For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

117

A PAIR OF RED-GLAZED STEM DISHES

Qianlong seal marks and of the period

The high splayed foot with a single horizontal rib, the exterior covered in

a red glaze of rich crushed-raspberry tone ending neatly at the rim and

foot, the interior glazed white, wood stands, fitted Japanese silk box.

Each 21.2cm (8 3/8in) diam. (5).

£8,000 - 12,000

CNY73,000 - 110,000

Please note this Lot is to be sold at No Reserve. 本拍品不設底價

清乾隆 紅釉高足盤一對

青花「大清乾隆年製」篆書款

Provenance: Sotheby’s London, 6 December 1994, lot 192

An important European private collection

來源：倫敦蘇富比，1994年12月6日，拍品編號192

歐洲重要私人收藏

See a similar red-glazed stem dish, Qianlong seal mark and of

the period, illustrated by Qian Zhenzong, Qingdai taoci jianshang,

Shanghai, 1994, p.171, pl.223.

See one copper-red glazed stem dish, Qianlong seal mark and of the

period, which was sold at Christie’s New York, 15 September 2011,

lot 1625.

200 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

118

A SMALL BLUE AND YELLOW

‘DRAGON’ BOWL

Qianlong seal mark and of the period

With deeply rounded sides rising to a flaring

rim, reserved in yellow on a blue ground with

two five-clawed dragons encircling the exterior

in pursuit of flaming pearls, all above a band

of overlapping lotus petals encircling the foot,

the interior with a similar writhing dragon at

the centre.

10.3cm (4 1/8in) diam.

£15,000 - 20,000

CNY140,000 - 180,000

清乾隆 藍地黃彩雲龍戲珠紋碗

青花「大清乾隆年製」篆書款

Please note this Lot is to be sold at No

Reserve. 本拍品不設底價

Provenance: Christie’s London, 17 June 2003,

lot 40

An important European private collection

來源：倫敦佳士得，2003年6月17日，

拍品編號40

歐洲重要私人收藏

Within the court itself, there was a strict

hierarchy reflected in the colours of certain

objects. According to The Compilation of Qing

Court History (國朝宮史), volume 17, compiled

in the seventh year of the Qianlong period

(1742), vessels adorned with the colour scheme

of yellow dragons against a blue ground, like

the present lot, were crafted for the use of the

Qing emperors’ concubines of the fourth rank,

known as pin (嬪).

Compare with a similar blue and yellow ‘dragon’

bowl, Qianlong seal mark and of the period, in

the Qing Court Collection (acc.no.故00159782-

6/33). See a very similar bowl, Qianlong seal

mark and period, which was sold at Sotheby’s

Hong Kong, 11 July 2020, lot 3105.

FINE CHINESE ART | 201

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

119 Y

A FINE PAIR OF DOUCAI FLARING BOWLS

Jiaqing seal marks and of the period

Each painted in underglaze blue and enamelled in iron-red, green and

gilt around the exterior with five medallions of fruiting and flowering trees

between pomegranate sprays above a band of overlapping stylised ruyiheads at the foot, wood stands.

Each 15.6cm (6 1/8 in) diam. (4).

£15,000 - 20,000

CNY140,000 - 180,000

Please note this Lot is to be sold at No Reserve. 本拍品不設底價

清嘉慶 鬥彩描金團花馬蹄式碗一對

青花「大清嘉慶年製」篆書款

Provenance: Sotheby’s London, 7 December 1993, lot 286

An important European private collection

來源: 倫敦蘇富比，1993年12月7日，拍品編號286

歐洲重要私人收藏

202 | BONHAMS

Bowls of this type seem to draw inspiration from prototypes

originating in the Kangxi period. See a doucai bowl with similar

decoration but of different form, Kangxi, in the Qing Court Collection,

illustrated in The Complete Collection of Treasures of the Palace

Museum: Porcelains in Polychrome and Contrasting Colours, Hong

Kong, 1999, p.216. This distinctive pattern persisted through

subsequent reigns, with documented instances from the Qianlong,

Jiaqing, and Daoguang periods. Compare with a single doucai flaring

bowl, Jiaqing seal mark, illustrated in Treasures in the Royalty: The

Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003,

p.363.

See one doucai bowl, Jiaqing seal mark and of the period, which was

sold at Christie’s London, 3 November 2020, lot 165.

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

120 *

A RARE IMPERIAL YELLOW-GLAZED SAUCER-DISH

Zhengde six-character mark and of the period

The curved body with a slightly inward-tapering foot rising to a flaring

rim, plainly enamelled in a rich egg-yolk yellow tone, the base glazed

white and inscribed with a six-character mark within a double-ring in

underglaze blue.

21cm (8 1/4in) diam.

£5,000 - 7,000

CNY46,000 - 64,000

明正德 黃釉盤

青花「大明正德年製」楷書款

Provenance: Sotheby’s London, 11 May 1965, lot 31A

來源： 倫敦蘇富比，1965年5月11日，拍品編號31A

Yellow-glazed porcelain crafted in the Ming dynasty seemed to be

exclusively designated for the emperor’s use. Particularly, exquisite

examples of the Hongzhi and Zhengde reigns are renowned for their

exceptional glazing and vivid hue.

Compare with a similar yellow-glazed dish, Zhengde reign mark and

period, in the Qing Court collection at the Palace Museum, Beijing,

illustrated in The Complete Collection of the Treasures of the Palace

Museum: Monochrome Porcelain, Hong Kong, 1999, p.46, pl.41.

Another yellow-glazed dish is illustrated in R. Krahl, Chinese Ceramics

from the Meiyintang Collection, vol.4, London, 2010, pl.1676.

Compare with a similar Imperial yellow-glazed dish, Zhengde mark

and of the period, which was sold at Christie’s New York,

14 September 2017, lot 735.

(two views)

204 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

Since the late Qing dynasty, this type of glaze has been called jiangdou

hong (cowpeas red) for the resemblance of its colour with that of

cowpeas.

Traditionally, there has been a prevailing belief that the peach-bloom

glaze was exclusively used for application on vessels made for

scholar’s desks. However, a departure from this convention is evident

in a peachbloom-glazed dish, Xuande mark, Kangxi period, in the Qing

Court Collection, illustrated by Yang Jingrong, Gugong bowuyuan cang

wenwu zhenpin quanji: yanse you, Hong Kong, 1999, p.23, pl.20.

A very similar peachbloom-glazed incised ‘clouds and chilong’ dish

with a Xuande mark, Kangxi period, was sold at Bonhams London, 20

May 2008, lot 228. See also a larger peachbloom-glazed dish, Kangxi

period, with a Xuande mark, but without incised decoration was sold

at Sotheby’s New York, 19 March 2016, lot 1451.

121

A RED-GLAZED INCISED ‘CLOUDS AND CHILONG’

SAUCER-DISH

Xuande six-character mark, Kangxi

Rising from a slightly tapering foot to well curved sides, covered in

a mottled deep pink glaze thinning at the edges, the interior faintly

incised with three cloud clusters encircled by four chilong, the base

glazed white and inscribed with a six-character Xuande mark within a

double circle.

16.4cm (6 1/2in) diam.

£3,000 - 5,000

CNY27,000 - 46,000

清康熙 豇豆紅釉暗刻遊龍祥雲紋盤

青花「大明宣德年製」楷書款

Peach-bloom glaze was originally recorded as chui hong (blowing red) or

chui qing (blowing green) in the Notes on the Southern Kiln (南窯筆記)

composed during the reign of Emperor Qianlong. The glaze was applied

by blowing into a tube. The opposite end of the tube was covered with

gauze and immersed in the red glaze. The technique was employed until

the entire biscuit body was entirely covered with red mottles.

(two views)

FINE CHINESE ART | 205

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

THE PROPERTY OF A LADY 女士藏品

122

A FINE PAIR OF AUBERGINE-GLAZED BOWLS

Kangxi six-character marks and of the period

Each with deep rounded sides rising from a short foot to a straight rim

evenly covered with a vibrant aubergine glaze, the base glazed white

inscribed with the six-character reign mark within a double circle, box.

12.2cm (4 1/4in) diam. (3).

£60,000 - 80,000

CNY550,000 - 730,000

清康熙 茄皮紫釉碗一對

青花「大清康熙年製」楷書款

Provenance: Rev. Victor Farmer (1898-1977), England

Christie’s London, 8 June 2004, lot 459

The Inder Rieden collection

Bonhams London, 10 November 2011, lot 58

A British private collection

來源：Rev. Victor Farmer(1898-1977)，英格蘭

倫敦佳士得，2004年6月8日，拍品編號459

Inder Rieden收藏

倫敦邦瀚斯，2011年11月10日，拍品編號58

英國私人收藏

Similar bowls can be found in important museum and private

collections. See a similar pair of bowls from the collections of the

Hon. M.W.Elphinstone and later E.G.Kostolany, H.M.Knight and the

Hall Family, exhibited at the Royal Academy, International Exhibition of

Chinese Art 1935-6, London, 1935, no.2626 and no.2632; for similar

single bowls see J. Ayers, Chinese Ceramics in the Baur Collection,

vol.II, Geneva, 1999, no.195 (A474); and R.Krahl, Chinese Ceramics

from the Meiyintang Collection, vol.4(II), no.1806.

Compare with a similar pair of aubergine-glazed bowls, Kangxi marks

and of the period, which was sold at Christie’s Hong Kong,

30 November 2023, lot 2823.

206 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

The decoration on the present lot is similar to one illustrated on a blue

and white garlic-mouth vase, Chongzhen, illustrated in Folklore in Ming

and Qing Porcelain, Hong Kong, 2020, pp.24-25, which shows an

official carrying a tablet and accompanied by attendants with a parasol

and standards. One boy proffers a vase with three arrows and the

official points at the sun. Pointing to the sun is a pun for ‘soon’, while

the three arrows in the vase represent ‘rank’. All of this symbolises

a fast rise in the ranks. Although the decoration on the present lot is

slightly different (the official is not pointing at the sun, and there are

two boys rather than one), the symbolism is the same, with the boys

carrying a cap representing an official post.

During the turbulence of the Chongzhen era, a time marked by political

instability and social upheaval, the aspirations of scholars were often

directed towards ascending the ranks of the bureaucracy. Amidst

the chaos of the declining Ming Dynasty, many intellectuals sought

refuge and opportunity within the bureaucratic system, viewing it as

a pathway to influence, stability, and prestige. Despite the challenges

and uncertainties of the era, the allure of bureaucratic advancement

remained strong, offering a sense of purpose and the potential for

upward mobility to those who dared to navigate the intricate web

of Imperial politics and examinations. Dreams of rising through the

ranks of the bureaucracy served as a beacon of hope for scholars

amidst the tumultuous landscape of Chongzhen China, driving them

to pursue knowledge, cultivate connections, and strive for success

in the pursuit of their ambitions. For a discussion about the motif of

official appointments on a blue and white brushpot, dated to circa

1640, see J.B.Curtis, Chinese Porcelains of the Seventeenth Century:

Landscapes, Scholars’ Motifs and Narratives, New York, 1995, p.144,

no.61.

123

A RARE BLUE AND WHITE SLEEVE VASE

Chongzhen

Elegantly potted of tapering cylindrical form, rising to a waisted neck

and slightly everted rim, painted around the exterior in vibrant tones of

cobalt-blue with a continuous scene of a scholar official carrying a hu

tablet, attendants behind him carrying a parasol and standards, two

boys approach proffering a cap and ritual vessel, all within balustraded

garden setting with craggy rocks and V-shaped grass.

45cm (17 3/4in) high.

£40,000 - 60,000

CNY360,000 - 550,000

明崇禎 青花人物故事圖筒瓶

Provenance: Raymond Riesco (1877-1964)

來源：Raymond Riesco (1877-1964)

Raymond Francis Alfred Riesco, was born in 1877 in Croydon, to a

Chilean father and Scottish mother. He married Ada Mary Hovenden in

1914 and they had three children. Moving to Heathfield House in 1925,

Raymond transformed the estate from a dilapidated farm to a splendid

mansion surrounded by ornate gardens over his 40-year ownership.

Notably, he amassed collections of stamps, watercolours, etchings,

and Chinese ceramics, the latter acquired through his connection

with art dealer Edgar Bluett, despite not personally traveling to China.

Raymond passed away in 1964, leaving behind much of his Chinese

ceramics to the Museum of Croydon.

208 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

THE PROPERTY OF A LADY 女士藏品

124

A RARE BLUE AND WHITE SLENDER CYLINDRICAL VASE

Circa 1640

Vibrantly painted with a continuous scene of a cowherd kneeling

before a high official, accompanied by attendants, one holding a

canopy, one a tied bundle, and two with halberds, in a river landscape

with pine, willow, rockwork and swirling clouds, the slender flaring neck

with tulip flowers and leaves between pearls and lozenge.

44cm (17 3/8in) high.

£50,000 - 80,000

CNY460,000 - 730,000

約1640年 青花人物故事圖筒瓶

Provenance: Worms family collection, Paris

S.Marchant and Son Ltd., London

Roy Davids Collection, no.99, acquired on 20 January 2010

Bonhams London, 5 November 2014, lot 110

A British private collection

Published and Illustrated: S.Marchant and Son Ltd., Ming Porcelain,

London, 2009, p.116-177. no.52

來源：Worms家族收藏，巴黎

倫敦古董商S.Marchant and Son Ltd.

Roy Davids收藏，編號99，獲得於2010年1月20日

倫敦邦瀚斯，2014年11月5日，拍品編號110

英國私人收藏

著錄：S.Marchant and Son Ltd.，《Ming Porcelain》，

倫敦，2009年，第116-117頁，編號52

There are various stories surrounding this common theme of a high

mandarin and a cowherd. J.B.Curtis in her article ‘Decorative Schemes

for the New Markets: The Origins and Use of Narrative Themes on

17th Century Chinese Porcelain’ in The International Ceramics Forum

and Seminars Catalogue, London, 1997, describes the scene as the

ancient sage Emperor Yao relinquishing his throne to minister Xu You

who had become a recluse, herding oxen. A vase from the Butler

Family Collection, with the same subject is illustrated by J.B.Curtis in

Chinese Porcelains of the Seventeenth Century, Landscapes, Scholars’

Motifs and Narratives, New York, 1995, no.60, pp.142-3.

Lu Minghua however, argues that the scene depicts a story from the

History of the Han of Prime Minister Bing Ji enquiring about a buffalo

which he noticed was breathing heavily in Spring, as if it was in the

heat of Summer. Bing Ji believed it was the duty of Prime Ministers

to balance the yin and yang of nature. See Seventeenth Century

Jingdezhen Porcelain from the Shanghai Museum and the Butler

Collections, Shanghai, 2005, pp.110-1.

See a similar blue and white vase, Transitional period, which was sold

at Sotheby’s New York, 23 March 2011, lot 743.

210 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

THE PROPERTY OF A BRITISH FAMILY

英國家族藏品

125

AN UNDERGLAZE-BLUE, COPPER-RED

AND CELADON-GLAZED BEAKER VASE, GU

Xuande six-character mark, Kangxi

Painted around the exterior in hues of cobaltblue, copper-red and celadon, the central

register adorned with a pair of dragons

striding around the body, the upper and lower

registers each decorated with a continuous

mountainous riverscape depicting a figure

seated on a boat, surrounded by pavilions,

jagged rockwork, and trees; the base

inscribed with an apocryphal Xuande mark.

41.9cm (16 1/2in) high.

£4,000 - 6,000

CNY36,000 - 55,000

清康熙 釉裡三彩螭龍山水人物圖花觚

青花「大明宣德年製」楷書款

Provenance: an English private collection,

acquired circa 1989

來源：英國私人收藏，約獲得於1989年

The porcelain type represented by the present

piece is known as ‘underglaze tri-coloured

porcelain’ (釉裡三彩), a distinctive form of

high-temperature decorative porcelain that

emerged during the Kangxi period. This art

form involves the skilful combination of three

colorants—cobalt, copper, and iron—to

create a harmonious palette of blue-andwhite, red, and celadon hues within a single

piece. However, it presents a formidable

challenge due to the differing temperature

and kiln atmosphere requirements of these

three high-temperature colours, achieving

flawless coloration for all three pigments, as

exemplified by the present lot. See a similar

underglaze-blue, copper-red and celadonglazed beaker vase, gu, Kangxi, in the Qing

Court Collection, in the Palace Museum

Beijing (acc.no. 故00148355).

Compare with a related underglaze-blue,

copper-red and celadon-glazed beaker vase,

Kangxi period, which was sold at Bonhams

New York, 18 March 2019, lot 625.

212 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

126

A COPPER-RED ‘FISH’ SAUCER-DISH

Yongzheng six-character mark and of the period

Finely potted with low, rounded sides set over a slightly inwardtapering foot, the exterior painted in underglaze copper red with three

fish swimming gracefully on the white ground, their tails sweeping

gently up and fins extended.

15cm (5 3/4in) diam.

£8,000 - 12,000

CNY73,000 - 110,000

清雍正 釉裡紅三魚紋盤

青花「大清雍正年製」楷書款

Provenance: Sotheby’s London, 15 May 2013, lot 232

來源： 倫敦蘇富比，2013年5月15日，拍品編號 232

The present lot reflects the Yongzheng Emperor’s profound fascination

with antiquity. The design featuring three red fish set against a pristine

white background traces its origins back to the Xuande period (r.1424-

25), during which a select collection of Imperial cups, stem cups,

and stem bowls adorned with similar distinctive motifs were crafted.

Although this iconic style fell into relative obscurity, it experienced a

revival in the early Qing dynasty.

As documented in the Taocheng jishi bei (Commemorative Stele

on Ceramic Production) compiled in 1735 by the renowned

superintendent of the Imperial kilns at Jingdezhen, Tang Ying (1682-

1756), the three fish motif, along with three fruits, three lingzhi fungus,

and five bats, were among the four copper-red designs from the

Xuande reign that were intentionally reproduced at the Imperial kilns

during the Yongzheng period.

See a pair of copper-red ‘fish’ dishes, Yongzheng six-character mark

and of the period, which was sold at Sotheby’s New York,

11 September 2019, lot 658.

FINE CHINESE ART | 213

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

127 *

A RARE PAIR OF BLUE AND WHITE IRON-RED ENAMELLED

‘DRAGON’ DISHES

Qianlong seal marks and of the period

Each thinly potted with shallow rounded sides rising from an inwardtapered foot, decorated in the well with a central medallion enclosing

an iron-red five-clawed dragon writhing in mid-air above a ground

of swirling waves, the exterior similarly decorated with nine iron-red

dragons variously dancing above waves, below a border of interlinked

‘coin’ motifs.

Each, 17.5cm (6 7/8in) diam. (2).

£20,000 - 30,000

CNY180,000 - 270,000

清乾隆 青花礬紅海水龍紋盤一對

青花「大清乾隆年製」篆書款

Provenance: Helge von Knorring (1897-1985), Finnish Charge

d’Affaires 1929-1932 to Shanghai and Envoy to Beijing 1952-1953,

and thence by descent.

來源： Helge von Knorring (1897-1985)，1929年至1932年擔任芬

蘭駐上海臨時代辦，並於1952年至1953年擔任赴北京特使，並由後

代收藏迄今

214 | BONHAMS

Compare with a very similar pair of blue and white and iron-red

‘dragon’ dishes, Qianlong seal marks and of the period, which were

sold at Sotheby’s Hong Kong, 3 October 2017, lot 3734. See also one

blue ad white iron-red decorated ‘dragon’ dish, Qianlong seal mark

and of the period, which was sold at Christie’s Hong Kong, 11 June

2021, lot 3245.

Helge von Knorring was a Finnish diplomat with a distinguished career

within the Ministry of Foreign Affairs. von Knorring was appointed in

the late 1920s as an attaché to Japan. He was then seconded to

Shanghai in the position of Charge d’Affaires 1929-1932, followed by

a return to Tokyo as an attaché. Further to various diplomatic posts,

he was appointed as Envoy to Beijing 1952-1953, and Ambassador to

Bern 1953-1956.

FINE CHINESE ART | 215

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

128 *

A GRISAILLE-DECORATED ‘FISHERMEN’S HAPPINESS’

JARDINIÈRE

Circa 1730-1740

Of compressed ovoid form, rising from a recessed base to a lipped

rim, decorated around the exterior with a continuous scene of

fishermen, three resting after a meal with a lady bringing a basket with

food followed by a boy, by the shore another fisherman pulls a net,

two fishermen using a basket and small net, while another on a raft

employs two cormorants.

26cm (10 1/2in) diam.

£20,000 - 30,000

CNY180,000 - 270,000

約1730-1740 墨彩漁家樂圖缸

Provenance: Chait Galleries, New York (label)

S.Byrne (1918-1996), New York, acquired circa 1970’s-1980’s,

and thence by descent

來源： Chait Galleries，紐約（據標籤）

S.Byrne (1918-1996)，紐約，約獲得於1970至1980年代，並由後人

保存迄今

Mr S.Byrne (1918-1996) was a renowned collector of Chinese art,

known for his prolific acquisition of significant pieces from prominent

auction houses and galleries in the New York area. His extensive

collection encompassed a wide array of treasures, spanning from

important Ming and Qing Imperial porcelain to rare examples of early

pottery and tomb ware.

Compare with a related scene, depicting fishermen enjoying a meal

and playing games, entitled ‘Fishermen’s Happiness’ on a Kangxi

period vase, illustrated in The Complete Collection of Treasures of

the Palace Museum: Blue and White Porcelain with Underglazed Red

(III), Hong Kong, 2000, p.20, no.16. See also another related scene

of ‘Fisherman’s Happiness’ on a Kangxi period brushpot, also in the

Palace Museum, Beijing, illustrated by Chen Runmin in Qing Shunzhi

Kangxi chao qinghuaci, Beijing, 2005, p.304, no.204.

216 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

The present lot depicting a mountainous river landscape from the

Qianlong/Jiaqing period exemplifies the conservative approach to

landscape painting prevalent during that era, and is reminiscent of the

esteemed Four Wangs’ orthodox style. Reflecting the artistic tastes of

the Qing court, these plaques showcase meticulous attention to detail,

harmonious compositions, and a restrained colour palette, all hallmarks

of the classical landscape tradition. Evoking a sense of serenity and

timeless elegance, the scenes depicted on the plaques pay homage

to nature’s grandeur, with towering mountains, meandering rivers,

and tranquil villages meticulously rendered in delicate brushwork.

Through their adherence to traditional techniques and aesthetics,

these porcelain plaques not only serve as exquisite examples of Qing

Dynasty artistry but also offer a window into the enduring legacy of

classical landscape painting in Chinese culture.

The plaques also follow in the footsteps of classical Chinese paintings

that depict multiple perspectives of monumental landscapes, such as

the renowned Forty Scenes of the Yuanmingyuan commissioned by

Emperor Qianlong in 1744 and the timeless Ten Scenes of the West

Lake by Wang Yuanqi (1642-1715).

129 Y

SIX POLYCHROME PORCELAIN PLAQUES

Qianlong/Jiaqing

The six plaques all together depicting an expansive mountainous

landscape each with mist-enveloped blue peaks, pavilions, huts, and

bridges amidst rocky shores and verdant trees, with boats gracefully

floating on the lake, wood frame.

The largest panel: 60cm (23 1/2in) × 23.5cm (9 2/8in);

the group with frame: 147cm (57 7/8in) × 85cm (33 1/2in).

£30,000 - 50,000

CNY270,000 - 460,000

清乾隆/嘉慶 粉彩山水行舟圖六聯瓷板掛屏

Provenance: Cambi Milan, 15 December 2017, lot 43

來源：米蘭康維拍賣行，2017年12月15日，拍品編號43

218 | BONHAMS

Notably, due to the proximity to Jingdezhen, the vistas of Jiangxi

Province have frequently been immortalized in porcelain display pieces,

further enhancing the cultural significance and artistic resonance of

these exquisite plaques. Indeed, one pavilion in one plaque resembles

The Pavilion of Prince Teng, first built in 653 AD by Li Yuanying,

younger brother of Emperor Taizong of the Tang dynasty, a pavilion

in Nanchang, Jiangxi Province, on the east bank of the Gan river. It

is considered one of the three great towers of southern China, along

with Yueyang tower and Yellow Crane pavilion. Teng tower is frequently

depicted in Chinese art, most famously by the Yuan dynasty painter

Xia Yong (active 1340s-1360s); see a painting in the Museum of Fine

Arts, Boston (acc.no.29.964). Another plaque depicts an island with

a tall pagoda with some other pavilions. This is reminiscent of Jinshan

temple, depicted in a painting album Dong Zhelin Jiangnan shiliu jing

tuce (董蔗林江南十六景圖冊) by Dong Gao (1740-1818) in Tsinghua

University Art Museum. See a set of ten famille rose bowls with related

landscapes, Jiaqing period, illustrated by R. Krahl, Chinese Ceramics

from the Meiyintang Collection, Vol IV, London, 2010, pp.296-305,

no.s 1762-71. Compare with a related pair of famille rose landscape

panels, signed and with the date of 1787, which was sold at Christie’s

Hong Kong, 29 November 2022, lot 3008.

Dong Zhelin Jiangnan shiliu jing tuce by Dong Gao (1740-1818)

Image courtesy of Tsinghua University Art Museum.

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

130

131

130

A FAMILLE ROSE YELLOW-GROUND SGRAFFIATO

‘MEDALLION’ BOWL

Daoguang seal mark and of the period

Exquisitely potted with rounded sides rising from a straight

foot to a slightly everted rim, the exterior decorated with

four medallions enclosing sprays of various flowers and

lingzhi fungus, divided by branches of fruiting peaches and

ribbon-tied wan symbols above waves, all reserved on a

yellow sgraffiato ground, the interior painted in underglaze

blue with a central medallion surrounded by four detached

sprays of lingzhi and flowers around the cavetto.

14.5cm (11/16in) diameter.

£5,000 - 7,000

CNY46,000 - 64,000

清道光 粉彩黃地軋道開光富貴長壽紋碗

青花「大清道光年製」篆書款

The auspicious symbols adorning this bowl encapsulate

the good wish of ‘wealth and longevity’ (富貴長壽). Both

the peach and lingzhi fungus serve as symbols representing

immortality and longevity. Furthermore, the peony,

bestowed with the esteemed title of the ‘Flower of Wealth

and Honour’ (富貴花), adds an extra layer of auspicious

meaning to the overall symbolism.

See a related pair of famille rose yellow-ground sgraffiato

medallion bowls, Daoguang seal mark and of the period,

illustrated in Encompassing Precious Beauty: The

Songzhutang Collection of Imperial Chinese Ceramics,

Hong Kong, 2016, pp.208-209.

Compare with a similar yellow-ground famille-rose sgraffiato

‘medallion’ bowl, Daoguang seal mark and of the period, which

was sold at Sotheby’s London, 1 November 2023, lot 31.

131

A ‘SANG-DE-BOEUF’-GLAZED SAUCER-DISH

Daoguang seal mark and of the period

Rising from a slightly tapered foot, covered overall with

a rich oxblood glaze diffusing to white around the gently

everted rim, the base glazed white inscribed with a sixcharacter Daoguang seal mark in underglaze-blue.

18.1cm (7 1/8in) diam.

£2,000 - 3,000

CNY18,000 - 27,000

清道光 紅釉盤

青花「大清道光年製」篆書款

The manufacture of copper-red glaze demands precise

control over kiln conditions to attain rich tones. While the

Ming dynasty, particularly the Xuande period, saw successful

utilisation of copper-red, the Qing dynasty witnessed a further

refinement of copper-red monochrome glazes. Notably, Qing

vessels coated in this glaze exhibit extraordinary vibrancy of

tone, marking an advancement in the artistry of this particular

glaze.

See a related pair of copper-red-glazed bowls, also with

Daoguang seal marks and of the period, illustrated by Qian

Zhenzong, in Qingdai ciqi shangjian, Hong Kong, 1994,

p.229, pl.298.

Compare also with a similar but slightly larger copper-redglazed dish, Daoguang seal mark and of the period, which

was sold at Sotheby’s New York, 27 September 2022, lot 612.

220 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

THE PROPERTY OF A BRITISH FAMILY

英國家族藏品

132

A MING-STYLE BLUE AND WHITE

‘LOTUS SCROLL’

BOTTLE VASE

Daoguang seal mark and of the period

The compressed globular body rising from

a short spreading foot decorated with foliate

scrolls to a tall neck with a flared rim, the body

painted with foliate floral scrolls between a

band of lappets above the foot and bands of

ruyi-heands, floral scrolls, and key-fret around

the shoulder, all below bands of upright

plantain leaves and key-fret around the neck

and the rim with bands of wave and ruyi head,

the base inscribed with a six-character seal

mark in underglaze blue.

36.8cm (14 1/2in) high.

£8,000 - 12,000

CNY73,000 - 110,000

清道光 青花如意纏枝花卉紋賞瓶

青花「大清道光年製」篆書款

Provenance: a British private collection,

acquired in 1989

來源：英國私人收藏，獲得於1989年

The present lot distinguished for its graceful

adornment, elegant

shape and balanced proportion is known as a

‘bestowed vase’ (賞瓶). Initially endorsed and commissioned

by Emperor Yongzheng to reward meritorious

officials, this type of vase retained its original

design, name and purpose throughout

the Qing Dynasty, from the Yongzheng era

through the Xuantong period. The decorative

motifs adorning the ‘bestowed vase’ carry

profound symbolism, notably the ‘blue lotus’ (青蓮) phonetically linked to the concept

of ‘incorruptibility’ (清廉). This choice of

symbolism reflects the emperors’ aspiration

for an incorruptible government.

See a similar blue and white lotus-scroll

bottle vase, Daoguang mark and period,

in the Qing Court Collection, preserved in the

Palace Museum Beijing (accession number 故00161552). Compare also with a similar

blue and white lotus-scroll bottle vase,

Daoguang mark and of the period, which

was sold at Christie’s New York,

20 September 2013, lot 1388.

FINE CHINESE ART | 221

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

133

A GREEN AND AUBERGINE-GLAZED

‘DRAGON’ BOWL

Daoguang seal mark and of the period

The rounded sides of the bowl rising from a

short straight foot to a slightly everted rim,

the exterior decorated with a pair of incised

aubergine-glazed five-clawed dragons, each

in pursuit of a flaming pearl above a band

of rolling waves, against a green ground,

the base glazed white inscribed with a sixcharacter Daoguang seal mark.

11.1cm (4 3/8in) diam.

£2,000 - 3,000

CNY18,000 - 27,000

清道光 綠地紫彩海水雲龍紋碗

青花「大清道光年製」篆書款

The production of the two-colour ‘dragon’

bowls as the present lot necessitates a

sophisticated manufacturing process. Initial

steps involve meticulous carving of the

decorative patterns on the bowls, followed by

high-temperature firing to achieve the desired

shape. Subsequently, the bowls are applied

with overglaze enamel washes to create the

distinctive green and purple decorations,

undergoing a second firing in the kiln at a

lower temperature. Stringent control of the kiln

temperature was imperative throughout the

manufacturing process.

According to The Compilation of Qing Court

History (國朝宮史), volume 17, compiled

in the seventh year of the Qianlong period

(1742), vessels decorated with the colour

scheme of aubergine dragons on a green

ground, as seen on the present lot, were

made for the use of the Qing emperors’

concubines of the fifth rank, guiren (貴人).

See a similar green and aubergine-glazed

‘dragon’ bowl, Daoguang seal mark and of

the period, in the Qing Court Collection, in

the Palace Museum, Taipei, (acc.no.故瓷

000784N000000000). Compare also with a

similar but slightly larger green and aubergineglazed dragon bowl, Daoguang seal mark and

of the period, which was sold at Sotheby’s

London, 1 November 2022, lot 6.

222 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

134 *

A RARE PAIR OF BLUE AND WHITE

IRON-RED ENAMELLED ‘DRAGON’

DISHES

Daoguang seal marks and of the period

Each finely potted with shallow rounded sides

rising from an inward-tapered foot, decorated

in the well with a central medallion enclosing

an iron-red five-clawed dragon writhing in

mid-air above a ground of swirling waves,

the exterior similarly decorated with nine ironred dragons variously dancing above waves,

below a border of interlinked ‘coin’ motifs.

Each 17.5cm (6 7/8in) diam. (2).

£12,000 - 15,000

CNY110,000 - 140,000

清道光 青花礬紅海水龍紋盤一對

青花「大清道光年製」篆書款

Provenance: Helge von Knorring (1897-

1985), Finnish Charge d’Affaires 1929-1932

to Shanghai and Envoy to Beijing 1952-1953,

and thence by descent.

來源： Helge von Knorring (1897-1985)

，1929年至1932年擔任芬蘭駐上海臨時代

辦，並於1952年至1953年擔任赴北京特使，

並由後人保存迄今

Helge von Knorring was a Finnish diplomat

with a distinguished career within the Ministry

of Foreign Affairs. von Knorring was appointed

in the late 1920s as an attaché to Japan.

He was then seconded to Shanghai in the

position of Charge d’Affaires 1929-1932,

followed by a return to Tokyo as an attaché.

Further to various diplomatic posts, he was

appointed as Envoy to Beijing 1952-1953,

and Ambassador to Bern 1953-1956.

See a related dish with designs of ironred waves and blue-and-white dragons,

Kangxi period, illustrated in The Complete

Collection of Treasures of the Palace Museum:

Miscellaneous Enamelled Porcelains, Plain

Tricoloured Porcelains, Shanghai, 2009,

p.188, pl.149. Compare with one very similar

blue and white and iron-red-decorated

‘dragon’ dish, Daoguang seal mark and of the

period, which was sold at Christie’s London,

3 November 2020, lot 181.

FINE CHINESE ART | 223

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

135

A PALE GREEN AND RUSSET JADE

CARVING OF A MYTHICAL BEAST

Ming Dynasty

Expertly carved as a single-horned mythical

beast in a crouched position, with the head

turned backward, featuring bulbous eyes

beneath bushy brows, finely carved mane

flowing down the breast, a knobbly spine and

bifurcated tail, the stone of celadon hue with

brown and russet striations.

6.5cm (2 1/2in) high.

£2,000 - 3,000

CNY18,000 - 27,000

明 褐斑青玉瑞獸把件

Compare with a related grey green jade

mythical beast, Ming dynasty, illustrated in

Chinese Jade Animals, Hong Kong, 1996,

p.160, pl.143. See also a related pale green

and russet jade carving of a mythical beast,

Ming dynasty, sold at Bonhams London,

18 May 2023, lot 84.

136 Y

A PALE GREEN JADE CARVING OF A

MYTHICAL BEAST AND CUB

17th/18th century

The single-horned beast carved in a

recumbent position, featuring bulbous eyes

beneath bushy brows and finely incised mane,

the head resting on the front paws and turning

to the right, the accompanying cub turning

back to gaze at the larger, the stone of pale

green tone with light russet striations and

white inclusions, wood stand.

7.8cm (3in) long.

£2,000 - 3,000

CNY18,000 - 27,000

十七/十八世紀 青玉雕子母瑞獸把件

The auspicious creatures featured here are

luduan, traditionally ascribed with the ability to

discern truth and travel over great distances

within a very short time.

Compare with a similar white jade ‘mythical

beast and cub’ group, 18th/19th century,

which was sold at Bonhams Hong Kong,

20th September 2023, lot 50.

135

136

224 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

137

A PALE GREEN JADE CARVING OF A TIGER

Yuan/Ming Dynasty or later

Crisply carved, the large recumbent feline turned sharply to the right

with its paws tucked beneath the squareish head baring sharp fangs,

large almond-shaped eyes beneath tubular ears, the ridged spine

extending down the back and terminating with a long tail sweeping

beneath its right haunch, the stone of pale green tone with frost-white

and russet inclusions, box.

10cm (4in) long. (2).

£20,000 - 30,000

CNY180,000 - 270,000

元/明或更晚 青玉雕虎把件

Compare with a related large jade carving of a tiger, Song dynasty

or later, in the Victoria and Albert Museum, London, illustrated by

M.Wilson, Chinese Jades, London, 2004, no.75. The present piece

draws inspiration from jade tigers of the Han dynasty, characterised

by their coiled, reclined, or seated posture reflecting the natural shape

of the pebble they were carved from. These jade sculptures typically

feature squared eyes, minimal incised details, and a flattened base.

They may originally have been inspired by Han dynasty bronze

mat weights.

Related jade tigers can be found in various notable collections. See a

black and yellow jade mythical feline, Southern Song or Yuan dynasty

(12th-14th century), illustrated by A.Forsyth and B.McElney, Jades

from China, Bath, 1994, no.230. Another related black jade tiger-like

beast, Yuan/Ming dynasty, is illustrated in Chinese Jade Animals,

Hong Kong, 1996, p.152, no.135.

See a related pale green and brown jade carving of a tiger, Ming

dynasty, which was sold at Sotheby’s New York, 21 September 2021,

lot 52.

FINE CHINESE ART | 225

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

138

139

138

A PALE GREEN JADE ‘PHOENIX AND

PEONY’ GROUP

17th/18th century

Carved and pieced as a craggy rock, on one

facet a phoenix pierced with a gracefully spread

tail looking backward, the opposite side featuring

a leafy peony spray beneath a bat with outspread

wings, the stone of pale green tone with russet

inclusions and striations.

9.3cm (3 5/8in) long.

£2,000 - 3,000

CNY18,000 - 27,000

十七/十八世紀 青玉鏤雕鳳鳥山石擺件

Compare with a related white jade ‘phoenix and

peach’ group, early 18th century, illustrated by

J.C.Y.Watt, Chinese Jades from the Collection

of the Seattle Art Museum, Seattle, 1989, no.63.

See also a related jade brush rest in the shape

of a phoenix singing among mountains, Qing

dynasty, in the Qing Court Collection, illustrated

in Compendium of Collections in the Palace

Museum: Jade, volume 9, 2011, Beijing, p.83,

pl.70. See also a similar jade ‘phoenix and

flower’ group, 18th/19th century, illustrated by

R.Keverne, Jade, London, 1995, p.342.

Compare with a related jade pierced brush rest,

16th/17th century, which was sold at Christie’s

New York, 20 September 2013, lot 1676.

139

A PALE GREEN AND CHESTNUT ‘DOUBLE

PHOENIX’ SCROLL WEIGHT

18th century

The pebble carved as a pair of phoenixes with

heads tenderly inclined towards each other

conveying affectionate facial expressions, and

with wings gracefully outspread intimately locked

in an embrace, featured with finely incised

feathers and curling beards, the stone of a pale

green and brown tone.

9.1cm (3 5/8in) long.

£2,000 - 3,000

CNY18,000 - 27,000

十八世紀 青白玉雙鳳紙鎮

In Chinese culture, the phoenix, known as feng

huang 鳳凰, encompasses the males feng and

females huang. The two-fold expression of feng

huang alludes to sexual pairing, symbolising the

inseparable companionship of both the feng and

huang. This concept underscores the profound

cultural significance attached to the harmonious

union of masculine and feminine elements as

represented in the present lot.

Compare with a related green jade sparrow

group, Qing dynasty, illustrated in Compendium

of Collections in the Palace Museum: Jade, Vol

9, Beijing, 2011, p.159, pl.147. See also a related

pale celadon jade ‘phoenix’ pebble, Qianlong,

which was sold at Sotheby’s Hong Kong,

3 October 2018, lot 3356.

226 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

140

A LARGE GREY AND BLACK JADE ‘PHOENIX AND PEONY’ GROUP

17th/18th century

Finely carved as a phoenix grasping a leafy peony spray in its beak, the

wings gracefully folded over the body, the tail curled inward and legs tucked

beneath the body, the stone of mushroom-grey tone with black patches

and striations.

13cm (5 1/8in) long.

£4,000 - 6,000

CNY36,000 - 55,000

十七/十八世紀 墨白玉鳳銜牡丹把件

The phoenix has long been regarded as the king of birds, symbolising

auspiciousness; the peony has been considered as the king of flowers,

symbolising wealth and prosperity. The combination of the two (phoenix

and peony), seen in the present lot, carries the auspicious meaning of

wealth and prosperity always being present, and glory enduring forever.

Compare with two related jade carvings of birds, dated Song and Song

to Ming dynasty, illustrated by J.C.Y.Watt, Chinese Jades from the Han to

Ch’ing, New York, 1980, p.96, nos.80-81.

See a related pale celadon jade ‘phoenix and peony’ group, 18th century,

which was sold at Christie’s London, 5 November 2013, lot 43.

FINE CHINESE ART | 227

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

Luohan, after a set attributed to Guanxiu,

stone carved in 1757; rubbing 18th/19th

century, Image courtesy of The Metropolitan

Museum of Art, New York

The present lot belongs to an important group of closely related jade

carvings carved with a luohan in a mountain grotto. The subject matter

may have derived from woodblock prints on the theme, printed in

the 18th century catalogue Gu yu tu pu (古玉圖譜). Buddhism as the

foremost state religion during the Qing dynasty received great attention

during the reign of the Qianlong Emperor. The Emperor ordered the

Court painter Ding Guanpeng (1708-1771) to paint the sixteen luohans

after the original set by Guanxiu (823-912) that he had seen during his

visit to Hangzhou in 1757.

Invoice

THE PROPERTY OF A LADY 女士藏品

141 Y

A PALE GREEN AND RUSSET JADE ‘LUOHAN’ BOULDER

18th century

The rich and lustrous pale green stone formed as a remote mountain

grotto enclosing a luohan with jovial expression, clad in long flowing

robes, seated on a rock and holding sutras, a cylindrical incense

burner on a nearby ledge, all beneath a gnarled tree, the reverse with

auspicious lingzhi fungus growing from craggy rocks, hardwood stand.

18.5cm (7 1/4in) high. (2).

£8,000 - 12,000

CNY73,000 - 110,000

十八世紀 青玉褐斑羅漢玉山子

Provenance: Sotheby’s London, 5 March 1963, lot 166

Acquired by the present owner’s father at Spink & Son Ltd.,

on 30 March 1963, and thence by descent

來源： 倫敦蘇富比，1963年3月5日，拍品編號166

由現藏家的父親在1963年3月30日從Spink & Son Ltd.處購得，

並由後人保存迄今

Compare with a related jade boulder with a Luohan meditating in

a grotto in the Palace Museum, Taipei, Qianlong, illustrated in The

Refined Taste of the Emperor: Special Exhibition of Archaic and

Pictorial Jades of the Ch’ing Court, Taipei, 1997, pl.39.

See a related pale green jade boulder, Qianlong, which was sold at

Bonhams Hong Kong, 27 November 2018, lot 77.

228 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

142

143

142

A LARGE JADEITE DISH

18th/19th century

Crisply carved with rounded sides rising from a short tapering foot to a

slightly everted rim, the stone of pale green-grey tone with apple-green

striations, box.

29cm (11 3/4in) diam. (2).

£3,000 - 5,000

CNY27,000 - 46,000

十八/十九世紀 光素翡翠大盤

Provenance: acquired in Shanghai during the 1920s

A Scottish private collection

John Sparks Ltd. (label)

來源：1920年代獲得於上海

蘇格蘭私人收藏

古董商John Sparks（據標籤）

Jadeite, highly prized by the Qing Court, held a significant cultural and

aesthetic value. Its exquisite beauty and rarity (it was quarried in Burma)

made it a favoured material for Imperial use. Notably, jadeite dishes

devoid of intricate carving were treasured for their natural elegance,

allowing the Court to appreciate the stone’s inherent lustre and texture,

thus reflecting the dynasty’s refined taste and appreciation for the purity

of natural materials.

Compare with a related green jade plate, Qing dynasty, in the Qing Court

Collection, illustrated in Compendium of Collections in the Palace Museum:

Jade, 10, Beijing, 2011, p.230, no.181.

See a pair of similar but smaller jadeite dishes, late Qing dynasty, which

was sold at Sotheby’s London, 4 November 2020, lot 273.

143

A ROCK CRYSTAL ‘MYTHICAL BIRD’ VASE AND COVER

18th/19th century

Well carved as a bird supporting a vase with a cover surmounted by a

ruyi-shaped knop, the bird standing in profile with head raised, ornamented

with swirling feathers extending across the chest, wings and tail of the bird

to the side walls of the vase, achieved through a high relief technique.

11.2cm (4 3/8in) long. (2)

£2,000 - 3,000

CNY18,000 - 27,000

十八/十九世紀 水晶雕天雞尊

The shape of this rock crystal vase refers to the mythical bird, known as

‘heavenly cockerel’ (tianji 天雞) in ancient legends. According to Tales of

Strange Matters (述異記) compiled during the Southern dynasties (420-

589), there was a colossal tree of which the branches spanned three

thousand miles. Perched upon it, the heavenly cockerel’s crows were

synchronised with the first rays of the sun, casting a radiant illumination,

symbolising the potent force committed to ensuring tranquillity and

harmony.

In the Qing dynasty, the ‘heavenly cockerel’ design became widely popular,

with an abundance of variations crafted from various materials. See a

similar rock crystal ‘heavenly cockerel’ vase and cover, Qing dynasty, in the

Qing Court Collection, in the Palace Museum Beijing, (ac.no. 故00102477).

Another crystal ‘duck’ vase, Qing dynasty, in the Qing Court Collection,

is also illustrated in The Complete Collection of Treasures of the Palace

Museum: Small Refined Articles of the Study, Shenzhen, 2009, p.194,

no.181. See also a related green jade vase seated on the back of a heaven

cockerel, late Qing dynasty, illustrated in Compendium of Collections in the

Palace Museum: Jade, vol.10, Beijing, 2011, p.84, pl.55.

Compare with a related carved rock crystal vase and cover, which was

sold at Christie’s Hong Kong, 9 October 2019, lot 112.

230 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

144

145

THE PROPERTY OF AN ENGLISH FAMILY 英格蘭家族藏品

Lots 144 - 148

144

A MUGHAL-STYLE WHITE AND RUSSET JADE EWER

AND COVER

18th century

The body of rounded square shape supported on a short flared

foot to a waisted neck, carved on each side in low relief with

panels of lotus blooms amidst scrolling leafy stems, flanked by a

handle and a spout in the form of leafy lotus bloom sprays, the

cover carved with a band of leafy lappets radiating from a finial

crafted in the form of a mythical beast.

11.5cm (4 1/2in) high. (2).

£4,000 - 6,000

CNY36,000 - 55,000

十八世紀 白玉雕痕都斯坦式蓮花紋扁壺帶蓋

Provenance: Harry and Isabel Johnston, Liverpool, purchased

in London in the early 1900s, and thence by descent

來源： Harry和Isabel Johnston伉儷，利物浦，1900年代初期

購於倫敦，並由後人保存迄今

The refined craftsmanship evident in the current lot is known

as ‘Hindustan’ or ‘Mughal’ jade-carving style renowned for its

intricate detailing, naturalistic designs and delicate execution.

These Mughal-style jades captivated the Emperor Qianlong for

their exceptional quality, and were traded and gifted as tributes

to China via Yarkand, in Central Asia. Due to the emperor’s

admiration, this exotic style of carving was also meticulously

replicated by Chinese carvers in the Imperial workshops.

See a related Mughal-style white jade vase with floral

decorations and handles in the form of leafy floral sprays, Qing

dynasty, in the Qing Court Collection, in the Palace Museum,

Taipei, illustrated in Exquisite Beauty-Islamic Jades, Taipei,

2007, p.213.

145

A JADEITE GROUP OF A FEMALE IMMORTAL AND A BOY

Late Qing Dynasty

Carved with a female immortal wearing flowing robes, holding

a hoe in her right hand and carrying a basket in her left,

positioned to her left is a boy playing a flue while seated on

a buffalo, set amidst branches of pine tree and lingzhi fungus

issuing from rockworks, the stone of green and white with a

hue of lavender.

13cm (5 1/8in) high.

£3,000 - 4,000

CNY27,000 - 36,000

清晚期 翡翠麻姑童子擺件

Provenance: Harry and Isabel Johnston, Liverpool, purchased

in London in the early 1900s, and thence by descent

來源：Harry和Isabel伉儷，利物浦，1900年代初期購於倫敦，

並有後人保存迄今

The female immortal portrayed in the present lot is probably

Magu (麻姑) who is the Goddess of Longevity. Sculptures of

Magu of various materials, as the present lot, were popular

birthday gifts among privileged members of society.

See a related jadeite figural group of a female immortal and a

boy, which was sold at Christie’s New York, 8 October 2014,

lot 69. Compare also with a related jadeite figural group of three

immortals, 19th century, which was sold by Christie’s London,

14 May 2010, lot 316.

FINE CHINESE ART | 231

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

146

147

146

A JADEITE CARVING OF A DEER

19th century

Finely carved recumbent poised to rise with the

front legs kneeling up, the head with almondshaped eyes raising up with antlers extending

down the back, the jaws clasping a sprig of

lingzhi, the stone of mottled apple green and

frosty white tone.

13.5cm (5 1/4in) long.

£5,000 - 8,000

CNY46,000 - 73,000

十九世紀 翡翠雕鹿擺件

Provenance: Harry and Isabel Johnston,

Liverpool, purchased in London in the early

1900s, and thence by descent

來源： Harry和Isabel Johnston伉儷，利物

浦，1900年代初期購於倫敦，並由後人保存

迄今

The deer holds significant symbolism and

meaning, often associated with longevity,

prosperity, and good fortune. The deer (lu 鹿)

shares a phonetic similarity with the word for

‘wealth’ (lu 禄), making it a symbol of abundance

and material success.

147

A PALE GREEN AND RUSSET JADE DEER

AND VASE GROUP

17th/18th century

Exquisitely carved as a recumbent deer with its

head turned sharply facing its back with antlers

extending down its curved neck, the face

with large almond-shaped eyes and a sprig of

lingzhi in its jaws, the body with finely incised

cloud swirls, surmounted by a large vase with

further cloud swirls and bats, and flanked by a

pair of archaistic dragon handles, the stone of

yellowish pale green tone.

14cm (5 1/2in) high.

£5,000 - 8,000

CNY46,000 - 73,000

十七/十八世紀 青玉雕瑞獸馱寶瓶擺件

Provenance: Harry and Isabel Johnston,

Liverpool, purchased in London in the early

1900s, and thence by descent

來源： Harry和Isabel Johnston伉儷舊藏，

利物浦，1900年代初期購於倫敦，並由後人

保存迄今

The deer, or lu (鹿), symbolises longevity,

prosperity, and immortality. Moreover, the vase,

or ping (瓶), embodies peace and harmony.

Vases are frequently adorned with intricate

patterns and auspicious motifs, such as bats

and ruyi clouds symbolising prosperity and

good fortune.

Jade carvings of deer and vase groups are rare.

See a related jade carving of a recumbent stag,

17th/18th century, illustrated by J.C.Y.Watt,

Chinese Jades from the Collection of the Seattle

Art Museum, Seattle, 1989, p.81, no.56.

232 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

148

A PALE GREEN JADE CARVING OF A MYTHICAL BEAST

17th/18th century

Crisply carved in a crouching position with legs tucked beneath the

body, the forward-facing head with large bulbous eyes and ruyi-shaped

snout beneath prominent brow and a single curled horn, clasping in its

jaws a sprig of lingzhi extending down the back of the beast terminating

with a bifurcated tail, the stone of even pale green tone.

10.4cm (4 1/8in) long.

£8,000 - 12,000

CNY73,000 - 110,000

十七/十八世紀 青玉雕瑞獸銜靈芝擺件

Provenance: Harry and Isabel Johnston, Liverpool, purchased in

London in the early 1900s, and thence by descent

來源： Harry和Isabel Johnston伉儷，利物浦，1900年代初期購於倫

敦，並由後人保存迄今

The present lot depicts a luduan, a legendary creature in Chinese

mythology renowned for its ability to discern truth from falsehood.

Its mythical role as a guardian against deceit has cemented its

presence in Chinese art and literature throughout history.

In Chinese Jade from the Neolithic to the Qing, Part IV, section

26, London, 1995, J.Rawson observes a transformation in

the depiction of mythical creatures carved in jade over time.

Initially resembling tomb sculptures with their imposing forms

and protective symbolism, these early jades evolved into prized

possessions of scholars and officials during the Ming and Qing

dynasties. Rather than emphasizing protective attributes, the jade

mythical beasts of this period were crafted for luxurious display and

refined appreciation. The piece under discussion exemplifies this

shift, as its intricate detailing of claws, tail, and lotus demonstrates

exceptional craftsmanship. Moreover, its softer features, such as

the elongated horns, coupled with playful expression, particularly

around the eyes, highlight the virtuoso carving and lively charm

characteristic of later jade artworks.

See a related pale green and russet jade carving of a mythical

beast, Ming dynasty, which was sold at Bonhams London, 18 May

2023, lot 88; See also another pale green and russet jade carving

of a mythical beast, 17th/18th century, which was sold at Bonhams

London, 16 May 2019, lot 57; and another related large pale green

jade mythical beast, 18th century, which was sold at Bonhams

London, 10 November 2011, lot 369.

FINE CHINESE ART | 233

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

149 150

149

A PALE GREEN JADE ‘CHILONG’ WATERPOT

Qianlong

Carved in circular form with its well-hollowed interior forming the vessel, the

exterior carved in high relief with three sinuous chilong clambering over the

shoulder, the stone of white tone with some cloudy inclusions.

6.7cm (2 5/8in) diam.

£2,000 - 3,000

CNY18,000 - 27,000

清乾隆 白玉螭龍水盂

Provenance: an English private collection

來源：英國私人收藏

The present lot’s incorporation of archaistic chilong motifs reflects the

Qianlong Emperor’s deep reverence for traditional Chinese culture and

history. By evoking the imagery of ancient China, particularly from the Zhou

and Shang dynasties, the emperor sought to convey a sense of Imperial

authority and cultural continuity. Compare with a related green jade washer

with design of three ‘chilong’, Qianlong, illustrated in Compendium of

Collections in the Palace Museum, Beijing, 2011, p.238, pl.188. See also a

similar pale green jade chilong waterpot, Qing dynasty, which was sold at

Bonhams London, 13 May 2010, lot 119. See an earlier prototype of a jade

waterpot with three chilong, but Ming dynasty, which was sold at Bonhams

London, 11 May 2021, lot 130. See also a related yellow jade chilong

waterpot, 18th century, which was sold at Sotheby’s New York, ‘Chinese

Art From the Metropolitan Museum of Art: The Florence and Herbert Irving

Gift’, 10 September 2019, lot 1.

150

A SMALL WHITE JADE CARVING OF A HORSE AND A

CELADON AND RUSSET JADE CARVING OF A HORSE

Qing Dynasty

The white jade pebble expertly carved as a recumbent horse, with the

head turned to its right to nibble at the hoof of the left hind leg, with

the tail extending beneath the body, adorned with almond-shaped

eyes, finely incised mane and delineated ribs. 5cm (2in) long; the other

horse, 17th century, with the head turned sharply backward and with

left fore leg in a rising motion, the other legs tucked to the side of the

body, featured with finely incised mane, the stone of greyish green tone

with russet patches and striations.

6cm (2 3/5in) long. (2).

£3,000 - 5,000

CNY27,000 - 46,000

清 白玉臥馬 及青玉褐斑臥馬 一組兩件

While the motif of horse nibbling its hoof is a popular feature of the

Ming dynasty, the carving technique and the immaculate white jade

used in the present lot suggest strongly a Qianlong date. See a related

white jade carving of a horse, Qianlong, illustrated in Chinese Jade

Animals, Hong Kong, 1996, p.182, pl.175.

Compare the white jade carving of a horse with a related

one, Qianlong, which was sold at Bonhams Hong Kong,

27 November 2018, lot 135. Compare the celadon and russet jade

carving of a horse with a related celadon jade recumbent horse, 17th

century, which was sold at Christie’s London,

12 November 2004, lot 37.

234 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

151

A LARGE GREEN JADE ‘EIGHT DAOIST IMMORTALS’ LINGZHISHAPED VASE

Qing Dynasty

Skilfully carved in the form of a large lingzhi, well hollowed in the interior

of the vessel, the exterior carved in high relief featuring the God of

Longevity and the Eight Immortals set against a backdrop of swirling

clouds and craggy rocks, the stone of celadon tone with russet

striations and minor black inclusions.

20cm (7 7/8in) high.

£4,000 - 6,000

CNY36,000 - 55,000

清 青玉靈芝形「八仙拜壽」花插

Provenance: Spink & Son Ltd., London (according to label)

來源：倫敦古董商Spink & Son Ltd.（據標籤）

The imagery portrayed in the present lot, known as ‘Eight Immortals

Venerating the God of Longevity’ (八仙拜壽), holds enduring popularity

with diverse variations in traditional Chinese art. An analogous

composition is seen in a related silk kesi hanging scroll of ‘Eight

Immortals Venerating the God of Longevity’, Yuan dynasty, from

the Qing Court Collection, in the Palace Museum Beijing (acc.no.故

00072690). The current jade vase stands out for its remarkable size

and substantial weight, making it a rare and noteworthy example within

its category. Compare with a related similar size large pale greenishwhite jade brush pot, 18th/19th century, which was sold at Bonhams

Hong Kong, 27 November 2018, lot 86.

FINE CHINESE ART | 235

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

152

153

152 Y

AN AMBER ‘DAOIST IMMORTALS’ GROUP

Mid Qing Dynasty

Carved with a scene of the God of Longevity

holding a gnarled staff in his left hand and

seated atop rockwork, accompanied by a young

attendant standing to his left, the reverse with a

long-bearded standing immortal holding a flywhisk, hongmu wood stand.

10cm (4in) high.

£2,000 - 3,000

CNY18,000 - 27,000

清中期 琥珀雕壽老童子擺件

Provenance: George de Menasce

(1890-1967) Collection

Spink & Son Ltd., London

Exhibited and Illustrated: The Arts Council of

Great Britain and The Oriental Ceramic Society,

The Arts of the Ch’ing Dynasty, London, 1964,

no. 439.

Spink & Son Ltd., The Collection of Chinese

Porcelain and Works of Art Formed by the Late

George de Menasce: Part I, London, 1971, p.43,

no.159.

來源：George de Menasce (1890-1967)舊藏

倫敦古董商Spink & Son Ltd.

展覽著錄：英國藝術委員會與東方陶瓷學會，

《The Arts of the Ch’ing Dynasty》，

倫敦，1964年，

編號439

Spink & Son Ltd.，《The Collection of

Chinese Porcelain and Works of Art Formed

by the Late George de Menasce: Part I》，

倫敦，1971年，第43頁，編號159

Compare with a related but larger amber ‘shoulao

and deer’ group, Qing dynasty, which was sold at

Bonhams Hong Kong, 24 November 2012, lot 666.

153

A SOAPSTONE CARVING OF A LUOHAN

18th century

The figure with a serene expression, seated with

his right knee raised, both hands held holding an

alms bowl before his chest, wearing loose robes

falling in folds around his body, the hems incised

and painted with foliate scrolls in gilt and black

pigment, the opaque stone of yellow tone with

russet and red inclusions.

11.5cm (4 1/2in) high.

£2,000 - 3,000

CNY18,000 - 27,000

十八世紀 壽山石羅漢像

Provenance: Mrs Anne Norman

Christie’s London, 24 January 2012, lot 188

来源： 已故 Anne Norman 夫人遺產

倫敦佳士得，2012年1月24日，拍品編號188

236 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

154

The current lot is crafted from the Shoushan

stone, mainly sourced from Fujian province.

Appreciated for its lustrous texture and colourful

hues, the extensive mining of Shoushan stone

began in the Song Dynasty, when exquisite

pieces were sent as tribute to the court,

becoming admired items on the desks of highranking officials and nobility. During the Ming

and Qing dynasties, the carving and collection

of Shoushan stone became a prevailing trend.

See related soapstone luohan figures,

17th century, illustrated by M.Cassidy-Geiger,

‘Changing Attitudes Towards Ethnographic

Material: Re-Discovering the Soapstone

Collection of Augustus the Strong’, in

Abhandlungen und Breichte des Staatlichen

Museums fur Volkerkunde Dresden, Frankfurt,

1994, figs.25-27, pp.33-35.

Compare with a related soapstone figure of

a luohan, 18th century, which was sold at

Bonhams London, 11 November 2010, lot 102.

THE PROPERTY OF A GENTLEMAN

紳士藏品

154

ATTRIBUTED TO YAOZI (YUAN DYNASTY)

Water Moon Guanyin, 16th/17th century

Hanging scroll, ink and colour on silk, one seal of

the artist reading yao zi, Japanese box and cover

with inscription by Kano Tadanobu (1823-1880).

135.6cm (53 3/8in) x 71.5cm (28 1/4in).

£4,000 - 6,000

CNY36,000 - 55,000

十六/十七世紀 《水月觀音》 設色絹本 立軸

鈐印：喓子

盒子款識：石座觀音、亞子筆、雲州有澤藏、

雅信誌

盒子鈐印：一方印、文不錄

Provenance: a Japanese private collection

A European private collection

來源：日本私人收藏

歐洲私人收藏

Perched atop a rock above rippling waters, the

bodhisattva Guanyin, draped in a saffron robe,

serenely contemplates the moon reflected in

the undulating waves — a poignant symbol

of the transient nature of existence. Artworks

of this iconic portrayal have been unearthed

in Dunhuang, dating back to the 9th century.

Flourishing during the Song and Yuan dynasties,

such depictions garnered particular acclaim,

often attributed to Yaozi, a painter of the Yuan

dynasty celebrated for his renditions of Guanyin.

Sadly, there is little known reliable information

about this artist.

FINE CHINESE ART | 237

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

155

156

155

AN IMPERIAL EDICT

Qianlong, dated 1786

Horizontal hand scroll, ink on woven brocade, with parallel text in

Chinese and Manchu, dated ‘the first day of the first lunar month of the

fiftieth year of the Qianlong reign’ corresponding to 1786.

242cm (95 1/4in) long x 33cm (13in) wide.

£4,000 - 6,000

CNY36,000 - 55,000

清乾隆封雍恰佈及其妻咎嘉氏滿漢文誥命 水墨織錦 手卷 1786年

引首：奉天誥命

款識：奉天承運，皇帝制曰：師旅輯和，特重干城之寄。封疆寧謐，

必資彈壓之威。嘉績丕彰，殊恩斯沛。爾駐防乍浦協領兼佐領雍恰佈

職居參，身捍牧園。刁斗素嚴，路絕烽煙之警。干戈永戟，野無炮鼓

之鳴。能協力於軍，行又殫心於武備。式逢慶典用錫，綸音茲以覃思，

特授爾階武翼大夫，錫之誥命於戲，嘉保障之成，勞榮敷闓澤。荷寵

光之休命，益展宏猷，勉奏膚功，武承崇奖。

制曰：臣忠報國，戎旃著揚武之功。婦順宜家，譽令表同心之助。

爾駐防乍浦，協領兼佐領雍恰佈之妻咎嘉氏終溫且惠，己貴而勤。

順以相夫，克佐賢勞於夙夜。敬能聚德，益彰靜好於閨幃。慶典式逢，

朝章宣賁，玆以覃思，贈爾為淑人於戲，揚令范於於紫兆。禮宗擅譽，

播芳甤於彤管，幽懷承休。

乾隆五十年正月初一日 雍恰佈

This Imperial edict is a gaoming (Honorary certificates or appointments

bestowed by the emperors upon the officials and their families), issued

by the Qianlong Emperor on the first day of the first lunar month of the

fiftieth year (1786). It conferred onto Yongqiabu (雍恰佈), who held the

position of Assistant Commandant Concurrent Company Commander

Stationed in Zhapu (present Jiaxing, Zhejiang Province) (駐防乍浦協領

兼佐領) the third rank, the prestigious title of Grand Master for Military

Merit (武翼大夫). Meanwhile, the edict also conferred onto Jiujia Shi

(咎嘉氏) who was the wife of Yongqiabu the prestigious title of Lady of

Virtue (淑人).

Compare with a related Imperial edict, Qianlong period, dated 1757,

which was sold at Bonhams New York, 19 September 2023, lot 355.

238 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

156 Y Ф

ATTRIBUTED TO LI SHAN (1686-1756)

Birds, flowers and insects

Handscroll, ink and colour on silk, with signature and seals of the artist.

297.5cm (117 1/4in) long x 25.5cm (10in) high.

£3,000 - 5,000

CNY27,000 - 46,000

The item within this lot containing ivory has been registered in

accordance with the Ivory Act (Section 10). Ref.LVQ124ES

該批次中含有象牙的物品已根據《象牙法案》（章節10）註冊，

REF.LVQ124ES

李山 （1686-1756）(款） 花鳥圖 絹本設色 手卷

款識：頑石李山

鈐印：頑石子、李山、永安沈氏藏書畫印

Provenance: Theophilus Peters (1921-2008)

來源：Theophilus Peters (1921-2008)

Theophilus Peters was a British diplomat who served in China from

October 1948, starting as a vice consul, until 1951, with postings in

Nanking (now Nanjing), Beijing (formerly known as Peking), and some

time spent in Shanghai. Before returning to Britain with his family, he

resided in Peking/Beijing from 1965 to 1968, amidst the tumultuous

period of the Chinese Cultural Revolution.

Li Shan (李山), born in 1686 in Jiangsu Province during the Qing

dynasty, was a notable painter with a passion for art from a young age.

Displaying remarkable talent, he became a noteworthy painter by the

age of 16, producing paintings with an unrestrained quality, influenced

by the style of Shitao (1642-1707). Li Shan is categorised as one of the

Eight Eccentrics of Yangzhou for rejecting orthodox ideas, favouring a

more expressive and individualist style.

FINE CHINESE ART | 239

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

The current painting is notable for its portrayal of the snowy landscape.

While adhering to Western perspective techniques in its overall

composition, the depiction of rocks and trees employs traditional

Chinese painting methods. This fusion results in a captivating effect.

During the eighteenth and nineteenth centuries, Western travellers

visiting China sought paintings capturing exotic landscapes and

customs as cherished souvenirs. Responding to this demand, a

group of Chinese artists established painting studios in Guangzhou

and Hong Kong, creating artworks specifically intended for export to

the West. Given the subtropical climates in the region where these

artists were based, direct observation of snowy scenes, as depicted

THE PROPERTY OF A LADY OF TITLE 女爵藏品

157

ANGLO-CHINESE SCHOOL, CIRCA 1800

A Winter Hunting Party

Oil on canvas, framed.

63.5cm (25in) high x 91.5cm (36in) wide. (exluding frame).

£20,000 - 30,000

CNY180,000 - 270,000

約1800年 外銷雪景狩獵圖 油彩畫布 木框

Provenance: an English private collection

來源：英國私人收藏

in the present painting, was improbable. These representations in the

present painting probably drew upon existing visual materials within

and beyond China, incorporating impressions of China from Western

travellers, along with the artists’ imagination and knowledge. See

a reverse glass painting with a very similar composition, The Hunt,

1785-1790, in the National Museum of Ethnology, Leiden, illustrated

by Rosalien van der Poel, China and the West: Reconsidering Chinese

Reverse Glass Painting, Berlin, 2023, p.232.

Compare with a related painting of Manchu Family in Tented Quarters,

Anglo-Chinese School, oil on canvas, circa 1800, which was sold at

Bonhams Hong Kong, 9 October 2014, lot 29.

The Hunt, China, Canton, c.1785-90, Painting on Glass,

81x52.5 cm, Image courtesy of National Museum of

Ethnology, Leiden.

240 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

PROPERTY OF A CHARITABLE

FOUNDATION

慈善基金會藏品

158 *

A SUPERB VERY RARE LARGE CHINESE

EXPORT SILVER EPERGNE

Late 19th century, impressed maker’s Chinese

mark of Henglai and the trader’s mark HC (鴻昌)

Elaborately constructed in six parts, the upper

section as three curling magnolia-flower

tapering holders, three lined with glass, all

angled outwards from a taller central deep tall

flower holder, attached to a six-lobed dish,

each lobe deeply pierced and designed with

a large shaped cartouche either of a bamboo

cluster, a prunus blossom cluster, or a long

snarling dragon coiling amongst cloud-scrolls,

all screwed onto a very elaborate triangular

base applied with three winged dragons

descending to three projecting flanges, original

wood stand designed to fit the base of the

silver epergne.

48cm (19in) high, the silver 3360g. (5).

£5,000 - 8,000

CNY46,000 - 73,000

十九世紀晚期 餐桌中央裝飾銀立盤

「恒来」「HC」铸款

Provenance: a European private collection

來源：歐洲私人收藏

Epergne vases were flower holders placed

at the centre of a table. This shape probably

originated in France during the eighteenth

century. Generally made from silver, the most

popular designs had a dominant column or a

large raised bowl in the centre issuing stylised

branches or arms. The present example is

made of four horn-shaped openings so it

could hold four fresh flowers at the same time.

Although the silver may have been imported

from China, the design styles of these objects

met western functional requirements which

were completely different from the living

customs of the Chinese.

Compare with a related but far less elaborate

Chinese silver epergne, late Qing dynasty/

Republic period, also made of four horns

like the present example, illustrated by

S.Kwan, Chinese Export Silver, Hong Kong,

2018, pp.328-329, no.127. See also a

Chinese export silver centrepiece illustrated

by H.A.Crosby Forbes, J.Devereux and

R.S.Wilkins, Chinese Export Silver 1785

to 1885, Milton MA, 1975, p.231 fig.188.

Compare with a related Chinese export silver

epergne, circa 1900, which was sold at

Sotheby’s New York, 16 April 2015, Lot 193.

242 | BONHAMS

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

159

A RARE OFFICIAL’S SILVER SEAL

Dated 1772 and of the period

Of rectangular form surmounted by a cylindrical handle, the top incised

with Manchurian and Chinese, the Chinese inscription reading Henan

Shandong hedao zong guanfang which means ‘The Seal of the Directorgeneral of the Grand Canal of Henan and Shandong Provinces’, and

libu zao which means ‘made by the Ministry of Rite’; the seal face cast

in Manchurian and Chinese seal script with characters reading Henan

Shandong hedao zong guanfang (The Seal of the Director-general of the

Grand Canal of Henan and Shandong Provinces) and a character jiao

(dispose) atop.

12.5cm (5in) high, 1.885kg weight.

£3,000 - 5,000

CNY27,000 - 46,000

清乾隆三十七年（1772）銀柱鈕「河南山東河道總督關防」印

「叁拾柒年拾貳月」「禮部造」「河南山東河道總督關防」「繳」款

Provenance: George Stanley Knowles who travelled to China in the mid

19th century and set up an Import and Export business in Harbin.

來源： George Stanley Knowles於19世紀中葉前往中國，在中國哈爾

濱創建進出口業務生意，並由後人保存迄今

The present lot has 98.9% content of silver (Ag).

該拍品銀純度為98.9% (Ag)

Although partially effaced, the inscription to a side of the seal reveals the

date ‘the twelfth month of the thirty-seventh year’ (叁拾柒年拾貳月).

During the Qing dynasty, only the reigns of Emperor Kangxi (1662-1722)

and Emperor Qianlong (1736-1795) lasted longer than thirty-seven years.

The format of the seal further confirms a date of the thirty-seventh year

of the Qianlong period (1772), because the Manchurian and Chinese

inscriptions cast on the seal face are both in seal script, the practice had

not been regulated until the thirteenth year of the Qianlong period (1748).

According to Qingchao wenxian tongkao (清朝文獻通考), vol.143, 6095,

in 1748, the Qing government ‘standardized the Manchurian seal script,

and recast the seals of all officials. The Manchurian inscription in seal

script is written on the left side, while the Chinese in seal script is written

on the right side.’ (制清篆，改鑄百官印信。清篆左，漢篆右)

There seals, as the present lot, known as guanfang (關防), were granted

to temporarily appointed officials by the Qing emperors and were made

of silver and copper according to the ranks of the officials. Hedao

zongdu (河道總督) (The Director-general of the Grand Canal of Henan

and Shandong Provinces), the first rank, controlled maintenance and

operation of the Grand Canal and shipping on relevant sections of the

Yellow River. In the thirty-seventh year of the Qianlong period when the

present lot was cast, Yao Lide 姚立德 (?-1783) was the Director-general

of the Grand Canal of Henan and Shandong Provinces.

Another feature that makes the present lot extremely rare is the

character jiao 繳 (dispose) engraved atop the Chinese and Manchurian

inscriptions. According to Qinding daqing huidian shili

(欽定大清會典事例), vol.321, in cases where old seals had blurred

inscriptions and other issues, each department or provincial governor

shall request permission to cast and issue new seals. The old seals to

cancel must then be ‘engraved with the character jiao (繳) in the centre

of the Chinese and Manchurian seal script on the seal face’ (于印面滿

漢印文正中，鐫一’繳’字), as seen in the present lot. It is very rare to

see seals with the character jiao (繳) survive to the present day, as they

were usually melted down after been confirmed as the correct seals and

delivered to the Ministry of Rite (由部驗明封儲存司，匯齊銷毀).

See a related but later silver official’s seal, dated the 4th year of Guangxu

(1878), in the Qing court collection, in the Palace Museum Beijing

(accession no. 故00231195). See also a related bronze seal, dated 15th

year of Qianlong (1750), which was sold at Sotheby’s New York,

19 September 2015, lot 944.

Seal face

FINE CHINESE ART | 243

Lot 160 (detail)

For details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

Provenance: Edward Newinson, Cobham, Surrey

Presented by the above to Mrs Joan Tovey, 30 September 1954

來源： Edward Newinson, 科巴姆，薩里

由前者贈予Joan Tovey夫人，1954年9月30日

THE PROPERTY OF A GENTLEMAN 紳士藏品

160

AN IMPERIAL PAINTED ALBUM OF THE DAHARANI SUTRA

Anonymous, 19th century

The fourth volume of the sutra, elaborately embroidered silk covers

with illuminated title pages showing five-clawed dragons and twenty

meticulously executed paintings on silk mounted on Imperial yellow

silk, and seven pages of calligraphy in gold on blue paper.

32cm (12 1/2in) wide x 43cm (17in) long;

each painting 27cm (10 1/2in) wide x 36cm (14in).

£40,000 - 60,000

CNY360,000 - 550,000

十九世紀 御製寫繪《大悲心陀羅尼經》册

246 | BONHAMS

Alternatively, the emperors might have commissioned Imperial court

officials to undertake this task on their behalf. Among the sutras

transcribed at the Qing court, those deemed most valuable, such as

the present lot, are accompanied by illustrations. For more discussion

on sutra transcription at the Qing court, see Zhongguo gongting

shanben 中國宮廷善本, Beijing, 2003, p.172 and p.189.

The exceptional quality of the calligraphy and painting, the use of yellow

silk borders, and the depiction of five-clawed dragons on the illustrated

title page all suggest that the present lot originated from one of the

Imperial palaces or libraries of the Qing dynasty. During the Qing dynasty,

the Manchu emperors exhibited a profound reverence for Buddhism.

Beginning with the reign of Emperor Kangxi, it became customary for

Qing emperors to personally transcribe Buddhist sutras on special

occasions, such as the first and fifteenth day of each lunar month, as well

as the birthdays of the Empress Dowager and the Emperors.

FINE CHINESE ART | 247

The main text of the album written in guange ti (館閣體), a script

used for Imperial examination and documents, is a section from The

Great Compassionate Heart Dharani Sutra (大悲心陀羅尼經) which

is a Mahayana sutra from India, first translated into Chinese during

the Tang dynasty. It is believed that each word or phrase of this sutra

carries vast meaning. Transcribing and reciting them could help people

to eliminate all obstacles, bring immense benefits, and embark on the

path of enlightenment.

The famous Great Compassion Mantra (大悲咒) exactly originates

from this sutra and has a tradition of being visualised. The Great

Compassion Mantra consists of eighty-four sentences. In the album

of the present lot, each of the paintings which follow the main text

provides a visual image of a sentence from The Great Compassion

Mantra, with a sentence of The Great Compassion Mantra transcribed

in the right-hand part of each painting and a corresponding description

to the left-hand corner. For example, the two sentences of ‘suo luo

suo luo’ (娑囉娑囉) meaning ‘the Five Turbidities’ (五濁世界) and ‘su xu

su xu’ (蘇噓蘇噓) meaning ‘the Sound of the Falling of the Buddhas’

Leaves’ (諸佛樹葉落聲) have been presented as an image in the

present album.

Apart from these two, each of the remaining paintings represents either

a Bodhisattva or a Buddha, including the King of the Eight Classes

of Demons (八部鬼神王) and the Precious Pennant Bodhisattva

(寶幢菩薩) etc. They embody the compassionate actions of saving and

protecting beings in the world. In accordance with traditional norms

of sutra transcription, the image of Skanda (韋陀), revered as the

guardian and protector of the Buddhist teachings, is found in the end

of this sutra album.

Compare with a related Imperial album from The Great Compassion

Mantra by Zou Yigui (1686-1772), in the Qing Court Collection,

illustrated in Qinggong shanben xiejing 清宮善本寫經, Beijing, 2009,

pp.116-117.

Compare with a related album of Buddhist sutras, ink and colour on

paper, which was sold at Sotheby’s Hong Kong, 30 November 2017,

lot 570.

248 | BONHAMS