper and lower lobes decorated with large lotus blossoms borne on scrolling, leafy stems, between ruyi lappets around the neck and upright lappets and dots around the base and foot ring, the lip and foot gilded, the foot bearing the incised four-character mark, the domed stopper decorated en suite. 3in (7.6cm) high

US$6,000 - 8,000

清乾隆銅胎掐絲琺瑯纏枝蓮紋葫蘆式鼻煙壺

119

120

120A CANTON ENAMEL ‘LONGEVITY AND BLESSINGS’ SNUFF BOTTLE19th century Of flattened circular form, each main side painted with a lobed medallion enclosing a stylized shou character, the character surrounded by five bats on one side and flanked by kuilong on the other, against a blue ground painted with floral sprays, the foot bearing a four-character Qianlong mark within a double-square in blue enamel. 2 1/4in (5.6cm) high

US$1,500 - 2,500

十九世紀銅胎畫琺瑯福壽紋鼻煙壺

104 | BONHAMS

121A GREEN JADEITE SNUFF BOTTLE19th century Of flattened ovoid form, surmounted by a short tubular neck with a wide flat lip, all supported on a concave oval foot, the light green stone with splashes apple-green and icy-white inclusions. 2 1/2in (6.4cm) high

US$1,200 - 1,800

十九世紀翠玉光素鼻煙壺

121

122

122AN ENAMELLED GLASS SNUFF BOTTLEWu Yuchuan, likely Imperial Palace Workshops, 1760-1799 Of flattened globular form, with a flat oval foot and a flat lip, one face with a cricket among flowers, reversed with a poem in kaishu followed by two iron red painted seals reading Shan’gao and Wu Yuchuan. 2 1/4in (5.5cm) high

US$4,000 - 6,000

清乾隆吳玉川作白料胎畫琺瑯蟈蟈圖題詩鼻煙壺或御製「山高」「吳玉川」印 This bottle is one of a group of bottles attributed to Wu Yuchuan and discussed in Hugh Moss, Victor Graham and Ka Bo Tsang, The Art of the Chinese Snuff Bottle: The J & J Collection, Vol. 2, New York, 1993, no. 196, and in Moss, Graham, Tsang, in A Treasury of Chinese Snuff Bottles, the Mary and George Bloch Collection, Volume 6, Part I, Hong Kong, 2008, pp. 195-198, where these bottles are discussed with the ‘Hu Xuan’ group and the Guyue Xuan group as a whole.


122A A CINNABAR LACQUER BARBED-RIM DISHSong/Yuan Dynasty The shallow lobed sides rising from a recessed foot to a barbed rim with nine points, the interior and exterior wall covered with red lacquer, the foot lacquered black. 9 7/8in (25cm) diameter

US$3,000 - 5,000

宋/元朱漆蓮瓣盤

122A

106 | BONHAMS

Chinese Pottery and Porcelain

Lots 123 - 163


PROPERTY OF A CONNECTICUT COLLECTOR

123 A PAINTED POTTERY FIGURE OF A COURT LADYTang dynasty Modeled standing upright, the full round face with delicately modeled features beneath hair dressed in the paojia style, the right hand positioned with two fingers extended at chest level, the other hand hidden beneath the wide sleeves, dressed in a long robe falling in folds above her pointed, curved shoes, covered in a white slip with details highlighted in red and black pigments. 18 1/2in (47cm) high

US$5,000 - 7,000

唐彩繪陶仕女俑 Provenance Acquired New York City, March 1999 來源1999年3月購於紐約

123

108 | BONHAMS

125

124TWO SANCAI GLAZED FIGURESTang dynasty The first a court lady with hands hidden by long narrow sleeves and clasped over a long shawl, the long flaring skirt tied at the waist, the delicate facial features beneath hair swept into two side buns, the garments accented with green, amber and ivory; the second a male groom dressed in a green-glazed long coat, and wearing a futou hat, cradling a duck. 11 1/2in (29.2cm) high, the taller

US$4,000 - 6,000

唐三彩人俑兩件 Provenance Acquired New York City, November 1998 and December 1998 來源分別購於1998年11月，1998年12月，紐約

125TWO SANCAI GLAZED VESSELSTang/Liao dynasty The Tang dynasty cup molded in the form of a mythical beast head with a serpent issuing from its mouth and curving back to bite the rim, forming the handle; the Liao dynasty washer realistically made in the form of a marine gastropod shell of ovate-conic shape with a section removed to present a flat surface, the exterior glazed amber, the interior green. 5 3/4 and 4in (14.6 and 10.2cm) long

US$3,000 - 5,000

唐/遼三彩器兩件 A similar shell-form vessel dated Tang-Liao dynasty was sold at Christie’s Paris, 21-22 June 2016, lot 357. Provenance The Tang cup, acquired New York City, 1999 The Liao cup, Priestley & Ferraro, London June 2000. 來源唐杯於1999年購於紐約遼杯於2000年購於倫敦Priestly & Ferraro

124


126 A RARE SANCAI-GLAZED AMPHORATang dynasty Potted with an ovoid body tapering towards the base, supported on a flat foot, surmounted by a slender waisted neck encircled by raised fillets, flanked by a pair of curved double-strap handles applied with bosses and terminating in dragon heads biting the flaring galleried-rim, splashed with green and amber over wax-resist spots, the glaze ending in an irregular line over the incised lines encircling the shoulder revealing the pinkish buff body. 14 1/2in (36.8cm) high

US$5,000 - 7,000

唐三彩雙龍耳盤口瓶 Provenance Acquired New York City 1997 來源 1997年購於紐約 The result of Oxford Authentication Ltd. thermoluminescence test sample number C97g98 is consistent with the dating of this lot. Similar examples are illustrated in Suzanne G. Valenstein, A Handbook of Chinese Ceramics, 1989, no. 58; and Toji Zenshu - To Sansai (Complete Collection of Ceramics, Tang Sancai), vol. 25, Japan, 1961, no. 8.

126

127

127A SANCAI GLAZED TRIPOD JARTang dynasty Potted with a compressed globular body, surmounted by a short neck with an everted rim, splashed with green and amber glaze running over wax-resist spots, stopping in an irregular line at the base to expose the pinkish buff body, the interior coated with an amber-tinged clear glaze, all supported on three lion paw-form feet. 8 3/4in (22.3cm) diameter

US$3,000 - 5,000

唐三彩三足罐 Provenance Acquired New York City, 1998 來源 1998年購於紐約

110 | BONHAMS

128A SANCAI-GLAZED POTTERY JAR AND A COVERTang dynasty Of ovoid form, the broad shoulder surmounted by an amber-glazed short neck with wide mouth and rolled-rim, the buff earthenware body liberally splashed with green glaze that streaks towards the base over evenly spaced wax-resist florets with amber centers, the associated domed cover similarly applied with wax-resist decoration and surmounted by a bud-finial. 9 1/2in (24cm) high

US$4,000 - 6,000

唐三彩罐 Provenance Acquired New York City, August 1999 來源 1999年8月購於紐約 The result of Oxford Authentication Ltd. thermoluminescence test sample number C299a53 is consistent with the dating of this lot.

128

129

129A WHITE GLAZED POTTERY JAR AND COVERTang dynasty Potted with an ovoid body rising from a flat foot, surmounted by a short neck with an everted rim, the visible surfaces applied with an ivory colored glaze, the domed cover similarly glazed, surmounted by a bud-shaped finial, the unglazed foot and underside of the cover revealing the buff-colored body. 9 1/2in (24.2cm) high

US$4,000 - 6,000

唐白釉蓋罐 Provenance Acquired New York City, November 1999 來源 1999年11月購於紐約


130 131

130A RARE OLIVE-GREEN-GLAZED POTTERY FLASKLiao dynasty Molded to resemble leather prototypes, expanding in width towards the base, with raised beaded edges resembling seams, each side impressed with a truncated floral medallion with carved details, the spout with a lipped-rim, the handle modeled in the form of a dragon, covered overall with an olive-green glaze thinning in areas to reveal an orange earthenware body. 11 1/4in (28.6cm) high

US$3,000 - 5,000

遼綠釉龍柄皮囊壺 Provenance Acquired New York City, September 1998 來源 1999年11月購於紐約

131 A WHITE GLAZED POTTERY FLASKLiao dynasty Molded to resemble leather prototypes, expanding in width towards the base, the edges pinched to resemble seams, the top edge modeled with an oval spout with an everted rim and a ruyi-shaped flange with raised border, pierced with a suspension hole, covered overall with a white slip beneath a clear glaze, the slightly concave foot unglazed revealing the white clay body. 10 1/4in (26cm) high

US$7,000 - 9,000

遼白釉皮囊壺 Provenance Acquired New York City, June 1999 來源 1999年6月購於紐約 The result of Oxford Authentication Ltd. thermoluminescence test sample number P198z40 is consistent with the dating of this lot. A similar flask excavated from a Liao dynasty tomb is illustrated in Ryo no toji (Liao Dynasty Ceramics), Heihonsha, Tokyo, 1960, p. 9, fig. 10; and another is illustrated in Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, 1994, pp. 390-91, no. 177. Another similar Liao dynasty example was sold at Christie’s New York, 22 March 2019, lot 1736.

112 | BONHAMS

132

132 TWO CIZHOU-TYPE BLACK-GLAZED RIBBED JARS12th century The first of globular form with a short straight neck and wide mouth, flanked by loop handles, the body decorated with eight sets of five narrowly spaced vertical ribs covered with white slip against the black glaze with brown spots; the second of compressed globular form, surmounted by a gently flaring neck with wide mouth, flanked by small loop handles, the body decorated with vertical ribs covered with white slip against the black glaze; the glaze on each stopping just above the base to reveal the buff-colored body. 7 1/2in (19.2 cm) high, the taller

US$6,000 - 8,000

十二世紀磁州系黑釉條紋雙繫罐兩件 Provenance The first, acquired New York City, June 1999 The second, Uragami Sokyu-Do, Tokyo, March 2000 來源分別於1999年6月購於紐約，2000年3月購於東京浦上蒼穹堂


133 TWO BLACK-GLAZED BOTTLE VASESNorthern Song/Jin dynasty The first of squat ovoid form, the broad shoulder rising to a short neck encircled with a flange below the lipped rim, the body freely painted with strokes of russet against a glossy black glaze, stopping above the unglazed foot; the second of meiping form with broad rounded shoulder, tapering towards the foot, surmounted by a tapering neck modeled with a groove around the base, covered with a lustrous translucent black glaze, the foot unglazed. 13 1/4in (33.7cm) high, the taller

US$5,000 - 8,000

北宋/金黑釉瓶兩件 Provenance The first, acquired New York City, March 1995 The second, acquired New York City, February 2000 來源分別於1995年3月、2000年2月購於紐約

133

114 | BONHAMS

134

135

136

134A YUEYAO YELLOW-GLAZED EWERFive dynasties/Northern Song dynasty Potted with an ovoid body divided by six pairs of vertical ribs rising from the waisted foot ring to the stepped shoulder, surmounted by the wide trumpet neck, supporting the strap handle opposite the elegantly curved spout, the shoulder applied with two opposing, tapering tabs, pierced through the middle for the insertion of a handle and molded on the ends with floral sprigs, the pale gray body covered overall with a transparent straw-yellow glaze. 9 1/4in (23.5cm) high

US$3,000 - 5,000

五代/北宋越窰黃釉執壺 Provenance Uragami Sokyu-Do Co Ltd., Tokyo March 2002 來源浦上蒼穹堂, 東京，2002年3月 A similar Five Dynasties/Northern Song dynasty ewer with a green glaze was sold at Christie’s New York, 16 October 2001, lot 34. Other similar examples are illustrated in Five Thousand Years of Chinese Art: Porcelain (II), Taipei, 1985, col. pl. 115; and by Regina Krahl, Yuegutang: A Collection of Chinese Ceramics, Berlin, 2000, no.210, p.256.

135A JUNYAO TRIPOD CENSERYuan dynasty Potted with a compressed globular body surmounted by a tubular neck rising to a canted flat lip with raised edge, flanked by two rectangular upright handles connected to the shoulder by molded scrolls, all supported on three short legs, covered overall in a thick, streaked sky-blue glaze splashed with purple and thinning at the edges to a pale mushroom color, part of the interior and feet unglazed revealing the buff body. 4 1/4in (11cm) high

US$5,000 - 7,000

元鈞窰天藍釉紫斑雙耳三足爐 A similar slightly larger (16cm) Yuan dynasty example was sold at Christie’s London, 15 May 2018, lot 63. Provenance Acquired New York City, November 1999 來源 1999年11月購於紐約

136TWO SMALL LONGQUAN CELADON MALLET VASESMing dynasty Each potted with a cylindrical body surmounted by a tall neck flanked by fixed ring handles, below a broad flat rim, all covered with a green glaze except for the brown dressed foot pad. 5 1/4in (13.3cm)

US$3,000 - 5,000

明龍泉窰青釉環耳小瓶兩件



137A SMALL BLUE GLAZED JARTang dynasty Potted with broad shoulders rising from a flat foot to a waisted neck terminating in a rolled everted rim, the interior of the mouth and body applied with a mottled blue glaze, stopping unevenly above the foot to reveal the pale buff body. 4 5/8in (12cm) high

US$3,000 - 5,000

唐藍釉小罐

Provenance Texas private collection, by repute 來源據藏家，德州私人珍藏

137

138

138AN AMBER GLAZED MARBLED CIRCULAR BOX AND COVERTang dynasty The box and cover with straight upright sides, the top of the cover with a raised circular panel, repeated on the base of the box to form the foot, made from rolled and flattened layers of dark and light clay, covered with a transparent amber glaze. 2 1/8in (5.5cm) diameter

US$3,000 - 5,000

唐黃釉絞胎圓蓋盒 Provenance Chase Gilmore Galleries, Chicago, September 1976 來源芝加哥Chase Gilmore Galleries，1976年9月

116 | BONHAMS

139AN AMBER AND STRAW-GLAZED POTTERY FIGURE OF A CAMELTang dynasty Well modeled standing foursquare on a rectangular base, the head raised with mouth agape, the two humps gently leaning in opposite directions, the tail flicked over its right haunch, the textured fur accented with straw-colored glaze, the remaining surfaces boldly splashed with a streaky amber glaze running towards the unglazed base. 26 3/4in (67.8cm) high

US$8,000 - 12,000

唐褐白釉雙峰駱駝 Provenance A Private Florida Collection Estate of Erna Levi Dreyfuss Sotheby’s New York, 12 June 1984, lot 189 來源佛羅里達州私人收藏 Erna Levi Dreyfuss故藏紐約蘇富比，1984年6月12日，拍品編號189

140A SANCAI-GLAZED POTTERY HORSETang dynasty Modeled standing four-square on a rectangular base, the powerful neck and head gently turned to the left, with pricked ears above the hogged mane, the unglazed saddle and saddle cloth secured by floral-decorated straps hung with shaped medallions, the body and docked tail glazed in amber, the mane and accessories highlighted with straw and green colored glazes. 20in (50.8cm) high

US$5,000 - 7,000

唐三彩馬 Provenance A Private New York State Collection 來源紐約州私人收藏

139 140


141A DINGYAO CARVED ‘DAY-LILY’ DISHSong/Jin Dynasty Potted with a canted base rising to gently flared sides, the unglazed rim with six notches, the interior freely carved with a stalk bearing two day-lily blossoms and curling leaves, all covered with a rich creamy glaze and supported on a short foot ring. 8 3/4in (22.3cm) diameter

US$10,000 - 15,000

宋定窰白釉刻萱草紋盤

Day-lilies are known in China by a number of different names. They were called xuancao because they were known to only flower for one day; wangyoucao as they were thought to dispel grief; and yi’nancao because it was believed that if a pregnant woman wore the flower she would have male offspring. Boldly-carved decorations featured on Ding ware are a Song dynasty innovation and have a painterly quality. Compare with a related Song dynasty Dingyao dish carved with floral design in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelain of the Song Dynasty (I), Hong Kong, 1996, p.71, pl.62. A related pair of Song dynasty Dingyao dishes is illustrated in Bright as Silver: White as Snow: Chinese White Ceramics from Late Tang to Yuan Dynasty, Examples from the Kai-Yin Lo Collection, Hong Kong, 1998, pl.20.

141

118 | BONHAMS

142A CELADON ARROW VASESouthern Song Dynasty Potted with a pear-shaped body rising to a wide columnar neck with a gently-flared rolled rim, flanked by a pair of opposing tubular handles set between pairs of bowstring bands, supported on a flared foot ring with neatly trimmed edge, applied overall with an transparent green crackled glaze, the edges of the foot ring unglazed revealing the brown body. 11 1/2in (29.2cm) high

US$3,000 - 5,000

明龍泉窰青釉貫耳弦纹壺

142

143


143A QINGBAI CUP AND A STANDSong dynasty The cup delicately-potted with rounded sides rising to a notched rim with incised vertical lines dividing the sides into six lobes, supported on a short spreading foot, the stand with a stepped, flared tray with notched edge surrounding the bell-shaped platform with a raised edge, all supported on a tall, spreading foot ring with petal-shaped edges and lemniscate-shaped piercings, covered overall in a pale blue-tinged transparent glaze. 6 1/2in (16.5cm) diameter, the stand

US$3,000 - 5,000

宋青白釉高足盃及盞托



144A LONGQUAN CELADON MALLET VASESouthern Song/Yuan dynasty The cylindrical body gently flaring towards a cantered shoulder rising to the tall columnar neck, surmounted by a wide everted dished rim with slightly upturned lip, above a pair of applied S-shaped dragon fish handles, each with molded details, all surfaces covered with an unctuous pale sea-green glaze, stopping short of the unglazed, orange-burnt footrim. 10 1/8in (25.6cm) high

US$6,000 - 8,000

南宋/元龍泉窰青釉龍魚耳盤口瓶 Provenance Collection of Eugene Lee, a U.S. Diplomat who served in the Far East, acquired circa 1920, and thence by descent (by repute) 來源據藏家，美國外交官Eugene Lee珍藏，約1920年得於遠東, 後由家族成員繼承

144 145

A similar Southern Song dynasty mallet vase with dragon fish handles in the Tokugawa Art Museum, Nagoya, is illustrated in Heavenly Blue: Southern Song Celadon, Nezu Museum, 2010, no. 23; and another Southern Song dynasty example is illustrated by Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 99. A smaller (19.8cm) Song dynasty example is illustrated ibid., pl. 98, and sold at Sotheby’s Hong Kong, 29-30 November 2018, lot 604; a Southern Song dynasty example was sold at Christie’s New York, 19 March 2008, lot 561; and a similar Yuan dynasty example was sold at Sotheby’s Hong Kong, 2 April 2019, lot 3028.

145A LONGQUAN CELADON VASEYuan/Ming dynasty Potted with a pear-shaped body rising to a wide columnar neck with a gently-flared rolled rim, flanked by a pair of opposing tubular handles set between pairs of bowstring bands, supported on a flared foot ring with neatly trimmed edge, applied overall with an unctuous green glaze, the edges of the foot ring unglazed revealing the burnt-orange body. 11 1/2in (29.2cm) high

US$4,000 - 6,000

元/明龍泉窰青釉貫耳弦纹壺

120 | BONHAMS

146 A RARE LONGQUAN CELADON MEIPINGMing dynasty Potted with thick walls, the rounded shoulders swelling then tapering towards the recessed foot with a neatly trimmed edge, surmounted by a short neck tapering towards the rolled-rimmed-mouth, covered overall in a green glaze except for the unglazed foot rim edge burnt orange in the firing. 14in (35.5cm) high

US$6,000 - 8,000

明龍泉窰青釉梅瓶

As utilitarian vessels, extant undecorated Longquan meiping from the early Ming dynasty are relatively rare. The tapering neck of this example, indicates that it would have had a cover similar to the example from the the Tsui Museum of Art, Hong Kong, and sold at Christie’s Hong Kong, 1 December 2010, lot 3104. Another example with a cover dated to the Yuan or early Ming dynasty is illustrated in Selected Treasures of Chinese Art: Min Chiu Society Thirtieth Anniversary Exhibition, Hong Kong, 1990, no. 125. Three slightly larger examples in the collection of the National Palace Museum, Taipei, one with its cover, are illustrated in Green Longquan Celadon of the Ming Dynasty, Taipei, 2009, cat. nos 65, 66 and 67. A 15th century example was sold at Christie’s Hong Kong, 1 June 2011, lot 3815; and another dated early 15th century was sold at Sotheby’s London, 10th October 2004, lot 561.

146


147A CIZHOU SGRAFFIATO ‘FLORAL-SCROLL’ VASEJin/Yuan dynasty The tall tapered vessel with broad, rounded shoulders and an unglazed recessed foot, surmounted by a short neck with flaring, sloped lip, the surfaces covered overall with a white slip and carved through to the beige-colored body with a broad band of stylized blossoms borne of foliate scrolls, above bands of scrolling foliage and upright petals, all beneath a translucent milky glaze. 15 1/2in (39.4cm)

US$30,000 - 40,000

金/元磁州白釉剔纏枝花卉紋梅瓶 Provenance Mrs. Samuel T. Peters (1859-1943) Collection The Metropolitan Museum of Art, New York, accessioned in 1926 Deaccessioned from the Metropolitan Museum of Art in 2016 來源 Samuel T. Peters 夫人 (1859-1943年) 珍藏 1926年入藏紐約大都會藝術博物館 2016年紐約大都會藝術博物館出售 Samuel Twyford Peters (1854-1921) and his wife nee Adeline Elder were major early 20th century collectors of Chinese art based in New York. Mr. Peters was a wealthy coal merchant and trustee of the Metropolitan Museum of Art, donating 400 pieces of his jade collection to the Met in 1912 and 1916. Mrs. Peters donated their collection of Chinese pottery and porcelain--this piece among the group--to the Met in 1926.

122 | BONHAMS


148 A JUNYAO PURPLE-SPLASHED TEA BOWLSong/Yuan dynasty Potted with deep rounded sides rising from a tapered foot ring, covered overall with a sky-blue glaze, thinning to a buff tone at the rim, the interior lightly crackled, the exterior almost entirely splashed with a brilliant purple, the thick glaze stopping just above the neatly-cut foot ring, the dark-brown body showing at the foot beneath a dollop of glaze. 4 1/2in (11.5cm) diameter

US$6,000 - 8,000

元鈞窰紫斑天藍釉茶盌 Provenance Acquired in Osaka, Japan, circa 1980 (by repute) 來源約1980年購於日本大阪（傳） A Yuan/Ming dynasty bowl of similar shape, also decorated with a purple exterior and blue interior, but of larger size was sold at Christie’s Hong Kong, 1 June 2016, lot 3309.

148

124 | BONHAMS

149A ‘KRAAK’ BLUE AND WHITE KENDIWanli period Potted with a compressed globular body, the flaring cylindrical neck with garlic mouth rising from the stepped shoulder, interrupted by the mamiform spout, painted around the exterior in shades of cobalt-blue with panels of flowers, foliage and abstract designs, all supported on a low tapered foot ring. 8 1/8in (20.7cm) high

US$2,000 - 4,000

明萬曆青花開光花卉紋軍持 A Wanli period kendi of similar shape and decoration was sold at Sotheby’s London, 28 March 2017, lot 461.

149

150

150 A BLUE AND WHITE ‘NARRATIVE SCENE’ JARDINEREJiajing mark, Kangxi period Potted with an ovoid body and a wide mouth with a lipped rim, the sides painted with a scene of two officials meeting in an interior setting while one of the official’s retainers wait outside, the neatly incut edge of the recessed foot surrounding the six-character underglaze blue mark. 7in (17.8cm) high

US$4,000 - 6,000

十七世紀青花人物故事圖缸


151A BLUE AND WHITE ‘LANDSCAPE’ VASEKangxi period The compressed globular body surmounted by a tall gently waisted neck with a flared mouth, all supported on a splayed foot with neatly incut edge, the body painted with two panels enclosing two landscapes, one of a scholar and his attendant carrying a qin, the other of houses tucked between rocks and a river, the panels separated by flaying cranes, beneath decorative bands adorning the neck, the foot marked with a double circle. 13in (33cm) high

US$8,000 - 12,000

清康熙青花開光山水圖鶴紋荸薺瓶

151

126 | BONHAMS

152

152 A BLUE AND WHITE ‘LOTUS’ BOWLKangxi mark and of the period Potted with deep rounded sides rising from a tall, tapered foot ring to an everted rim, painted in vibrant tones of underglaze blue, the interior with a medallion enclosing a single lotus spray below undulating lotus scrolls on the cavetto, the rim encircled by a narrow band of truncated lotus blossoms and leaves, the lotus scroll repeated on the exterior, the foot inscribed with the six-character mark within a double-circle. 7 5/8in (19.4cm) diameter

US$15,000 - 25,000

清康熙青花纏枝蓮紋盌《大清康熙年製》款 See Sotheby’s London, 13 May 2015, lot 141, and 7 November 2012, lot 63 for other Kangxi mark and period examples


153A PAIR OF BLUE AND WHITE ‘EIGHT IMMORTALS’ BOWLSDaoguang marks and of the period Each potted with rounded sides rising from a slightly tapered foot ring, the exterior painted with the Eight Immortals holding their attributes as they cross the sea on clouds, the interior decorated to the well with a medallion enclosing a scene of the Three Star Gods beneath a pine tree, the foot centered with the underglaze blue seal mark. 4 1/4in (10.8cm) diameter

US$20,000 - 30,000

清道光青花八仙過海圖盌一對《大清道光年製》款 Similar pairs of Daoguang mark and period bowls have sold at Christie’s Hong Kong, 4 October 2016, lot 70; and Sotheby’s Hong Kong, 3 April 2019, lot 3639 and 30-31 May 2019, lot 433.

128 | BONHAMS


154 A WUCAI ‘MALLOW AND LOTUS’ DISH17th century Potted with rounded sides rising from a tapered foot ring surrounding the foot with an unglazed channel, the interior painted with a central roundel with saw-tooth edges enclosing mallow and lotus blooms reserved against an iron-red diaper ground, all encircled by a ruyi-head border and a band of peony heads. 13 3/8in (34.1cm) diameter

US$5,000 - 7,000

十七世紀五彩花卉紋盤

154

130 | BONHAMS

155A LANGYAO STICKNECK VASE18th century The pear-shaped body rising gently to a tall cylindrical neck, supported on a slightly tapered foot ring, the exterior covered with a crushed raspberry colored glaze, draining clear around the mouth and stopping neatly above the edge of foot ring to reveal the ivory-colored body, the interior and base clear-glazed, the overall glaze suffused with a fine crackle. 16in (40.6cm) high

US$7,000 - 10,000

清康熙郎窰紅釉長頸瓶

155


156 TWO CELADON-GLAZED JARSQianlong sealmark and of the period Each potted with an ovoid body rising from a recessed foot to a broad shoulder and short neck, the sides molded with opposing reversed C-shaped relief motifs, covered overall except for the unglazed foot pad with a pale sea-green glaze, the six-character seal mark in underglaze blue centering the foot, with silver-wire inlaid covers and stands. 7 1/2in (19 cm) high (6).

US$40,000 - 60,000

清乾隆粉青釉月牙耳罐兩件《大清乾隆年製》款 The earliest jars of this form, with sleek, elegant profiles and unusual reversed C-shaped relief motifs date to the Kangxi period. A rare Kangxi example of this design is illustrated in K’ang-hsi, Yung-cheng and Ch’ien-lung: Porcelain Ware from the Ch’ing Dynasty in the National Museum Palace, Taipei, 1986, cat. no. 27. Jars of this form are sometimes called yueya’er guan literally meaning jar with crescent moon handles because the reversed C-shaped motifs evoke the shape of the new moon. Those with covers are also sometimes called riyue guan, meaning sun and moon jar, with the round cover representing the sun. A similar Qianlong mark and period jar without the cover in the Hong Kong Museum of Art is illustrated in The Wonders of the Potter’s Palette, 1984, Catalogue no. 79. Similar Qianlong mark and period jars with their original covers are illustrated in Empty Vessels, Replenished Minds: The Culture, Practise, and Art of Tea, National Palace Museum, Taipei, 2002, p. 178, no. 156, where it is referred to as a tea caddy; Qing Imperial Porcelain of the Kangxi, Yongzheng, and Qianlong Reigns, The Chinese University of Hong Kong, 1995, no. 68; and by Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994, vol. II, p. 211, no. 866. A Qianlong mark and period example sold at Sotheby’s New York, 12 September 2018, lot 134; and another without a cover at Christie’s New York, 22 March 2018, lot 615.

132 | BONHAMS


157A SMALL ‘GUAN’-TYPE FACETED HU-FORM VASEQianlong sealmark and of the period Of rectangular section with canted corners, the pear-shaped body, rising from a short slightly tapered foot to a wide mouth, flanked by a pair of tubular handles, applied overall with a thick pale gray glaze suffused with a dark gray crackle, the unglazed bottom of the footring dressed with iron over the pale gray body, the foot inscribed with the six-character seal mark in underglaze blue. 5 3/4in (14.6cm) high

US$20,000 - 30,000

清乾隆仿官釉八方貫耳壺《大清乾隆年製》款 Provenance Collection of Eugene Lee, a U.S. Diplomat who served in the Far East, acquired circa 1920, and thence by descent (by repute) 來源據藏家，美國外交官Eugene Lee珍藏，約1920年得於遠東, 後由家族成員繼承

During the Qianlong emperor’s reign, vases and other vessels imitating the ‘Five Great Song Wares’ were made. The present example is covered with a thick, pale-gray crackled glaze and dressed brown on the bottom of the foot pad in order to imitate Song Guan wares. A similar Qianlong mark and period vase in the collection of the National Palace Museum is illustrated in Qing Monochrome Porcelain, Taipei, 1981, cat. no. 89; and another is illustrated by John Ayers, The Baur Collection, Geneva, vol. III, 1972, no. A344. Another Qianlong mark and period example of identical size was sold at Christie’s Hong Kong, 30 November 2011, lot 3317, and another at Sotheby’s Hong Kong, 06 April 2016, lot 3638.

157

134 | BONHAMS

158A CAFE-AU-LAIT GLAZED CUPDaoguang seal mark and of the period With straight sides flaring towards the mouth, the rounded base supported on a gently-tapered foot ring, the exterior covered with a pale caramel-colored glaze, the foot centered with a six-character seal mark in cobalt blue beneath the clear glaze that also covers the interior. 2 1/2in (6.4cm) high

US$3,000 - 5,000

清道光米黃釉盃《大清道光年製》款 A similar example was sold at Sotheby’s Hong Kong, May 30-31 2019, lot 777.

158

159

159A FAMILLE ROSE ‘FLORAL’ WINE CUPJiuwan Shanfang mark, 18th/19th century Of elegant ogee form, with finely potted thin sides rising from a short tapered foot ring, delicately painted to the exterior with blossoming peony and chrysanthemums growing from behind a fantastic garden rock, the foot inscribed in iron-red with the four-character seal mark. 2 3/4in (6.8cm) diameter

US$2,000 - 4,000

十八/十九世紀粉彩牡丹菊花紋折腰盃《九畹山房》款 The Jiuwan Shanfang is recorded as being the name of a study dating to the Qianlong period. The character wan refers to a piece of land surrounded by terraced fields and is also an ancient measurement of area. A Qianlong period famille rose brushpot with a similar iron-red mark was sold at Christie’s New York, 15 September 2011, lot 1551; and a Qianlong period famille rose bowl with the same hallmark in underglaze blue was sold at Sotheby’s London, 7 November 2018, lot 72.


160A FAMILLE VERTE ‘SILK AND RICE CULTIVATION’ ROULEAU VASE19th century The gently tapering cylindrical body vibrantly enameled with a scene of rice grain processing, reversed by a scene of silkworm cultivation, the scenes separated by trees and rocks, the shoulder painted with four shaped cartouches, each enclosing an object representing the ‘Four Scholarly Accomplishments’ against a floral diaper ground, the neck painted with a continuous riverscape scene, all supported on a neatly trimmed inset foot ring, surrounding the clear-glazed unmarked foot. 18in (45.8cm) high

US$7,000 - 9,000

清五彩耕織圖棒槌瓶

160

136 | BONHAMS

161 A SMALL CLAIR-DE-LUNE BRUSH WASHERQianlong mark Finely potted of compressed globular form, supported on a low foot ring, the mouth notched to provide a resting place for a spoon, the exterior covered with a pale blue glaze, the six-character seal mark in underglaze blue centering the foot, associated jade stand. 2 3/4in (7cm) diameter (2).

US$3,000 - 5,000

天藍釉鏜鑼洗《大清乾隆年製》款

161

162

162A CARVED AND MOLDED TEAPOT AND COVERWang Bingrong mark, 19th century The beehive-shaped body finely decorated with a continuous scene of a village in a rocky landscape punctuated by trees with mountains in the distance, interrupted by opposing bamboo-shaped handle and spout, the flat cover surmounted by a peach-shaped finial, the four-character Wang Bingrong zhi seal mark centering the slightly concave foot, covered overall in a bright green glaze. 7 1/2in (19 cm) across

US$3,000 - 5,000

十九世紀瓷胎綠釉模刻山水圖茶壺《王炳榮製》款

163 No lot


Fine Chinese Paintings and Calligraphy

Various OwnersLots 164 - 194

164ANONYMOUSShakyamuni, Ming dynasty 16th century Hanging scroll, framed and glazed, ink, color, and gold on silk depicting the historical Buddha seated cross-legged on a multi-tier lotus throne beneath a jeweled canopy, accompanied by two attendants, illegibly inscribed in the lower right. 76 x 33in (193 x 83.9cm)

US$12,000 - 18,000

佚名　釋迦摩尼　設色絹本　鏡框　明代 Provenance Acquired May 1984 來源購於1984年5月

164

140 | BONHAMS

165 ANONYMOUS (14TH/15TH CENTURY)Phoenix, Peony and Wutong tree Hanging scroll, ink and color on silk, with a total of six collector’s seals, the first, upper right, an archaic ding-form seal, the characters not legible, with three seals along the left edge, Gui’an Lu Xinyuan shending, Lu Shihua cang and Chen Ding pingsheng zhenshang, and three along the right edge, reading Zhen shang, Zhang shi Zibo jianshang, and Miujin zhai zhencang yin. 34 x 14 3/8in (86.4 x 36.5cm)

US$6,000 - 8,000

佚名　玉堂富貴　設色絹本　立軸 The unknown artist’s painstaking attention to the details suggests that the artist followed the gongbi tradition in the genre of the bird and flower painting, which can be traced back to the 10th century and artist such as Huang Quan (903-965). The naturalistic style presented in current lot is similar to those court painters’ work. For instance, the Yuan dynasty painter Wang Yuan’s Taozhu jinji tu (Peach Blossom, Bamboo, and Golden Pheasant) in the Shanxi Bowuguan, and Yin Hong (ca. 1430-1500) Birds Gather Under the Spring Willow in the collection of the Cleveland Museum of Art. The fine feathers of the phoenix, layered hues of the delicate peony petals, and subtle rendering of the colors not only reveal the painter’s deft skills, but also reflect their keen observation of nature. The collectors’ seals on the painting testify that the work has been appreciated by art enthusiasts at least from the 17th century onward, each collector known for their excellent connoisseurship in painting, calligraphy, and rare books. For example, Lu Shihua (1714-1779) published several books discussing arts, such as Wuyue suo jian shuhua lu and Shuhua shuoling. Lu Xinyuan (1834-1894) built a private library Bisong Hall in which stored his manuscripts and rare book collection.

165


166 ANONYMOUS (14-15TH CENTURY)Landscape Ink and color on silk, mounted fan, framed and glazed, depicting a small group of figures on a red dragon boat on an open lake, watching a crane flying by, while enjoying the surrounding tranquil green mountains. 8 7/8 x 10in (22.5 x 25.4cm)

US$20,000 - 30,000

佚名　遊春圖　設色絹本　扇面鏡框

166

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167 ATTRIBUTED TO LÜ JI (1475-1503)Bird and Peach Album leaf, framed and glazed, ink and color on silk, with one seal reading Siming Lü Tingzhen yin. 10 7/8 x 12in (27.6 x 30.5cm)

US$10,000 - 15,000

（傳）呂紀　仙桃雀鳥圖　設色絹本　冊頁鏡框

167


168 A FRESCO PANEL OF CELESTIAL MUSICIANSMing dynasty Pigments on plaster, now framed and glazed, depicting a group of celestial musicians playing various instruments. 34 x 70 1/2in (86.4 x 179cm)

US$8,000 - 12,000

明　彩繪仙女奏樂圖壁畫　 Frescoes of celestial musicians were an important genre seen in early Buddhist murals. Cave 17 at Ajanta and Cave 220 at Magao Dunhuang both featured parades of heavenly musicians. Although in China musicians were also part tomb art prior to the influx of Buddhism. In this panel from left to right the musicians play a xiao flute, sheng mouth organ, yueqin moon lute, di transverse flute, tanggu drum, and yunlou cloud gong.

168

144 | BONHAMS

169 ANONYMOUSSpring Landscape After Wen Zhengming Ink and color on paper, handscroll, with an inscription reading Jiajing gengyin qiyue Zhengming zhi (painted by Zhengming, the seventh month of 1530, Jiajing reign), followed by a seal Zhengming, the frontpiece with two seals Wang Zhideng yin, qingyang jun, the title slip before the painting signed Xiangyun ge, two colophons with spurious signature and seals of Shen Zhou and Zhu Yunming, with five collector’s seals Yueqianzhai miji yin, Bi Long jianshang, jiangzuo wengsheng, xinX zhenwan, and Yanshan Yue shi. 7 1/8 x 33in (17.8 x 83.6cm), the painting only

US$6,000 - 9,000

佚名　仿文徵明江南春圖　設色紙本　手卷

170 ANONYMOUSQuails, 18th/19th century Ink and color on silk, framed and glazed, inscribed and with a date of xinchou, bear a signature Zhang Chong, followed by two seals reading Zhang Chong and Chong, one seal illegible. 10 1/2 x 11 3/4in (26.7 x 29.8cm)

US$2,000 - 3,000

佚名　雙安圖　設色絹本　鏡框十八/十九世紀

190

170


171ANONYMOUSHunting Scene, Qing dynasty Horizontal scroll, ink and color on paper, with two seals, one reading sui zai gui X and yunyi caotang. 22 7/8 x 60 1/4in (58.1 x 153cm)

US$15,000 - 20,000

佚名　狩獵圖　設色紙本　橫軸　清代 Provenance Sir Douglas Berry Copland (Ambassador to China, 1946-48) 來源道格拉斯·貝里·考浦蘭德爵士 (澳大利亞駐華公使, 1946-48)

For the Manchu rulers of the Qing dynasty hunting wild game enforced their cultural traditions and ethnic identity. The French Jesuit Ferdinand Verbiest (1623-1688) wrote of the Kangxi emperor organizing massive annual hunts in pursuit of deer, wild boar, bear, pheasants and tigers.

The Imperial hunts (weilie), lasted as long as thirty days and were held at the royal preserve at Mulan. These hunts not only afforded the emperor and his retinue the opportunity to hone their battle skills and test their martial prowess, as archery competitions, mock battles, wrestling and horse racing were also included in the activities. The imperial hunts also served a diplomatic role, as the Emperor would invite other frontier tribes to participate, thus strengthening the bonds between the Qing rulers and the Kazakh, Mongol and Uighur nobles of the Inner Asian frontier. The present composition illustrates the rich tapestry of the Imperial hunt. Officials, identifiable by their fur-lined hats, descend from the mountains on horseback bearing weapons or captured game. The presence of woman armed with arrows may seem out of place, but in fact the emperor’s daughters were trained archers and would hunt with bow and arrow, often competing with their male counterparts in archery competitions as late as the Xianfeng reign in the middle 19th century. The faces of each participant are highly individualized, suggesting they refer to specific members of the Imperial retinue.

171

146 | BONHAMS

FROM THE COLLECTION OF MARGARET F. ( AHERN ) WINSPER

172 STYLE OF YUAN JIANG (ACTIVE 1690-1746)Landscape Ink and color on silk, laid onto board, with a collector’s seal of Prince Yi, Yinxiang, later Yunxiang (1686-1730), the thirteenth son of the Kangxi emperor and brother of the Yongzheng emperor, reading Yiqin Wang bao. 24 x 40 3/8in (61 x 102.7cm)

US$30,000 - 50,000

(傳)袁江　青綠山水樓閣　設色絹本　 Provenance William Ahern, thereafter by descent. Cited Richard M. Barnhart, Peach Blossom Spring: Gardens and Flowers in Chinese Paintings, Metropolitan Museum of Art, New York, 1983, p. 118. 來源 William Ahern舊藏, 後由家族成員繼承文獻引用班宗華,Peach Blossom Spring: Gardens and Flowers in Chinese Paintings, 紐約大都會博物館, 1983年,118頁.

Yuan Jiang (active 1690-1746) and later his nephew Yuan Yao (1720-1780) painted in a similar ‘family style’ that captured the sublime monumentality of Northern Song landscapes. The present painting, likely a section of a longer, large horizontal scroll, has a grand sense of scale. This is amplified by the clear division of the immediate foreground which is linked to the middle ground by a diagonal path and series of bridges, and the high mountain in the deep distance surmounted by a massive building complex. Although Yuan Jiang and Yuan Yao had a shared style, the presence of the Yiqin Wang Bao seal, belonging to Yinxiang, Prince Yi (1686-1730), indicates that this landscape was painted by the older Yuan Jiang who served as a court painter during the Yongzheng period.

172


172 (details)


173 CHU ZHANG (1721-1795)Pine Tree, 1766 Hanging scroll, ink on paper, dated bingxu (1766), inscribed and signed Mutian Chu Zhang, with four artist’s seals Chu Zhang zhi yin, Changmin, Renzhe shou, Mutian shuhua ji, and three additional seals, Quanshi you qingyin, shi bu qiugong zi buqi, and shi yu cizhong xunjiaqu. 91 7/8 x 47 3/4in (233.4 x 121.3cm)

US$6,000 - 9,000

褚章松風圖水墨紙本立軸　一七六六年作 Chu Zhang is a native of Yangzhou, courtesy name Changmin, mostly known for his bird and flower painting.

173

150 | BONHAMS

174 ZOU YIGUI (1686-1772)Eighteen Luohan after Li Longmian Horizontal handscroll, ink on paper, with a long inscription by the artist dated renwu (1762) and with a previous exterior title slip by Chen Cengzhi (1852-1922) mounted on the interior with one seal of the calligrapher reading Cengzhi and thirteen other seals. 10 1/2 x 85in (26.8 x 216cm)

US$4,000 - 6,000

鄒一桂仿李公麟十八羅漢像水墨紙本手卷 Most well known as a court painter of colorful birds and flowers under the Qianlong Emperor, Zou Yigui also painted figures in the monochromatic baimiao tradition. Here the artist depicts a procession of luohan, some accompanied by their mascots, witnessing divine occurrences or engaged in discourse. Relying solely on subtle ink washes and brushed lines, the detailed figures contrast with the absence of a background setting. An album by Zou Yigui using the same technique, but illustrating stories from the life of Su Dongpo, was sold at Chirstie’s Hong Kong 28 May 2012 lot 2776.

175 LIANG SHU (18TH)Landscape Hanging scroll, ink and color on paper, signed Liang Shu zhitou hua (finger painting by Liang Shu), with two artist’s seals Liang Shu si yin and shatian cun ren. 92 7/8 x 45 3/4in (236 x 116.2cm)

US$2,000 - 4,000

梁樞山水人物指畫　設色紙本立軸

174

175



176ANONYMOUS (19TH CENTURY)Gazing at the Waterfall Hanging scroll, ink and color on silk, with a signature of Songnian and four seals Yi qinwang bao, Siming Lü Tingzhen yin, baxi Deng shi shan zhi (Deng Wenyuan), and an illegible seal. 57 x 28 3/4in (144.8 x 73cm)

US$15,000 - 18,000

佚名　仿劉松年觀瀑圖　設色絹本　立軸 Provenance The Raymond A. Bidwell Collection, deaccession from The Springfield Museums, Springfield, MA 來源 Raymond A. Bidwell舊藏，麻省Springfield美術館

176

152 | BONHAMS

177 PRINCE GONG (YIXIN, 1833-1898)Couplet in Running Script A pair of hanging scrolls, ink and gold-flecked paper, with one dedication, signed Gong qinwang with one seal reading huang liu zi heshuo Gong qinwang yin. 122 1/4 x 18 3/4in (310.5 x 47.6cm) each (2).

US$8,000 - 12,000

恭親王　楷書八言聯　水墨洒金紙　立軸一對 The couplet was dedicated to Zhonghua, who could be Ronglu (荣禄, 1836-1903), the grandfather of the last emperor Puyi, who served important civil and military positions at the Qing court. During the first Sino-Japanese war (1894-1895), both Ronglu and Prince Gong were charge of military affairs, along with Prince Qing, Yikuang (1838-1917).

177


178 XUGU (1823/4-1896) AND ZHAO YUNHE (1873-1955)Fish and Seal Script Calligraphy Folding fan, the fish ink and color on paper, inscribed and signed Xugu, with two two seals of the artist reading Xugu and sanshiqi feng caotang; reversed by calligraphy in seal script, ink on paper, inscribed and signed Zhao Yunhe, dedicated to Minxiu, with one artist’s seal Ziyun. 7 1/8 x 18 3/4in (18 x 47.6cm)

US$12,000 - 18,000

虛谷　水面風波魚不知　設色紙本　成扇趙雲壑　篆書　水墨紙本

178

154 | BONHAMS

179 ZHANG ZUYI (1849-1917)Calligraphy in Clerical Script Ink on paper, a set of four hanging scrolls, with one dedication, signed Dixian Zhang Zuyi, with three artist’s seals reading Zhang Zuyi yin, Dixian lou guilai shu and Nulong penglang qigui boren. 56 1/4 x 14 1/2in (143 x 37cm) each scroll (4).

US$9,000 - 11,000

張祖翼　隸書《文心雕龍》節選四條屏　水墨紙本　立軸

179


180

180 ANONYMOUS, 19TH CENTURYElegant Lady in an interior, circa 1850 Oil on canvas, framed. 17 3/8 x 13 1/2in (44 x 34.2cm)

US$7,000 - 10,000

佚名　執扇著紅衣女子肖像　布面油畫　十九世紀

156 | BONHAMS

181

181 ANONYMOUSView of the Summer Palace Yihe Yuan Gouache on paper, mounted on fabric and framed. 36 x 68 1/4in (91.5 x 173.4cm)

US$8,000 - 13,000

佚名　頤和園全景圖　水彩紙本　鏡框 Provenance Ex-collection of Prince Pignatelli (by repute) 來源據藏家，曾為皮尼亞泰利王子珍藏

This panoramic view of the Yihe Yuan features many of the architectural landmarks of the Imperial Summer Palace. The Wenchang Ge tower is in the lower right corner, the Kuoru Ting pavilion is in the center foreground, and the marble boat is in the center of the composition. This is one of several similar large-scale depictions of the Yihe Yuan that was created in the late 19th century, including one sold in our London rooms 11 November 2010, lot 207 and one in the collection of the Library of Congress, G7824.B4: 2Y4A35.I2. It is interesting that the present lot offers a broader perspective and higher viewpoint than other similar paintings, and includes the Xiuyi Bridge on the far left side.


182 HONG YI (LI SHUTONG, 1880-1942)Calligraphy 1) an unmounted couplet, vermilion and ink on gold-painted paper, inscribed and signed Hong Yi, dated wuyin (1938), with three seals Hong Yi, mingzi xingkong, and a sitting Buddha seal; 2) an unmounted couplet, vermilion and ink on silver-painted paper, inscribed and signed Shamen jieliao shu, followed by two seals Hong Yi and mingzi xingkong, one sitting Buddha seal; 3) an unmounted sheet, ink on gold-painted paper, dated xinsi sanyue (the third month, 1941), signed Hong Yi, with three seals reding Hong Yi, mingzi xingkong, and a sitting Buddha seal; 4) an unmounted sheet, vermilion and ink on gold-flecked paper, written at the age of fifty, with one sitting Buddha seal and one reading Hong Yi. 38 1/4 x 9 1/4in (97.2 x 23.5cm) each; 53 1/4 x 13 1/2in (135.3 x 34.3cm) each; 13 1/4 x 26 3/4in (33.7 x 68cm); 32 x 16 7/8in (81.3 x 34.3cm) (6).

US$30,000 - 50,000

弘一　書法　水墨/朱砂紙本　鏡片

Provenance Purchased from Alice Boney, New York, 1968, with receipt 來源 1968年於紐約購自龐耐

182

158 | BONHAMS

182

FINE CHINESE ART | 159

183 HUANG BINHONG (1865-1955)Landscape Folding fan, ink and color on paper, inscribed and signed Binhong, with one artist’s seal Binhong; the reverse of a bamboo and rock painting, ink on paper, inscribed indistinctly with two seals. 6 x 16 1/2in (15.2 x 42cm)

US$8,000 - 10,000

黃賓虹　新安江小景　設色紙本　成扇

183

160 | BONHAMS

184 A GROUP OF WRITING PAPERRepublic period Fine woodblock color printed writing paper, published by Songhuazhai and Qingmige in Beijing, with various subjects such as bird and flower, landscape, and figures. Various sizes (120 sheets total).

US$2,000 - 3,000

民國木板水印花箋一組

184

185

186

185BEIPING RONGBAOZHAI SHIJIAN PU1935 Two volumes, with a cloth bound folding cover, stitched binding, containing woodblock watercolor printed paintings by Zhang Daqian (1899-1983), Qi Baishi (1864-1956), Pu Ru (1896-1963), and Ma Jin (1900-1970) among others, featuring subjects such as seasonal flowers, animals, and landscapes, some pages with low relief blind stamping. 12 5/8 x 8 3/8in (32 x 21.3cm)

US$2,000 - 3,000

北平榮寳齋詩牋譜民國二十四年

186 SU MANSHU (1884-1918) AND SHI YINGUANG (1861-1940)Guanyin Mounted for framing, ink and color on paper, with one dedication, inscribed and signed by Shi Yinguang, with two seals reading Yinguang and Su Manshu. 16 3/4 x 13in (42.5 x 33cm)

US$2,500 - 4,000

蘇曼殊釋印光　觀音　設色紙本　鏡片


187

187WU CHANGSHUO (1844-1927)Plum Blossom, 1920 Ink and color on gold paper, mounted on two panels, one inscribed and signed Anji Wu Changshuo, with two artist’s seals reading Changshuo and meiyi yannian, the other inscribed and singed Wu Changshuo nian qishi you qi, dated gengshen dong (1920, winter), with three artist’s seals reading Junqin zhiyin, Changshuo and meiyi yannian. 80 1/2 x 25 3/4in (204.5 x 65.4cm) each (2).

US$30,000 - 50,000

吳昌碩　紅梅　設色紙本　對屏　一九二〇年作 Provenance From an estate in New England. The previous owner is a Japanese Art collector (by repute) 來源據藏家，購自美國新英格蘭地區一遺產，之前為一日本藏家舊藏

162 | BONHAMS

188

189

188¤LI LINGJIA (1920-1979)A Group of Landscape, Flower and Bird Paintings Seventeen paintings, ink and color on paper, mounted for framing, including two signed Li Lingjia zuo followed by one seal in letters Li, one signed Lingjia with two artist’s seals reading Li and Lingjia kegao, two paintings with one artist’s seal reading Lingjia kegao, four paintings signed Shaoling with one artist’s seal Shaoling, the rest unsigned, including one double-sided work. 13 7/8 x 17 7/8in (35 x 45.2cm), the largest (17).

US$3,000 - 5,000

李靈伽　山水花鳥人物一組　設色紙本　鏡片

189ZHENG XU (1858-1933) AND LING BOYU (1901-1979)Two Figure Paintings (1) framed and glazed, ink and color on silk, dated guiwei (1883), with one dedication, inscribed and signed Xiangshan Zheng Xu, with two artist’s seals reading Xu yin and Jilin shuyin; (2) framed and glazed, ink and color on silk, dated jiashen (1944), with one dedication, inscribed and signed Liang Boyu, followed by one artist’s seal reading Boyu. 11 x 17 7/8in (28 x 45.4cm) each (2).

US$2,000 - 3,000

鄭煦　渙紗圖　設色絹本　鏡框　一八八三年作梁伯與　秋柳廳鳴蟬　設色絹本　鏡框　一九四四年作


190 XIE ZHILIU (1910-1997)Hibiscus, 1979 Horizontal scroll, mounted for framing, ink and color on paper, dated jiwei (1979), inscribed and signed, followed by two artist’s seals reading zhuangmu and Xie. 13 1/4 x 53 1/2in(33.7 x 135.9cm)

US$7,000 - 10,000

謝稚柳　芙蓉　設色紙本　鏡片　一九七九年作

191 HUANG ZHOU (1925-1997)Seven Donkeys Ink on paper, mounted for framing, dedicated, inscribed and signed Huang Zhou, with two artist’s seals Huang Zhou zhi yin and Lixian Liang shi. 37 x 17 1/4in (94 x 43.8cm)

US$5,500 - 7,000

黄胄七驢圖水墨紙本鏡片

190

191

164 | BONHAMS

192 TIAN SHIGUANG (1916-1999)Partridge and Bamboo Hanging scroll, ink and color on paper, inscribed by the artist and signed Tian Shiguang with two artist’s seals reading Tian Shiguang and Gongwei. 44 3/4 x 25 3/8in (113.7 x 64.5cm)

US$12,000 - 18,000

田世光　竹報平安　設色紙本　立軸

192


193ZHANG DAQIAN (1899-1983)Landscape and Calligraphy, 1934 Fan leaves, ink and color on gold-flecked paper, the landscape dated jiaxu (1934), inscribed and signed Daqian jushi, with one seal reading Daqian; the calligraphy in running script signed Daqian Zhang Yuan, with one seal reading Zhang Yuan siyin. 7 1/4 x 21in (18.4 x 53cm)

US$10,000 - 15,000

張大千　書畫合璧　設色紙本　扇面　一九三四年作

Provenance Collection of Mrs. S.Y. Lee, Alabama (by repute) 來源據藏家，阿拉巴馬州S.Y. Lee女士舊藏

193

166 | BONHAMS

194 (details)

194ZHANG DAQIAN (1899-1983)Lotus, 1978 Hanging scroll, ink and color on paper, dedicated to Beishou, dated wuwu (1978), with six seals of the artist Dafeng tang, Zhang Yuan zhi yin, Daqian jushi, moye jingshe, chun chang hao, and qian qian qian, the outer titleslip inscribed by the recipient, with one seal reading Huang Beishou Cang. 69 1/4 x 37 1/4in (176 x 94.6cm)

US$120,000 - 150,000

張大千　荷花　設色紙本　立軸　一九七八年作 Provenance From a California Estate 來源加利福尼亞州一遺產 Composed boldly with a dramatic interplay of large lotus leaves rendered in gradations of ink washes and brilliant mineral blues and greens with arching stalks and blooming flowers-- this is a fine example of the artist’s large scale lotus compositions. Whereas the dramatic brushstrokes that compose the leaves recall the Ming artist Xu Wei (1521-1593), the finely delineated tips of the flowers’ petals demonstrate Zhang Daqian’s indebtedness to Shitao (1642-1707). Zhang Daqian began creating monumental lotus compositions in the late 1930’s to early 1940’s while living in the Shangqing Gong Daoist temple in Sichuan. Employing the monastery’s spacious halls to explore this mode, large scale lotus paintings would become a theme the artist would return to throughout his long and prolific career. This painting is dated 1978, when Zhang Daqian was 79, and the same year he moved into the Moye Jingshe, his final residence in Taiwan. In the inscription, the artist dedicates the painting to Huang Beishou, the cousin of Huang Junbi (1898-1991), a painter with whom Zhang Daqian had a close relationship since the 1930’s. The outer titleslip is inscribed by Huang Beishou, and impressed with his seal.

END OF SALE

168 | BONHAMS

218FINE CHINESE PAINTINGS AND WORKS OF ART | 169

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

© Bonhams & Butterfields Auctioneers Corporation. All rights reserved. 580 Madison Avenue, New York, NY 10022. NYC DCA Auction House License No. 2077070

Elegant EmbellishmentsFeaturing the RenLu Collection

New York | September 21, 2020

INQUIRIESDessa Goddard+1 (415) 503 [email protected]/chineseart

Bruce Maclaren+1 (917) 206 [email protected]

Asia Weekat Bonhams

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

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

1. As used herein, the term “bid price” means the price at which a lot is successfully knocked down to the buyer. The term “purchase price” means the aggregate of (a) the bid price, (b) a PREMIUM retained by us and payable by the buyer (the “buyer’s premium”), EQUAL TO 27.5% OF THE FIRST $3,000 OF THE BID PRICE, 25% OF THE AMOUNT OF THE BID PRICE ABOVE $3,000 UP TO AND INCLUDING $400,000, 20% OF THE AMOUNT OF THE BID PRICE ABOVE $400,000 UP TO AND INCLUDING $4,000,000, AND 13.9% OF THE AMOUNT OF THE BID PRICE OVER $4,000,000, and (c) unless the buyer is exempt by law from the payment thereof, any Alabama, Arizona, California, Colorado, Connecticut, Florida, Georgia, Hawaii, Idaho, Illinois, Iowa, Indiana, Kentucky, Louisiana, Maine, Massachusetts, Michigan, Minnesota, Nevada, New Jersey, New York, North Carolina, Ohio, Pennsylvania, Rhode Island, Texas, Utah, Virginia, Washington, D.C., Washington , Wisconsin, Wyoming or other state or local sales tax (or compensating use tax) and other applicable taxes. With regard to New York sales tax, please refer to the “Sales and Use Tax” section of these Conditions of Sale.

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

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

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

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

any use of its assigned paddle or bidding account, regardless of the circumstances.

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

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

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

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

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

Payment for purchases must be made in the currency in which the sale is conducted and may be made in or by (a) cash, up to the amount of US $5,000 (whether by single or multiple related payments), or the equivalent in the currency in which the sale is conducted, (b) cashier’s check or money order, (c) personal check with approved credit drawn on a U.S. bank, (d) wire transfer or other immediate bank transfer, or (e) Visa, MasterCard, American Express or Discover credit, charge or debit card, provided that the registered bidder or buyer’s name is printed on the card. A processing fee will be assessed on any returned checks.

To the fullest extent permitted by applicable law, the buyer grants us a security interest in the property, and we may retain as collateral security for the buyer’s obligations to us, any property and all monies held or received by us for the account of the buyer, in our possession. We also retain all rights of a secured party under the California Commercial

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

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

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

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

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

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

Conditions of sale

NY/MAIN/8.2019

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

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

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

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

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

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

14. These Conditions of Sale and the buyer’s and our respective rights and obligations hereunder shall be governed

by and construed and enforced in accordance with the laws of the State of California. Any dispute, controversy or claim arising out of or relating to this agreement, or the breach, termination or validity thereof, brought by or against Bonhams (but not including claims brought against the consignor by the buyer of lots consigned hereunder) shall be resolved by the procedures set forth below.

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

SALES AND USE TAX

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

MEDIATION AND ARBITRATION PROCEDURES

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

(b) If mediation does not resolve all disputes between the parties, or in any event no longer than 60 days after receipt of the written notice of dispute referred to above, the parties shall submit the dispute for binding arbitration before a single neutral arbitrator. Such arbitrator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling arbitrations. Such arbitrator shall make all appropriate disclosures required by law. The arbitrator shall be drawn from a panel of a national arbitration service agreed to by the parties, and shall be selected as follows: (i) If the national arbitration service has specific rules or procedures, those rules or procedures shall be followed; (ii) If the national arbitration service does not have rules or procedures for the selection of an arbitrator, the arbitrator shall be an individual jointly agreed to by the parties. If the parties cannot agree on a national arbitration service, the arbitration shall be conducted by the American Arbitration Association, and the arbitrator shall be selected in accordance with the Rules of the American Arbitration Association. The arbitrator’s award shall be in writing and shall set forth findings of fact and legal conclusions.

(c) Unless otherwise agreed to by the parties or provided by the published rules of the national arbitration service:

(i) the arbitration shall occur within 60 days following the selection of the arbitrator;

(ii) the arbitration shall be conducted in the designated location, as follows: (A) in any case in which the subject auction by Bonhams took place or was scheduled to take place in the State of New York or Connecticut or the Commonwealth of Massachusetts, the arbitration shall take place in New York City, New York; (B) in all other cases, the arbitration shall take place in the city of San Francisco, California; and

(iii) discovery and the procedure for the arbitration shall be as follows:

(A) All arbitration proceedings shall be confidential;

(B) The parties shall submit written briefs to the arbitrator no later than 15 days before the arbitration commences;

(C) Discovery, if any, shall be limited as follows: (I) Requests for no more than 10 categories of documents, to be provided to the requesting party within 14 days of written request therefor; (II) No more than two (2) depositions per party, provided however, the deposition(s) are to be completed within one (1) day; (III) Compliance with the above shall be enforced by the arbitrator in accordance with California law;

(D) Each party shall have no longer than eight (8) hours to present its position. The entire hearing before the arbitrator shall not take longer than three (3) consecutive days;

(E) The award shall be made in writing no more than 30 days following the end of the proceeding. Judgment upon the award rendered by the arbitrator may be entered by any court having jurisdiction thereof.

To the fullest extent permitted by law, and except as required by applicable arbitration rules, each party shall bear its own attorneys’ fees and costs in connection with the proceedings and shall share equally the fees and expenses of the arbitrator.

LIMITED RIGHT OF RESCISSION

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

If, prior to receiving such notice from the original buyer alleging such defect, we have paid the consignor monies owed him in connection with the sale, we shall pay the original buyer the amount of our commissions, any other sale proceeds to which we are entitled and applicable taxes received from the buyer on the sale and make demand on the consignor to pay the balance of the original purchase price to the original buyer. Should the consignor fail to pay such amount promptly, we may disclose the identity of the consignor and assign to the original buyer our rights against the consignor with respect to the lot the sale of which is sought to be rescinded. Upon such disclosure and assignment, any liability of Bonhams as consignor’s agent with respect to said lot shall automatically terminate.

The foregoing limited right of rescission is available to the original buyer only and may not be assigned to or relied

NY/MAIN/8.2019

Conditions of sale - continued

Conditions of sale - continued

NY/MAIN/8.2019

upon by any subsequent transferee of the property sold. The buyer hereby accepts the benefit of the consignor’s warranty of title and other representations and warranties made by the consignor for the buyer’s benefit. Nothing in this section shall be construed as an admission by us of any representation of fact, express or implied, obligation or responsibility with respect to any lot. THE BUYER’S SOLE AND EXCLUSIVE REMEDY AGAINST BONHAMS FOR ANY REASON WHATSOEVER IS THE LIMITED RIGHT OF RESCISSION DESCRIBED IN THIS SECTION.

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

LIMITATION OF LIABILITY

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

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

CONSIGNING YOUR PROPERTY

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

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

PROFESSIONAL APPRAISAL SERVICES

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

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

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

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

ESTATE SERVICES

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

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

SELLING AT AUCTION

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

AUCTION ESTIMATES

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

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

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

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

Seller’s guide

NY/MAIN/8.2019

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

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

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

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

ReservesUnless indicated by the ¤ symbol next to the lot number, which denotes no reserve, all lots in the catalog are subject to a reserve. The reserve is the minimum auction price that the consignor is willing to accept for a lot. This amount is confidential and does not exceed the low estimate value.

Auction House’s Interest in Property Offered at AuctionOn occasion, Bonhams may offer property in which it has an ownership interest in whole or in part or otherwise has an economic interest. Such property, if any, is identified in the catalog with a symbol next to the lot number(s).

Bonhams may also offer property for a consignor that has been guaranteed a minimum price for its property by Bonhams or jointly by Bonhams and a third party. Bonhams and any third parties providing a guarantee may benefit financially if the guaranteed property is sold successfully and may incur a financial loss if its sale is not successful. Such property, if any, is identified in the catalog with a symbol next to the lot number(s).

Bidding at AuctionAt Bonhams, you can bid in many ways: in person, via absentee bid, over the phone, or via Bonhams’ live online bidding facility. Absentee bids can be submitted in person, online, via fax or via email.

Valid Bonhams client accounts are required to participate in bidding activity. You can obtain registration information online, at the reception desk or by calling our Client Services Department.

By bidding at auction, whether in person or by agent, by absentee bid, telephone, online or other means, the buyer or bidder agrees to be bound by the Conditions of Sale.

Lots are auctioned in consecutive numerical order as they appear in the catalog. Bidding normally begins below the low estimate. The auctioneer will accept bids from interested

parties present in the saleroom, from telephone bidders, and from absentee bidders who have left written bids in advance of the sale. The auctioneer may also execute bids on behalf of the consignor by placing responsive or consecutive bids for a lot up to the amount of the reserve, but never above it.

We assume no responsibility for failure to execute bids for any reason whatsoever.

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

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

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

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

Bid IncrementsBonhams generally uses the following increment multiples as bidding progresses:$50-200 .............................................by $10s $200-500 ...........................................by $20/50/80s $500-1,000 ........................................by $50s $1,000-2,000.....................................by $100s $2,000-5,000.....................................by $200/500/800s $5,000-10,000… ...............................by $500s $10,000-20,000 ................................by $1,000s $20,000-50,000 ................................by $2,000/5,000/8,000s $50,000-100,000 ..............................by $5,000s $100,000-200,000 ............................by $10,000s above $200,000 ................................at auctioneer’s discretion

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

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

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

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

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

Payment All buyers are asked to pay and pick up by 3pm on the business day following the auction. Payment may be made to Bonhams by cash, checks drawn on a U.S. bank, money order, wire transfer, or by Visa, MasterCard, American Express or Discover credit or charge card or debit card. All items must be paid for within 5 business days of the sale. Please note that payment by personal or business check may result in property not being released until purchase funds clear our bank. For payments sent by mail, please remit to Cashier Department, 220 San Bruno Avenue, San Francisco, CA 94103.

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

Shipping & RemovalBonhams can accommodate shipping for certain items. Please contact our Cashiers Department for more information or to obtain a quote. Carriers are not permitted to deliver to PO boxes. International buyers are responsible for all import/export customs duties and taxes. An invoice stating the actual purchase price will accompany all international purchases.

Collection of PurchasesPlease arrange for the packing and transport of your purchases prior to collection at our office. If you are sending a third party shipper, please request a release form from us and return it to +1 (212) 644 9009 prior to your scheduled pickup. To schedule collection of purchases, please call +1 (212) 644 9001.

Handling and Storage ChargesPlease note that our office has requirement for freight elevatorusage. Please contact us to schedule an elevator appointmentfor pickup of any large or awkward items. Due to themandated closures of nonessential businesses in New York and California, Bonhams are unable to release propertyfor collection or shipping until such mandates are lifted and our physical offices reopen. On Tuesday 28 July oversized lots (noted as W next to the lot number and/or listed on page 175) will be sent to Door to Door Services where transfer and full value protection fees will be immediately applicable and storage fees will begin 5 business days following the transfer. All other lots which havebeen paid for in full will be held in our storage facilities free of charge until our premises re-open and for a thirty (30) day period after we notify you that lots are available for collection.Storage charges of $5 per lot, per day will apply after this30-day period for any lots which have not been collected. After we notify you that lots are available for collection, we ask that you make an appointment for the retrieval of your purchases by calling our main telephone number (212) 644 9001. Please also inform us of any special instructions regarding the retrieval, shipping and/or transportation of any purchases. Bonhams Reserve the right to remove uncollected sold lots to the warehouse of our choice at the buyer’s risk and expense. Further transfer, handling, storage and full value protection fees will apply if move to a warehouse of our choice. Auction ResultsAll you need is a touch-tone telephone and the lot number. Auction results are usually available on the next business day following the sale or online at www.bonhams.com/us.

Buyer’s guide

NY/MAIN/8.2019

COLLECTION & STORAGE AFTER SALE

Please note that all oversized lots listed below andmarked with a W in the catalogue will be removedto the warehouse of Door to Door Services hereinreferred to as Door To Door on Tuesday 28 July. Lots not so listed will remain at Bonhams.

W LOTS WILL BE AVAILABLE FOR COLLECTION FROM DOOR TO DOOR BEGINNING AT 9AM ET THE NEXT BUSINESS DAY FOLLOWING THE TRANSFER.

AddressDoor To Door Services 50 Tannery Rd #8ASomerville, NJ 08876

Lots will be available for collection 24hrs following transfer to Door to Door every business day from 9am to 5pm ET.

Collections appointments must be booked 24 hours in advance (subject to full payment of all outstanding amounts due to Bonhams and Door To Door) by contacting Door To Door at1-908-707-0077 ext 2070

HANDLING & STORAGE CHARGES

Please note: For sold lots removed to Door ToDoor there will be transfer and Full value protectioncharges but no storage charge due for lots col-lected within 5 Business days of the transfer. For sold lots that remain at Bonhams, there will be no storage charge for lots collected within the 30 days following the lifting of the mandated closures of nonessential businesses in New York

The per-lot charges levied by Door To DoorServices are as follows (plus any applicable salestax):

FURNITURE/LARGE OBJECTSTransfer .................. $75Daily storage........... $10Insurance (on Hammer + Premium + tax) 0.3%

SMALL OBJECTSTransfer ................. $37.50Daily storage........... $5Insurance (on Hammer + Premium + tax) 0.3%

Please contact Michael Van Dyke at Door To Door +1 908 707 0077 ext 2070+1 908 707 0011 (fax)[email protected]

For more information and estimates on domestic and International shipping Please contact Michael Van Dyke at Door To Door +1 908 707 0077 ext 2070+1 908 707 0011 (fax)[email protected]

PAYMENT

All amounts due to Bonhams and all charges due to Door To Door Services must be paid by the time of collection of the property from their warehouse.

TO MAKE PAYMENT IN ADVANCETelephone +1 (908) 707 0077 ext 2070 to ascer-tain the amount due, payable by cash, check, or credit card.

PAYMENT AT TIME OF COLLECTIONMay be made by cash, check, or credit card.

Lots will only be released from Door To Door’s warehouse upon production of the “Collection Slip” obtained from the Cashier’s office at Bon-hams.

The removal and/or storage by Door To Door of any lots will be subject to their standard Condi-tions of Business, copies of which are available at Bonhams.

PLEASE NOTE Door To Door does not accept liability for damage or loss, due to negligence or otherwise, exceed-ing the sale price of such goods, or at their option the cost of repairing or replacing the damaged or missing goods.

Door To Door reserves a lien over all goods in their possession for payment of storage and all other charges due them.

Oversized lots

Important notice to buyers

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

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

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

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

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

Please email or fax the completed Registration Form and requested information to:Bonhams Client Services Department580 Madison AvenueNew York, New York 10022Tel +1 (212) 644 9001Fax +1 (212) 644 [email protected]

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

Paddle number (for office use only)

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

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

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

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

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

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

Your signature: Date:

Shipping Address (if different than above):

Address: _____________________________________

City: _________________________________________

Country: _____________________________________

Post/ZIP code: _________________________________

Please note that all telephone calls are recorded.

SHIPPING

Sale title: Sale date:

Sale no. Sale venue:

Customer Number Title

First Name Last Name

Company name (to be invoiced if applicable)

Address

City County / State

Post / Zip code Country

Telephone mobile Telephone daytime

Telephone evening Fax

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

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

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

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

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

NY/MAIN/07.17

Fine Chinese Works of Art & Paintings

26127

Tuesday July 21, 2020

New York

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

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

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

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

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

Please email or fax the completed Registration Form and requested information to:Bonhams Client Services Department580 Madison AvenueNew York, New York 10022Tel +1 (212) 644 9001Fax +1 (212) 644 [email protected]

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

Paddle number (for office use only)

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

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

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

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

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

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

Your signature: Date:

Shipping Address (if different than above):

Address: _____________________________________

City: _________________________________________

Country: _____________________________________

Post/ZIP code: _________________________________

Please note that all telephone calls are recorded.

SHIPPING

Sale title: Sale date:

Sale no. Sale venue:

Customer Number Title

First Name Last Name

Company name (to be invoiced if applicable)

Address

City County / State

Post / Zip code Country

Telephone mobile Telephone daytime

Telephone evening Fax

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

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

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

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

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

NY/MAIN/07.17

Bonhams580 Madison Ave, New York, 10022

+1 212 644 9001 bonhams.com

AUCTIONEERS SINCE 1793

Documents

Fine Chinese Paintings & Works of Art...CHINESE CERAMICS AND WORKS OF ART Asaph Hyman +44 (0) 20 7468 5888 [email protected] ENQUIRIES Chinese Works of Art ... Sui 589-618 Tang