‘The swallow returns when the blossoms sway in the breeze,

It is the season in late Spring when farmers return to their fields.’

The present month cup, is one of a pair acquired by John E. Bodie

from Bluett’s. The other cup was sold at Sotheby’s London,

6 November 2019, lot 149. Allan D. Pilkington was an active buyer

from Bluett’s between 1950 and 1962. For more information, see

D.Jellinek and R.Davids, Provenance: Collectors, Dealers & Scholars in

the Field of Chinese Ceramics in Britain and America, Oxford, 2011,

pp.356-357.

During the Kangxi reign, the Imperial kilns crafted ‘Month cups’, so

called because each corresponded to a lunar month. These cups

boasted an exceptionally thin wall, allowing the cobalt blue exterior

decoration to subtly permeate the eggshell porcelain. Variations in size,

colour, calligraphy, and markings among these cups suggest they may

have been produced individually and assembled into sets later.

The inscriptions on these cups feature couplets from Tang dynasty

poems, reflecting the Kangxi Emperor’s admiration for Tang poetry.

This admiration culminated in the 1705 compilation of all recorded

Tang poems, supervised by the official Cao Yin and endorsed by the

Kangxi Emperor himself. Given this historical context, it is probable that

these intricate ‘Month cups’, embellished with the Emperor’s favoured

verses, were crafted towards the end of the Kangxi reign, coinciding

with the publication of the Tang poetry compendium.

Each cup is adorned with specific floral motifs, often accompanied by

an appropriate seasonal couplet from a Tang poem. The inscription on

the present cup reads:

‘The swallow returns when the blossoms sway in the breeze,

It is the season in late Spring when farmers return to their fields.’

The twelve flowers depicted individually on ‘Month cups’ adhered to

the traditions of the Flower Festival, a cherished event held on the 15th

day of the second month in the Chinese calendar. This festival, which

marked the onset of Spring and honoured the birthday of all flowers,

enjoyed immense popularity during the Qing dynasty. Celebrants

would create colourful paper flowers, adorn trees and plants with

ribbons, and erect memorials for the Gods of Flowers. Given the

festival’s significance within the Qing Court, it is conceivable that the

‘Month cups’ played a role in the ceremonial observances dedicated to

the Flower Gods.

A complete set of famille verte ‘Month cups’, Kangxi marks and period,

also including a very similar cup to the present example in the Qing

Court Collection, is illustrated in The Complete Collection of Treasures

from the Palace Museum: Porcelains in Polychrome and Contrasting

Colours, Hong Kong, 1999, pp.152-153, no.140; another complete

set is in the Sir Percival David Collection, British Museum, London,

illustrated by R.Scott, For the Imperial Court: Qing Porcelain from the

Percival David Foundation of Chinese Art, New York, 1997, pp.82-83,

no.23; and a further one is in the Metropolitan Museum of Art,

New York, acc.no.50.145.267–.278.

See a very rare famille verte ‘lotus’ month cup, Kangxi six-character

mark and of the period, which was sold at Bonhams London, 2

November 2021, lot 21. Another famille verte month cup, Kangxi sixcharacter mark and of the period, was sold in the same sale, lot 23.

50 | 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.

This exceptional doucai washer of refined workmanship is a rare

example of Yongzheng doucai wares which were strongly influenced

by early Ming porcelain designs and enamels of the Chenghua reign.

The vessel features a meticulously balanced design and expertly

applied decoration. Here, the designs are finely painted within cobalt

pencilled lines and adorned with subtle shades of enamels, creating

a striking contrast against the brilliant lustre of the fine porcelain. The

Yongzheng Emperor personally influenced the artistic direction of the

Imperial kiln production, achieving together with the celebrated kiln

supervisor Tang Ying an unsurpassed standard of quality, aesthetic

subtlety and refinement by merging his admiration both of classic

styles of the past and of contemporaneous innovation.

29

A RARE DOUCAI ‘FIVE TREASURES’ CUP

Chenghua six-character mark, 18th century

Finely potted in the Ming style with gently rounded sides, decorated

around the exterior with five lotus sprays, each supporting a bowl

containing an auspicious emblem, the base painted with a sixcharacter mark in underglaze blue.

6.7cm (2 5/8in) diam.

£20,000 - 30,000

CNY180,000 - 270,000

十八世紀 鬥彩番蓮五寶杯

青花「大明成化年製」楷書款

Provenance: John E. Bodie OBE (1930-2023), London,

collection no.11

來源： 大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，

倫敦，藏品編號11

The present washer would have undergone two firings and is

decorated on the exterior with a unique design depicting five

lotuses, each supporting an offerings, known as the ‘Five Treasures’

(Wuzheng Bao 五珍寶). This design was popular during the

Chenghua reign, and was reinterpreted in the 18th century. The ‘Five

Treasures’ did not seem to adhere to a fixed set, as evidenced by

a few related examples of similarly-shaped cups dating to the 18th

century found in museum collections and auction records. See, for

example, a doucai shallow cup, 18th century, decorated with five

offerings, in the British Museum, London, illustrated by M.Medley,

Illustrated Catalogue of Ming Polychrome Wares in the Percival David

Foundation of Chinese Art, London, 1978, p.47, no.151; see also a

related doucai shallow cup, Yongzheng, which was sold at Christie’s

Hong Kong, 1 June 2011, lot 3585. For a Chenghua mark and

period doucai washer decorated with five offerings, see the example

in the Palace Museum Collection, Taipei, illustrated in Catalogue of

the Special Exhibition of Ch’eng-hua Porcelain Ware, Taipei, 2003,

p.160-61, no.157-60.

52 | 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.

Invoice

30

31

30

A PAIR OF FINE YELLOW-GLAZED WINE

CUPS

18th century

Each thinly potted with gently rounded sides

rising to flaring rims, resting on short, slightly

inward-tapering feet, covered in a delicate even

lemon-yellow glaze, the interiors glazed white.

Each 7.5cm (3in) high. (2).

£2,000 - 3,000

CNY18,000 - 27,000

十八世紀 檸檬黃釉鈴鐺杯一對

Provenance: noted in a letter from John E.

Bodie to William Clayton, dated 30 September

1968, and by William Clayton Ltd., London,

1 October 1968 (valuation for insurance)

John E. Bodie OBE (1930-2023), London,

collection no.113

來源：由John E. Bodie在1968年9月30日寫

給William Clayton的信中提及，倫敦古董商

William Clayton Ltd.在1968年10月1日也有所

提及（保險評估）

大英帝國官佐勳章獲勳人John E.

Bodie(1930-2023)，倫敦，藏品編號113

Compare with a related small yellow-glazed

wine cup, Yongzheng six-character mark and

of the period, which was sold at Sotheby’s

London, 7 November 2012, lot 252.

31

A POWDER-BLUE-GLAZED BALUSTER

VASE

Chenghua six-character mark, Kangxi

The slender and elongated ovoid body rising

from a recessed base to a narrow cylindrical

waisted neck with lipped mouth rim, covered

in a lustrous dark-blue glaze except within the

foot rim.

19.3cm (7 5/8in) high.

£2,000 - 3,000

CNY18,000 - 27,000

清康熙 灑藍釉蘿蔔尊

青花「大明成化年製」楷書款

Provenance: Sotheby’s Hong Kong,

2 May 1980, lot 95

Bluett & Sons Ltd., London, 10 September

1980 (invoice and label)

John E. Bodie OBE (1930-2023), London,

collection no.71

來源： 香港蘇富比，1980年5月2日，拍品

編號95

倫敦古董商Bluett & Sons Ltd.，1980年9月

10日（收據和標籤）

大英帝國官佐勳章獲勳人John E.

Bodie(1930-2023)，倫敦，藏品編號71

Compare with two powder-blue glazed

baluster amphora vases, Kangxi, which was

sold at Bonhams London, 2 November 2023,

lot 127.

54 | 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.

32

A RARE AUBERGINE-GLAZED SAUCER-DISH

Kangxi six-character mark and of the period

Thinly potted with shallow curving sides rising from a short, slightly

inward-tapering foot, to an everted rim, covered in a lustrous deepviolet glaze save the base glazed white.

20.1cm (7 7/8in) diam.

£3,000 - 5,000

CNY27,000 - 46,000

清康熙 茄皮紫釉盤

青花「大清康熙年製」楷書款

Provenance: William Clayton Ltd., London, 19 January 1967

(valuation for insurance)

John E. Bodie OBE (1930-2023), London, collection no.104

Published, Illustrated and Exhibited: The Oriental Ceramic Society,

The World in Monochromes, London, 15 April - 20 June 2009, no.245

(label). John E. Bodie loaned 8 pieces to this exhibition.

來源： 倫敦古董商William Clayton Ltd.，1967年1月19日（保險評估）

大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品

編號104

展覽著錄： 東方陶瓷學會，《The World in Monochromes》，

倫敦，2009年4月15日至6月20日，編號245（據標籤）。

John E. Bodie曾借展8件藏品給該展覽。

A related aubergine-glazed dish, but incised with dragons, Kangxi

six-character mark and of the period, is illustrated in Kangxi Porcelains

from the Shanghai Museum Collection, Hong Kong, 1998, pl.224;

another is published in Chinese Porcelain: The S.C. Ko Tianminlou

Collection, Hong Kong, 1987, pl.144.

Compare with a related aubergine-glazed incised ‘dragon’ dish, Kangxi

six-character mark and of the period, which was sold at Bonhams

London, 16 May 2019, lot 27.

(two views)

FINE CHINESE ART | 55

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.

33

A VERY RARE PEACHBLOOM GLAZED ‘BEEHIVE’ WATERPOT,

TAIBOZUN

Kangxi six-character mark and of the period

Finely potted of classic domed taibo zun form, the slightly tapering

sides rising to a rounded shoulder and short waisted neck below a

lipped mouth-rim, the exterior evenly applied overall save for the rim

and base with a sumptuous crushed-raspberry-red glaze suffused with

darker sprinkles imitating the skin of a ripening peach, the body further

faintly incised with three roundels enclosing archaistic dragons, the

recessed white base inscribed in underglaze blue with a six-character

reign mark in three columns.

12.5cm (4 1/8in) diam.

£60,000 - 80,000

CNY550,000 - 730,000

清康熙 豇豆紅釉團龍紋太白尊

青花「大清康熙年製」楷書款

Provenance: John Sparks Ltd., London (label)

Herschel V. Johnson (1894-1966), Charlotte, North Carolina

Sotheby’s London, The Herschel V. Johnson Collection, 21 February

1967, lot 86, acquired through William Clayton Ltd., London, 21

February 1967 (invoice)

John E. Bodie OBE (1930-2023), London, collection no.7

Published, Illustrated and Exhibited: The Oriental Ceramic Society,

The World in Monochromes, London, 16 April - 20 June 2009, no.174

(label). John E. Bodie loaned 8 pieces to this exhibition.

來源：倫敦古董商John Sparks Ltd.(據標籤)

Herschel V. Johnson (1894-1966)，夏洛特，北卡羅來納州

倫敦蘇富比，”The Herschel V. Johnson Collection”，1967年2月21

日，拍品編號86，通過倫敦古董商William Clayton Ltd.獲得，1967年

2月21（據收據）

大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品

編號7

展覽：東方陶瓷學會，2009年，《The World in Monochromes》

，倫敦，2009年4月16至6月20日，編號174（據標籤）。 John E.

Bodie曾借展8件藏品給該展覽

Invoice

Herschel Vespasian Johnson served in the First World War as an officer

in the US Fifty-fourth Infantry, with the Sixth Division in the Vosges

Mountains and in the Meuse-Argonne offensive. Further to graduating

from the University of North Carolina (1916) and Harvard Law School

(1919-1920), he joined the US diplomatic service in 1920. Amongst his

many appointments, he served 1934-1941 in London as First Secretary

and as Counselor and then Minister. In April 1945 it was Johnson

who handled the delicate communications in connection with Heinrich

Himmler’s unacceptable separate peace proposal, which had come

via Count Folke Bernadotte of the Swedish Red Cross. In May 1946

Johnson entered a new arena as deputy U.S. representative to the

United Nations Security Council. Johnson held the rank of ambassador

from 9 July 1946. Under the rotation system he was president of the

Security Council from 17 November to 17 December. In 1947 he served

in the Spring as alternate representative to the special session of the

United Nations General Assembly on the Palestine question, and, in the

fall, as representative to the second session of the General Assembly.

He was deputy chief of the U.S. Mission to the United Nations from July

1947 to May 1948. His last diplomatic post prior to retiring was as US

Ambassador to Brazil 1948-1953.

56 | BONHAMS

Evenly coated with a lustrous glaze of crushed raspberry tone,

ending evenly beneath the lipped rim and thickening around the

base, the present waterpot is one of the finest examples of its type.

Waterpots shaped as beehives are known as taibo zun after poet

Li Taibai of the Tang dynasty, who is often depicted leaning against

a large wine jar of a similar form. The shape was also referred to as

jizhao zun as it resembled a chicken coop.

The attractive peachbloom glaze was notoriously difficult to achieve

due to the temperamental nature of the copper pigment and appears

to have been only employed on a small number of shapes reserved

for use on the scholar’s table and created during the reign of the

Kangxi Emperor.

Copper-red glazes were produced since at least the Ming dynasty,

however, they were greatly improved during the Kangxi reign, most

probably under the supervision of Zang Yingxuan, the Imperial

supervisor who was sent to Jingdezhen in 1681 to oversee the

rebuilding of the kilns. The fugitive copper-lime pigment, rather

difficult to manage, would have been sprayed onto a layer of

transparent glaze via a long bamboo tube and then stabilised with

another coat of clear glaze.

A similar peachbloom-glazed waterpot, Kangxi mark and period, in the

Palace Museum, Beijing, is illustrated in Kangxi. Yongzheng. Qianlong.

Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989,

p.142, pl.125; three further ‘peachbloom’-glazed beehive waterpots,

Kangxi marks and period, are illustrated by Wang Qingzheng, Kangxi

Porcelain Wares from the Shanghai Museum Collection, Hong Kong,

1998, pl.206, and M.Medley, Ming and Qing Monochrome Wares in the

Percival David Foundation of Chinese Art, London, 1989, pl.580, and

S.G.Valenstein, A Handbook of Chinese Ceramics, New York, 1989, pl. 234.

Compare with a similar peachbloom-glazed beehive waterpot, Kangxi

mark and period, which was sold at Bonhams, London, 2 November

2023, lot 114. Two further peachbloom-glazed beehive waterpots,

Kangxi marks and period, were sold at Christie’s Hong Kong, 29

November 2013, lot 1904 and 31 May 2017, lot 3012.

Image courtesy of The Palace Museum,

Beijing

Image courtesy of The British Museum,

London

Image courtesy of The Shanghai Museum

Li Bai, as depicted in the Nanling Wushuang Pu by

Jin Guliang, Ming dynasty (note the jar behind him)

58 | BONHAMS

Lot 33 (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.

34

AN AUBERGINE-GLAZED ‘EIGHT BUDDHIST EMBLEMS’

SAUCER DISH

Yongzheng six-character mark and of the period

Crisply and delicately incised around the exterior with the Eight Buddhist

Emblems, covered with a rich lustrous purple-blue glaze.

11.2cm (4 1/2in) diam.

£2,000 - 3,000

CNY18,000 - 27,000

清雍正 茄皮紫釉暗刻八吉祥紋盤

青花「大清雍正年製」楷書款

Provenance: Cartwright Collection

Bluett & Sons, London (label), 11 June 1975

John E. Bodie OBE (1930-2023), London, collection no.48

來源： Cartwright舊藏

倫敦古董商Bluett & Sons（據標籤），1975年6月11日

大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，

藏品編號48

The Cartwright Collection, comprising monochrome Chinese porcelain

and glass, is a testament to the discerning tastes of three generations of

the Cartwright family from Aynhoe Park, Northamptonshire. Initiated by

William Cornwallis Cartwright, M. P. (1825-1915), who acquired select

ceramics and glass primarily from Bluetts, between 1910 and 1913,

the collection expanded under the stewardship of his son, Sir Fairfax

Leighton Cartwright, GCMG, GCVO (1857-1928). Concurrently, Richard

Fairfax William Cartwright (1903-1954), grandson of William, embarked

on his own acquisitions starting in 1933, amassing a collection of around

400 monochrome porcelains by his untimely death in 1954. These

treasures adorned a specially curated room at Aynhoe Park, hailed in the

post-World War II guidebook as ‘one of the glories of Aynhoe.’

Following the sale of Aynhoe Park circa 1960, Roger Bluett facilitated the

relocation of the collection to the Cartwright family’s manor house near

Bath in the mid-1970s, which belonged to R.F.W. Cartwright’s daughter.

This transition likely prompted the sale of a select few duplicates through

Bluetts, initially showcased at the Antique Dealers’ Fair held at the

Grosvenor House Hotel in June 1975.

Compare with two related aubergine-glazed incised dishes but with

dragons, Kangxi marks and of the period, the first illustrated in Chinese

Porcelain: The S.C.Ko Tianminlou Collection, Part I, Hong Kong, 1987,

pl.144; the other illustrated by J.Ayers in Chinese Ceramics: The Koger

Collection, London, 1985, pl.144.

60 | 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.

35

A VERY RARE SMALL GUAN-TYPE PEAR-SHAPED VASE, HU

Yongzheng six-character seal mark and of the period

The vase heavily potted with the ribbed body rising to a plain cylindrical

neck flanked by a pair of tubular lug handles, covered overall with a

pale blue glaze suffused with dark crackles, ending in a neat line on the

brown-dressed, unglazed foot ring, the base with the six-character mark.

9.5cm 3 6/8in) high.

£6,000 - 8,000

CNY55,000 - 73,000

清雍正 仿官釉貫耳壺

青花「大清雍正年製」篆書款

Provenance: Herschel V. Johnson (1894-1966), Charlotte, North Carolina

Sotheby’s London, The Herschel V. Johnson Collection, 21 February

1967, lot 60, acquired through William Clayton Ltd., London, 21 February

1967 (invoice)

John E. Bodie OBE (1930-2023), London, collection no.24

來源： Herschel V. Johnson (1894-1966)，夏洛特，北卡羅萊納州

倫敦蘇富比，《The Herschel V. Johnson Collection》，1967年2月21

日，拍品編號60，通過William Clayton Ltd.獲得，倫敦，1967年2月21

日（據收據）

大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編

號24

Herschel Vespasian Johnson served in the First World War as an officer

in the US Fifty-fourth Infantry, with the Sixth Division in the Vosges

Mountains and in the Meuse-Argonne offensive. Further to graduating

from the University of North Carolina (1916) and Harvard Law School

(1919-1920), he joined the US diplomatic service in 1920. Amongst his

many appointments, he served 1934-1941 in London as First Secretary

and as Counselor and then Minister. In April 1945 it was Johnson

who handled the delicate communications in connection with Heinrich

Himmler’s unacceptable separate peace proposal, which had come

via Count Folke Bernadotte of the Swedish Red Cross. In May 1946

Johnson entered a new arena as deputy U.S. representative to the

Invoice

United Nations Security Council. Johnson held the rank of ambassador

from 9 July 1946. Under the rotation system he was president of the

Security Council from 17 November to 17 December. In 1947 he served

in the spring as alternate representative to the special session of the

United Nations General Assembly on the Palestine question, and, in the

fall, as representative to the second session of the General Assembly.

He was deputy chief of the U.S. Mission to the United Nations from July

1947 to May 1948. His last diplomatic post prior to retiring was as US

Ambassador to Brazil 1948-1953.

Renowned as one of the ‘official’ wares of the Southern Song court,

Guan stands as one of the most revered and sought-after categories of

Chinese ceramics. The Yongzheng Emperor held a profound admiration

for this type of wares. He was known to have dispatched original pieces

from his collection to the Imperial kilns at Jingdezhen as prototypes for

replication.

Notable for the intricacy of its deceptively simple form, the exquisite

beauty of its glaze colour and the captivating pattern of its crackle, the

present vase exemplifies an 18th century reinterpretation of a the classic

hu form which was known in China since the Neolithic period. Compare

with a related guan-type ribbed vase, Yongzheng seal mark and of the

period, displaying a similar ribbed body as the present example, which

was sold at Christie’s New york, 21 March 2014, lot 2197.

FINE CHINESE ART | 61

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.

36

A RARE WHITE-GLAZED SAUCER-DISH

Yongzheng six-character mark within a double square and of the period

With gently rounded sides rising from a shallow tapering foot ring, all

under a milk-white glaze, the underside base with the reign mark in

underglaze-blue.

20.8cm. (8 1/8in) diam.

£12,000 - 15,000

CNY110,000 - 140,000

清雍正 白釉盤

楷書「大清雍正年製」楷書款

Provenance: John Sparks Ltd., London

John E. Bodie OBE (1930-2023), London, collection no.19

來源：倫敦古董商John Sparks Ltd.

大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，

藏品編號19

Notable for its immaculate white glaze and graceful shape, this

sophisticated dish draws inspiration from early Ming dynasty

prototypes, which were highly regarded by the Yongzheng Emperor.

The production of white-glazed vessels reached its peak during the

period of the Yongle Emperor, and were much sought after for their

whiter body and attractive glaze characterised by a silky, unctuous

texture.

The colour white symbolised spiritual purity and was associated with

Buddhist rituals. The Yongzheng Emperor held Tibetan Buddhism

in high esteem, valuing it for diplomatic purposes as well as for

his personal devotion. He took pleasure in delving into Buddhist

teachings, often identifying himself as the ‘Head of the Shakya’,

referencing the birthplace of Buddha, and immersing himself in Chan

studies. Additionally, the emperor embraced Buddhist titles such as

‘Layman of Aloofness from the Dusty World’ and ‘Layman of Yuanming

Garden’. He also bestowed similar names upon his son, Hongli, such

as ‘Layman of Everlasting Spring’. Notably, there exists a painting

depicting Yongzheng adorned in the ceremonial robe of an esoteric

high lama. Following in his father’s footsteps, the Yongzheng Emperor

also actively promoted Buddhism, overseeing the printing of Buddhist

scriptures and personally contributing prefaces for Buddhist texts; see

Harmony and Integrity: The Yongzheng Emperor and His Times, Taipei,

2009, pp.139 and 145.

Compare with a similarly-shaped celadon-glazed monochrome dish,

also bearing the Yongzheng mark within a double square and of the

period, which was sold at Christie’s Hong Kong, 28 May 2021,

lot 2987.

62 | BONHAMS

(two views)

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 Cartwright Collection, comprising monochrome Chinese porcelain

and glass, is a testament to the discerning tastes of three generations

of the Cartwright family from Aynhoe Park, Northamptonshire. Initiated

by William Cornwallis Cartwright, M. P. (1825-1915), who acquired

select ceramics and glass primarily from Bluetts between 1910 and

1913, the collection expanded under the stewardship of his son, Sir

Fairfax Leighton Cartwright, GCMG, GCVO (1857-1928). Concurrently,

Richard Fairfax William Cartwright (1903-1954), grandson of William,

embarked on his own acquisitions starting in 1933, amassing a

collection of around 400 monochrome porcelains by his untimely

death in 1954. These treasures adorned a specially curated room at

Aynhoe Park, hailed in the post-World War II guidebook as ‘one of

the glories of Aynhoe.’ Following the sale of Aynhoe Park circa 1960,

Roger Bluett facilitated the relocation of the collection to the Cartwright

family’s manor house near Bath in the mid-1970s, which belonged to

R.F.W. Cartwright’s daughter. This transition likely prompted the sale

of a select few duplicates through Bluetts, initially showcased at the

Antique Dealers’ Fair held at the Grosvenor House Hotel in June 1975.

Superbly potted and enamelled, the present bowls exemplify the

Yongzheng Emperor’s appreciation for understated yet superbly

executed pieces of the highest calibre.

Bowls displaying hemispherical shapes and decorated with

monochrome enamels appear to be innovations of the Yongzheng

period, likely influenced by the visionary work of Tang Ying (1682-

1756). In his tenure as superintendent of the Imperial kilns, Ying was

renowned for creating tactically engaging and pioneering porcelain

wares. Achieving perfection in every stage of production was

imperative due to the exacting precision required.

37

A PAIR OF EXTREMELY RARE LIME-GREEN-ENAMELLED

BOWLS

Yongzheng six-character marks and of the period

Each bowl with delicately potted rounded sides supported on a short

foot, the exterior superbly covered in a lime-green enamel, the interior

and base left white, the latter inscribed in underglaze blue with a sixcharacter reign mark within a circle.

9.8cm. (3 7/8in) diam. (2).

£50,000 - 80,000

CNY460,000 - 730,000

清雍正 秋葵綠釉碗一對

青花「大清雍正年製」楷書款

Provenance: Cartwright Collection

Bluett & Sons Ltd., London (labels), 11 June 1975

John E. Bodie OBE (1930-2023), London, collection no.8

Published, Illustrated and Exhibited: The Oriental Ceramic Society,

The World in Monochromes, London, 16 April - 20 June 2009,

nos.241a+b (labels). John E. Bodie loaned 8 pieces to this exhibition.

來源： Cartwright舊藏

倫敦古董商Bluett & Sons Ltd.（據標籤），1975年6月11日

大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品

編號8

展覽： 東方陶瓷學會，《The World in Monochromes》，

倫敦，2009年4月16日-6月20日，編號241a+b (據標籤)。

John E. Bodie曾借展8件藏品給該展覽

Lime-green enamel was a rarity during the Yongzheng period and

monochrome vessels decorated in this colour, with their seemingly

straightforward design and single palette, actually represent some of

the most technically demanding porcelains that were ever created.

Despite the abundant availability of lead-antimonate in China, the

addition of copper to lead-antimonate to create the lime-green

enamel, as seen on the present bowls, was not used until Jesuit

missionaries directly influenced the production of arts and crafts. The

attractive green colour was notable not only for its scarcity but also

for the remarkable evenness of its application. Achieving a good level

of consistency would have necessitated a second firing at a lower

temperature, a challenging process to execute satisfactorily,

as demonstrated by the current bowls.

Compare with three similar green-enamelled bowls, Yongzheng marks

and period, in the British Museum, London, the first illustrated by

M.Medley, Illustrated Catalogue of Ming and Ch’ing Monochrome

in the Percival David Foundation of Chinese Art, London, 1973, cat.

no.B526; the other two bowls illustrated by R.Scott, Percival David

Foundation of Chinese Art, London, 1989, pl.97. A further pair is

illustrated in Shimmering Colours. Monochromes of the Yuan to Qing

Period: The Zhuyuetang Collection, Hong Kong, 2005, cat.no.113.

Compare with a nearly-identical lime-green-enamelled bowl,

Yongzheng mark and period, which was sold at Sotheby’s Hong Kong,

7 October 2019, lot 3116. Another related lime-green-enamelled bowl,

Yongzheng mark and period, was also sold at Sotheby’s Hong Kong,

7 October 2019, lot 3105.

64 | 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.

38

A PAIR OF LIME-GREEN-ENAMELLED BOTTLE VASES

18th century

Each elegantly potted with globular bodies rising from short tapering

feet to tall cylindrical necks, covered in a bright lime-green enamel,

save the base and interior glazed white.

20cm (7 7/8in) high. (2).

£5,000 - 7,000

CNY46,000 - 64,000

十八世紀 檸檬綠釉膽瓶一對

Provenance: William Clayton Ltd., London, 19 January 1967

(valuation for insurance)

John E. Bodie OBE (1930-2023), London, collection no.29

來源：倫敦古董商William Clayton Ltd.，1967年1月19日（保險評估）

大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，

藏品編號29

Lime-green enamel as found on the present pair of vases was a

precious rarity during the 18th century, and vessels adorned in this

hue, despite their seemingly simple appearance, represented some of

the most technically demanding pieces of porcelain ever produced.

While lead-antimonate was readily available in China, the addition of

copper to create the distinctive lime-green enamel was introduced

through Jesuit missionaries. The captivating green colour, noted for its

scarcity, also boasted an impressively uniform application. Ensuring

consistency in firing would have necessitated a second firing at lower

temperatures, a challenging process skilfully executed in making of

these remarkable vases.

Compare with one related lime-green-glazed vase of different shape,

18th/19th century, which was sold at Sotheby’s Hong Kong, 25 May

2022, lot 506. See also a related rare turquoise-glazed bottle vase of

similar shape, Yongzheng, which was sold at Bonhams London,

2 November 2023, lot 139.

66 | 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.

39

A NEAR PAIR OF IMPERIAL YELLOW-GLAZED SAUCER DISHES

Yongzheng six-character marks and of the period

Both dishes finely potted with shallow rounded sides raised on a short

tapered feet, the exteriors glazed in a rich opaque yellow glaze.

14cm (5 1/2in) diam and 14.1cm (5 1/2in) diam. (2).

£10,000 - 15,000

CNY91,000 - 140,000

清雍正 黃釉盤 一組兩件

青花「大清雍正年製」楷書款

Provenance: Sotheby’s London, 16 May 1967, lot 148, acquired

through Bluett & Sons Ltd., London, 22 May 1967 (invoice)

John E. Bodie OBE (1930-2023), London, collection no.16

來源：倫敦蘇富比，1967年5月16日，拍品編號148，從倫敦Bluett &

Sons Ltd.處獲得，1967年5月22日（據收據）

大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，

藏品編號16

Appearing deceptively simple in both form and colour, monochrome

yellow dishes represent one of the most technically demanding types

of porcelain to manufacture. Achieving perfection in potting, glazing

and firing was essential, as even the slightest flaw could render the

piece unusable. Among monochrome glazes, yellow stands alone in

its direct association with the imperial court. While Imperial yellowglazed wares had been crafted since the early Ming dynasty, they

were reserved exclusively for ceremonial occasions. Compare with

two similar yellow-glazed incised dish, Yongzheng mark and period,

illustrated by R.Krahl and C.von Spee, Chinese Ceramics from the

Gulexuan Collection, Lunen, 2003, nos.119 and 120; see also the

yellow-glazed dish, Yongzheng mark and period, illustrated in Chinese

Porcelains: The S.C.Ko Tianminlou Collection, Part I, Hong Kong, 1987,

no.140. A similar yellow-glazed dish, Yongzheng mark and period,

was sold at Christie’s London, 10 November 2015, lot 337.

Invoice

FINE CHINESE ART | 67

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.

40

Invoice

40

A FAMILLE ROSE ‘PEONY AND

CHRYSANTHEMUM’ DISH

Yongzheng

The shallow rounded sides rising from a

slightly tapered foot, enamelled to the interior

with interlocking branches of peonies,

roses and chrysanthemums, the exterior left

undecorated, the base incised with inventory

number N=176-I.

22.5cm (8 7/8in) diam.

£3,000 - 5,000

CNY27,000 - 46,000

清雍正 粉彩花卉圖盤

Provenance: Augustus the Strong (1670-

1733), Elector of Saxony and King of Poland

(engraved Dresden inventory mark on the

base of the dish reading N:176 and I)

Lord Margadale of Islay, Fonthill, Wiltshire,

no.406 (label)

R.L Harrington Ltd., London, 1965 (letter from

R.L Harrington, 2 February 1967)

John E. Bodie OBE (1930-2023), London,

collection no.31

來源： 奧古斯特二世(1670-1733)，薩克森選

帝侯和波蘭國王（底部刻有德累斯頓庫存編

號：N:176 and I）

艾萊島Margadale勛爵，放山，英國威爾特

郡，編號406（標籤）

倫敦R.L Harrington Ltd.，1965年（來自R.L

Harrington的信，

1967年2月2日）

大英帝國官佐勳章獲勳人John E.

Bodie(1930-2023)，倫敦，

藏品編號31

The incised number on the present lot

indicates that this plate was in the collection

of Augustus the Strong (Augustus II), Elector

of Saxony and King of Poland (1670-1733).

An avid art collector, he amassed an extensive

collection of porcelain which was housed in

the ‘Japanese Palace’ in Dresden.

Famille rose porcelain reached its zenith

during the Yongzheng reign. Taoya (匋雅)

published in 1910, extols that ‘famille rose

of the Qing dynasty are the most beautiful

ones, unparalleled in the past or future, bright

and dazzling.’ See a pair of similar famille

rose ‘peony and chrysanthemum’ dishes,

Yongzheng, which was sold at Bonhams

Paris, 26 October 2022, lot 317.

41 Y

A RARE COPPER-RED AND

UNDERGLAZE BLUE ‘THREE

ABUNDANCES’ VASE, MEIPING

18th century

Well-potted rising from a slightly splayed foot to

broad shoulders, well painted in bright cobalt

blue tones with ‘heaped and piled’ effect, the

body with alternating flowering and fruiting

branches of pomegranate, citron and peach,

‘The Three Abundances’, all between bands of

upright lappets and beneath further pendant

plantain-leaf lappets, huanghuali stand.

34cm (13 3/8in) high. (2).

£12,000 - 15,000

CNY110,000 - 140,000

十八世紀 青花釉裡紅三多紋梅瓶

Provenance: William Clayton Ltd., London,

1 April 1971 (invoice)

John E. Bodie OBE (1930-2023), London,

collection no.14

來源：倫敦古董商 William Clayton Ltd.

，1971年4月1日（據收據）

大英帝國官佐勳章獲勳人John E.

Bodie(1930-2023)，倫敦，藏品編號14

The graceful depiction of branches and

fruits adorning this vase evokes designs

reminiscent of those found on meiping vases

crafted during the Yongle period. Likewise,

the subtle utilisation of the blue and white

palette emulates the early Ming dynasty’s use

of imported cobalt blue, rich in iron content,

resulting in dark blue spots on the surface, an

effect known as the ‘heaping and piling’ effect.

The vase incorporates numerous symbolic

motifs. The inclusion of the Buddha’s Hand

citron, peaches, and pomegranates collectively

referred to as ‘The Three Abundances’

(sanduo 三多), signifies wishes for prosperity,

longevity, and numerous offspring.

See a related blue and white meiping vase,

with design of lotus in underglaze-red,

Qianlong period, in the Qing Court Collection,

illustrated in The Complete Collection of

Treasures of the Palace Museum: Blue and

White Porcelain with Underglazed Red (III),

Hong Kong, 2000, p.227, no.207.

Compare with a related underglaze copperred and blue decorated vase, meiping, 18th

century, which was sold at Christie’s on

11 May 2010, lot 230.

68 | BONHAMS

41

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 exemplifies the pinnacle of craftsmanship from the

Imperial kilns during the Yongzheng reign. The predominant decorative

technique utilised in the bowl is doucai which is notable for painting

the outlines of the design in underglaze blue. Additionally, this piece

showcases some other techniques, such as the small swirling clouds

executed with over-glaze wucai technique and the flaming pearls

depicted in iron-red. Bowls of this type were initially accompanied by

mirror-image covers of subtly distinct pattern, but the design of the

bowl itself stands as a testament to its inherent power.

Interestingly, each of the fifth claws of the dragon has been painted

over with a cloud, probably when gifted to a lower ranking prince or

high ranking official.

See a similar doucai conical ‘dragon’ bowl and cover, Yongzheng mark

and period, illustrated in The Complete Collection of the Treasures

of the Palace Museum: Porcelains in Polychrome and Contrasting

Colours, Beijing, 2007, p.251, pl.230. Compare with a similar doucai

conical ‘dragon’ bowl, Yongzheng mark and period, which was sold by

Christie’s Hong Kong, 28 November 2012, lot 2139.

42

A DOUCAI CONICAL ‘DRAGON’ BOWL

Yongzheng six-character mark and of the period

Of conical form rising from a straight foot to a notched rim, finely

decorated to the exterior with a pair of five-clawed dragons emerging

from foaming waves in pursuit of the flaming pearls amongst

polychrome cloud scrolls, the base with a six-character mark within a

double circle.

19.5cm (7 5/8in) diam.

£30,000 - 50,000

CNY270,000 - 460,000

清雍正 鬥彩海水龍紋斗笠碗

青花「大清雍正年製」楷書款

Provenance: Sotheby’s London, 16 May 1967, lot 152, acquired

through Bluett & Sons Ltd. London, 22 May 1967 (invoice)

John E. Bodie OBE (1930-2023), London, collection no.9

來源：倫敦蘇富比，1967年5月16日，拍品編號152，通過倫敦古董商

Bluett & Sons Ltd.獲得，1967年5月22日（據收據）

大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，

藏品編號9

Invoice

70 | BONHAMS

(two views)

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.

43

A PAINTED ENAMEL FOUR-LOBED PEAR-SHAPED WATERPOT

18th century

The compressed body rising from a short copper foot, finely enamelled

around the exterior with dragon and phoenix medallions amongst

scrolling floral sprays, all between bands of floral scrolls above the foot,

and diaper-pattern beneath the mouth rim.

8cm (3 1/8in) wide.

£1,500 - 2,000

CNY14,000 - 18,000

十八世紀 銅胎畫琺瑯龍鳳花卉紋洗

Provenance: Spink & Son Ltd., London, acquired in 1970

(Spink letter dated 15 January 1971 referencing the piece).

來源：倫敦古董商Spink & Son Ltd.，獲得於1970年 (Spink在1971年1

月15日信中曾提及此件拍品）

The present waterpot stands out for its refined craftsmanship and

decoration, showcasing meticulous attention to detail, which reflected the

emperor's profound admiration for nature and his fondness for classical

flower and insect motifs.

Compare the shape of the present waterpot with a cloisonné enamel

waterpot, 18th century, which was sold at Christie's New York,

21 July 2016, lot 108.

72 | 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.

44

A FINE PAINTED ENAMEL FLORAL SNUFF BOX

AND COVER

Qianlong

Of ovoid form, the cover decorated with sprays of peonies,

chrysanthemums, narcissus and further flowers, within floral borders

reserved on violet grounds, the hinged box similarly decorated, box.

7cm (2 3/4in) long (2).

£3,000 - 4,000

CNY27,000 - 36,000

清乾隆 銅胎畫琺瑯花卉紋鼻煙盒

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

John E. Bodie OBE (1930-2023), London, collection no.2

來源： 倫敦古董商Spink & Son Ltd.（據標籤）

大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，

藏品編號2

Compare with a related oval snuff box and cover, with metal hinge and

thumb-piece, Qianlong, illustrated in Chinese Painted Enamel, Oxford,

1978, p.33, no.33.

Another view

FINE CHINESE ART | 73

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.

45

A SET OF FOUR PAINTED ENAMEL ‘EUROPEAN FIGURES’

SAUCER-DISHES

Yongzheng/early Qianlong

Each decorated with a European gentleman seated beneath a tree and

boy pointing to a book seated in a garden, within border panels of fruit

and flower sprays, the undersides with peony roundels encircled by

phoenix and dragon cartouches on lime-green floral grounds.

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

£3,000 - 5,000

CNY27,000 - 46,000

清雍正/乾隆早期 銅胎畫琺瑯西洋人物圖盤 一組四件

Provenance: John Sparks Ltd., London, 15 October 1962 (invoice);

also noted by John Sparks Ltd., London, 27 March 1961

(on approbation letter)

John E. Bodie OBE (1930-2023), London, collection no.106

來源： 倫敦古董商John Sparks Ltd.，1962年10月15日（據收據）；

倫敦古董商 John Sparks Ltd.在1961年3月27日亦有提及（認可函）

大英帝國官佐勳章獲勳人John E. Bodie (1930-2023)，倫敦，藏品編

號106

Compare with a similar pair of painted enamel dishes with European

figures beside a boy pointing to a book, Yongzheng, illustrated in Chinese

Painted Enamels from Private and Museum Collections,, New York, 1969,

p.39, no.54. See also a painted enamel snuff box and cover but with

similar design of a European gentleman beside a boy, early 18th century,

illustrated in Chinese Painted Enamel, Oxford, 1978, p.22, no.15.

74 | 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.

46

A PAIR OF PAINTED ENAMEL SAUCER-DISHES

Yongzheng/Qianlong

One decorated with a bearded gentleman carrying a feather fan and boy

attendant carrying a vase of lotus sprays in a pavilion garden, the other

with the Immortal Magu on a tree raft before an overhanging cliff, both

with hemp-stroke painted rocks, the undersides with fruiting vines and

peony stems, the bases with phoenix roundels.

Each 21.5cm (8 1/2in) diam. (2).

£4,000 - 6,000

CNY36,000 - 55,000

清雍正/乾隆 銅胎畫琺瑯人物圖盤一對

Provenance: William Clayton Ltd., London

John E. Bodie OBE (1930-2023), London, collection no.107

來源： 倫敦古董商 William Clayton Ltd.

大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，

藏品編號107

Compare with a painted enamel vase with similar decoration of a female

Immortal on a raft, and similar hemp-stroke fibre rocks, Qianlong seal

mark and of the period, in the Qing Court Collection, illustrated in the

Compendium of Collections in the Palace Museum: Enamels, 5, Beijing,

2011, pp.106-107, no.72. See also a related painted enamel dish

decorated with the Immortal He Xiangu, Yongzheng, illustrated in Chinese

Painted Enamel, Oxford, 1978, p.38, no.39. See also a related set of four

painted enamel dishes, Yongzheng, illustrated by J.A.Lloyd Hyde, Chinese

Painted Enamels, New York, 1969, no.46.

See also the painted enamel ‘Magu and deer’ saucer-dish, Diao yue

geng yun four-character mark, Yongzheng, which was sold at Bonhams

London, 7 June 2021, lot 663.

FINE CHINESE ART | 75

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.

This design and colour scheme noted on this dish appear to draw

inspiration from porcelains dating to the Kangxi period, as evidenced

by a dish illustrated in Mayuyama Seventy Years, Tokyo, 1976, vol.1,

no.1047, p.349. See also a related dish, Qianlong mark and period,

illustrated in Shincho Kogei No Bi, New York, 1995, pl.126, p.45.

47

A BLUE AND YELLOW ‘DRAGON’ SAUCER-DISH

Qianlong six-character seal mark and of the period

Well potted with a lipped rim, intricately decorated with a side-facing

five-clawed dragon pursuing the flaming pearl amidst swirling flames

and cloud scrolls, with two further dragons on the cavetto; the reverse

similarly decorated with two dragons above a band of lotus petal

lappets, all in bright translucent yellow on a brilliant underglaze blue

wash ground, the base with the seal mark in underglaze blue.

25.2cm (10in) diam.

£20,000 - 30,000

CNY180,000 - 270,000

清乾隆 藍地黃彩雲龍紋盤

青花「大清乾隆年製」篆書款

Provenance: William Clayton Ltd., London, 19 January 1967

(valuation for insurance)

John E. Bodie OBE (1930-2023), London, collection no.15

來源：倫敦古董商 William Clayton Ltd.，1967年1月19日（保險評估）

大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編

號15

Compare with two similar dishes, Qianlong marks and period, sold

respectively at Christie’s London, 7 November 2017, lot 84 and

Christie’s New York, 17-18 March 2016, lot 1600.

76 | BONHAMS

(two views)

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.

A similar blue-glazed dish, Qianlong seal mark and of the period, in the

Zhuyuetang Collection, is illustrated in A Millenium of Monochromes,

Geneva, 2019, p.246, no.103a-b.

Compare with a very similar blue-glazed dish, Qianlong seal mark and

of the period, which was sold at Sotheby’s New York, 23 March 2022,

lot 347.

48

A RARE BLUE-GLAZED SAUCER DISH

Qianlong seal mark and of the period

Finely potted with curving sides rising from a short slightly inwardtapering foot, the interior and exterior covered in a rich monochrome

blue glaze thinning to white on the mouth rim, the base glazed white.

16cm (6 1/4in) diam.

£1,500 - 2,000

CNY14,000 - 18,000

清乾隆 霽藍釉盤

青花「大清乾隆年製」篆書款

Provenance: John E. Bodie OBE (1930-2023), London, collection

no.72

Published, Illustrated and Exhibited: The Oriental Ceramic Society,

The World in Monochromes, 16 April-20 June 2009, no.197 (label).

John E. Bodie loaned 8 pieces to this exhibition.

來源：大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，

藏品編號72

展覽著錄：東方陶瓷學會，《The World in Monochromes》, 2009年

4月16日-6月20日，編號197（據標籤）。John E. Bodie曾借展8件藏

品給此展覽。

78 | 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.

49

A PAIR OF WHITE-GLAZED ‘PHOENIX’ STEM CUPS

Yongle four-character marks, Qing Dynasty

Each elegantly potted rising from a tall spreading stem foot to a slightly

everted rim, the interiors moulded with phoenix amongst flower sprays

beneath key-fret border, with Yongle four-character marks in archaistic

seal-script to the well.

9.5cm (3 3/4in) diam. (2).

£2,000 - 3,000

CNY18,000 - 27,000

清 甜白釉模印鳳紋高足杯一對

「永樂年製」篆書款

Provenance: noted in a letter from John E. Bodie to William Clayton,

dated 30 September 1968, and also noted by William Clayton Ltd.,

London, 1 October 1968 (valuation for insurance)

John E. Bodie OBE (1930-2023), London, collection no.124

來源： 由John E. Bodie在1968年9月30日寫給William Clayton的信中

提及，亦由倫敦古董商William Clayton Ltd.在1968年10月1日提及

(保險評估）

大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編

號124

The present lot pays homage to earlier Yongle period white-glazed

stem cups. Fragments of numerous monochrome white (also known

from this period as ‘sweet-white’) stembowls of Yongle mark and

period have been recovered from the Ming Imperial kiln site. The mark

is always inscribed on the inside of the bowl, either in the centre or on

the sides, and can be incised or impressed in anhua technique. See

for example Jingdezhen chutu Ming chu guanyao ciqi, Taipei, 1996,

nos.110 and 158-60. Another white Yongle stembowl with the mark on

the inner sides is illustrated by J.Harrison-Hall, Ming Ceramics in the

British Museum, London, 2001, no.3:1.

FINE CHINESE ART | 79

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.

50

A RARE YELLOW-GROUND GREEN-ENAMELLED ‘DRAGON’

BOWL

Qianlong seal mark and of the period

Incised around the exterior with two striding dragons in pursuit of the

flaming pearl within bands of foliate scroll and ruyi lappets, the interior

with a shou medallion.

10.2cm (4in) diam.

£10,000 - 15,000

CNY91,000 - 140,000

清乾隆 黃地綠彩雲龍壽字紋碗

青花「大清乾隆年製」篆書款

Provenance: Roger Keverne Ltd., London, 2 November 2006 (invoice)

John E. Bodie OBE (1930-2023), London, collection no.21

Published, Illustrated and Exhibited: Roger Keverne Ltd., Winter

Exhibition, London, 2006, p.62, no.61

來源：倫敦古董商Roger Keverne Ltd.，2006年11月2日（據收據）

大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品

編號21

展覽著錄： Roger Keverne Ltd.，《冬季展覽》，倫敦，2006年，

第62頁，編號61

According to ‘The History of the Imperial House and Court’ (Guochao

Gongshi), compiled in the seventh year of the Qianlong reign (1742),

and ‘The Illustrated Regulations for Ceremonial Paraphernalia of

the Qing Dynasty’ (Huangchao Liqi Tushi), edited in 1759, vessels

decorated with designs of green dragons on a yellow ground could

only be used by the Emperor’s concubines of the second rank at the

Court. A pair of very similar bowls green and yellow ‘dragon’ bowls,

Qianlong seal marks of the period, is illustrated in Chinese Porcelain:

The S.C.Ko Tianminlou Collection, Hong Kong, 1987, no.111.

Compare also with a similar yellow and green-enamelled ‘dragon’

bowl, Qianlong seal mark and of the period, which was sold at

Sotheby’s New York, 12 September 2018, lot 370.

80 | BONHAMS

(two views)

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.

51

A PAIR OF EUROPEAN-ORMOLU-MOUNTED

CANDLEHOLDERS WITH CHINESE PORCELAIN ‘BOYS’

The Chinese porcelain circa 1750

Each with three seated boys with jovial expressions clad in a blueglazed dudou holding lotus sprays and precious objects on ormolu

mounts in the form of a tree supporting a Kakiemon-style drip pan and

fluted candle holder of soft-paste French porcelain, most likey Chantilly.

15cm (5 3/4in) high. (2).

£3,000 - 5,000

CNY27,000 - 46,000

中國瓷器部分約1750年 青花童子配歐洲製鎏金銅飾燭臺一對

Provenance: Gerald Kerin Ltd., London, 14 June 1965 (invoice;

the invoice dates the ormolu mounts as Louis XVI)

John E. Bodie OBE (1930-2023), London, collection no.105

來源：倫敦古董商Gerald Kerin Ltd.，1965年6月14日（據收據；

收據標註鎏金銅飾為路易十六時期）

大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，

藏品編號105

Compare with a pair of very similar seated boys in blue-glazed tunics,

circa 1750, illustrated by D.Howard, The Choice of the Private Trader:

The Private Market in Chinese Export Porcelain illustrated from the

Hodroff Collection, London, 1994, p.254, no.301; and Colin Sheaf

and Richard Kilburn, The Hatcher Porcelain Cargoes: The Complete

Record, Oxford, 1988, pp.156-7, pl.207, illustrating a number of similar

boys which have been salvaged from the Geldermalsen (1752).

See a related ormolu-mounted Chinese biscuit figure of a boy, Kangxi,

which was sold at Sotheby’s London, 7 March 2007, lot 111

Invoice

82 | 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.

52

A FAMILLE ROSE ‘HUNDRED BOYS’

BOWL

Jiaqing iron-red seal mark and of the period

Finely enamelled around the exterior of the

deep U-shaped bowl with a continuous scene

of boys at play, dressed in brightly coloured

clothes and variously singing, dancing and

lighting fire-crackers, all within a rocky garden

landscape with pavilion, stream and bridge.

11.6cm (4 1/2in) diam.

£2,000 - 3,000

CNY18,000 - 27,000

清嘉慶 粉彩百子圖碗

礬紅「大清嘉慶年製」篆書款

Provenance: a Japanese private collection

Sotheby’s London, 9 November 2016, lot 171

John E. Bodie OBE (1930-2023), London,

collection no.114

來源： 日本私人收藏

倫敦蘇富比，2016年11月9日，拍品編號171

大英帝國官佐勳章獲勳人John E.

Bodie(1930-2023)，倫敦，

收藏編號114

The present lot is remarkable for its vibrant

and intricate portrayal of boys immersed

in various games. The theme of ‘hundred

boys at play’ was widely embraced in

the decorative arts of the Ming and Qing

dynasties. It originates from King Wen of

the Zhou dynasty, who according to legend

had ninety-nine sons and adopted one more

to reach one hundred. The boys depicted

engage in activities rich with symbolism: for

instance, the first character of ‘lantern’ is a

homophone for ‘bumper harvest’ (fengdeng),

symbolising peace, while boys carrying

peaches and playing with bats represent

longevity.

A related famille rose bowl, Jiaqing mark

and period is illustrated in Ch’ing Dynasty

Porcelain in the National Palace Museum,

vol.II, Tokyo, 1981, pl.101.

See a very similar famille rose ‘hundred boys’

bowl, Jiaqing seal mark and of the period,

which was sold at Sotheby’s New York,

21 September 2022, lot 389.

FINE CHINESE ART | 83

Lot 53 (detail)

George Crofts about 1915.

Courtesy the Far Eastern

Library of the Royal Ontario

Museum.

Professor Erik Nyström

(1879-1963)

Carl-Erik Gadelius

(1866-1928)

Gustaf VI Adolf King of

Sweden (1882-1973)

Johan Gunnar Andersson

(1878 - 1960)

Li Hongzhang (1823-1901)

Li Jingfang (1854-1934)

Axel Carlander

(1869-1939)

The Gothenburg Tercentennial Jubilee Exposition, 1923 Axel Carlander’s home, circa 1917

The exceptionally rare bronze ritual vessel has one of the most

distinguished pedigrees, originating in the collection of one of the most

eminent Chinese statesmen in the late Qing dynasty - Li Hongzhang

- and sold to an equally illustrious group of Swedish gentlemen,

including the Crown Prince, Gustav Adolph, and the renowned

industrialist Axel Carlander. What is all the more extraordinary, are the

existing records of the sale of Li Hongzhang’s collection, through his

nephew and adopted son, Li Jingfeng (Li Ching Fong), with a valuation

report dated to 30 May 1918, listing the present vessel as no.410,

when it was described as:

1 Shang dynasty Sacrificial Wine Vase.21” high. Ears with rings no

cover. Centre of vase cracked half way round. slightly repaired[.] Fine

piece and uncommon. Value $5000. [printed] = 27.183:45 [in pencil]

Axel Carlander was an important Swedish industrialist, businessman,

politician, and philanthropist with a great passion for art. After

completing business studies in Germany in 1896 and in England

1890-1891 he went on a around-the-world trip in 1891-1893 studying

cotton and silk trade in line with family investments in this area. In his

travel journal he writes about his visits to China and Japan, which

probably piqued his interest in these arts.

He was deputy director in Johansson-Carlander 1892-1921 and

managing director 1921-1939. Axel and his father co-founded the

Swedish Kullagerfabriken (SKF) in 1907, and he was chairman of the

board in SKF 1907-1937, vice chairman of the board of the Swedish

North America line 1914, and from 1925 its chairman. He initiated the

great Gothenburg Jubilee Exhibition in 1923. Additionally, he was on the

board of AB Volvo 1917-1926, and then chairman of Volvo 1926-1931.

Carlander was also heavily involved in philanthropy. He made

extensive donations to the society and is well-known for building the

Carlanderska Hospital in Gothenburg, as well as establishing the Axel

Carlander Fund.

Axel Carlander was a personal friend of Gustaf Adolf, the Swedish

Crown Prince from 1907, who became King Gustaf VI Adolf from

1950. Gustav Adolf was well-known for his great enthusiasm and

collecting of Chinese art, befriending great collectors and curators

such as R.L. Hobson at the British Museum, George Eumorfopoulos,

Oscar Raphael and Percival Yetts, and later Sir Percival David. In 1911

the Crown Prince became the chairman of the organisation ‘Friends of

the National Museum’. Together with Torsten Laurin, Axel Lagrelius and

Johan Gunnar Andersson and a group of members of the Swedish

finance world he established the China Committee, gathering funds

to purchase Chinese works of art for the Museum of Far Eastern

Antiquities at Stockholm.

The Li Hongzhang / Axel Carlander Fang Hu

Cecilia Nordström

FINE CHINESE ART | 87

In 1918, they all pitched in together to buy the collection of the late Li

Hongzhang, GCVO (1823-1901), Premier of the Viceroyalty of Zhili and

leading statesman during the late Qing Dynasty.

They calculated that they needed SEK 1,000,000. Each member

contributed SEK 50,000 plus an extra SEK 4,000 for expenses - a

considerable amount at the time. In China, the Swedish Geologist

Professor Erik Nyström (1879-1963), also leader of the University in

Shansi Taiyuan-Fu was in charge, and together with an English dealer

who was based in Tientsin, George Patrick Joseph Crofts (1871-

1925), seemed to be leading the effort (in his notes Carlander protests

the vast charge of £3,000 by Crofts). Crofts alongside fur trade, was

engaged in sourcing antiques for museums such as the Royal Ontario

Museum, as well as various London dealers, including S.M. Franck

& Co., a wholesale dealer who in turn supplied objects to institutions

such as the Victoria and Albert Museum, as well as to other dealers.

When the objects arrived, part was donated to the National Museum.

The National Museum’s Board of Directors report of 1920 describes

the donation as:

‘A consortium of private investors who has purchased the collection

of the famous statesman Li-Hun-Chang’s phenomenally rich and

interesting collection of older Chinese works of art. They have with the

finest of the government collections in mind, most generously agreed

to donate a tenth of the collection to be included in the museum – and

with the right of the museum to choose pieces. It further moves on

to the engineer G. E Gadelius who also donates a large collection of

100 Chinese ceramics. Through these two valuable gifts, the museum

collection of older Chinese works of art, that recently were started,

has in one blow received an addition highly important in number and

quality and of exceptional value’.

The Board report lists a number of Chinese paintings that were

donated from the Li Hongzhang collection and added to the Museum

collection (p.22). Followed by listing a number of Chinese works of

art that were donated by the syndicate and purchased from the Li

Hongzhang collection, including bronzes, tombstones, jades, pottery,

rhinoceros horns, etc.

Axel Carlander was one of the consortium’s investors. He had

already funded many of Johan Gunnar Andersson’s excavations

and expeditions to China. He decided to donate part of his share to

the Röhsska museum in Gothenburg. He then let the Crown Prince

choose a few objects as a gift, which were later donated to the

Swedish Östasiatiska Museet as a part of the King’s gift to the people.

Importantly, the present Fang Hu vase is described in his diaries

as being of great importance and evaluated at the time at a sum of

27,183 Swedish crona. He writes that he received a rather beautiful

Chinese bronze vase that is several thousand years old, that he placed

it on his staircase between the flights. Other Chinese pieces from his

collection were later donated to the Östasiatiska Museet.

Many of the China Committee members continued with the task of

acquiring items for their collections and museums, also investing in the

better known and researched ‘Karlbeck Consortium/syndicate’ which

included in addition to key museums such as the Museum of Far

Eastern Antiquities (Stockholm), The British Museum, The Louvre and

Berlin State Museum, also important collectors such as HRH Gustaf

Adolf IV of Sweden, Oscar Raphael, Henry Oppenheim and George

Eumorfopoulos, to name a few.

The Axel Carlander fang hu, is undeniably a masterpiece of archaistic

bronze casting and design, inspired by Western Zhou dynasty vessels

but made during the Song/Ming dynasty. The design is crisply cast

and exceptionally well-balanced. This is clearly seen in the use of relief

design emphasised by the unadorned space around it, alternating with

the plain pedestal, lower body and rim, showcasing the magnificent

contours and size of the monumental ritual vessel, all framed by the

simulated leather strapwork with diamond shaped bosses.

88 | BONHAMS

Li can be described as perhaps the greatest late Qing statesman and

diplomat. Between 1853 and 1864 Li was involved in quelling the

Taiping Rebellion. In 1865 Li was made Acting Governor-General at

Nanjing. In 1867 he was made Governor-General of Hunan and Hubei

and was awarded the hereditary rank of Qiduyu (騎都尉) and the title

of Grand Guardian of the Heir Apparent and was made concurrently

an Associate Grand Secretary. In 1869 Li became Governor-General

at Wuchang. In 1870 he was appointed as Governor-General of Zhili,

serving concurrently as Grand Secretary (1872-1901) and after 1879

he held the honorary title of Grand Tutor of the Heir Apparent. As

the Northern Superintendant of Trade almost any question involving

Foreign Relations came to his attention. In 1871 Li negotiated a

treaty with Japan, in 1874 he negotiated the status of the Liuqiu

(Ryukyu) islands, and in 1876 concluded the Chefoo Convention

between Burma and Yunnan. Li was further involved in 1882 in treaty

negotiations between America and Korea. Li Hongzhang, like Prince

Gong, realised that China had to modernise its military capabilities,

communications and machinery. As an Associate Controller of the

Board of Admiralty he secured funds to build a fleet; however, the

requisition of 2 million taels to celebrate the Empress Dowager's

birthday crippled the navy.

Around 1883 Li negotiated a treaty with France, securing recognition

of Chinese suzerainty over Vietnam, which was later repudiated

with a new treaty signed in 1885. In 1886 Li succeeded in removing

the Catholic Church which overlooked the Forbidden City. On Li

Hongzhang's seventieth birthday in 1892, the Empress Dowager and

the Emperor showered him with gifts and honours.

Following the Sino-Japanese War, he was deprived of honours but

held his post. In the ensuing negotiations with Japan, Li was appointed

as Plenipotentiary. He was shot and wounded, but a limited armistice

was granted. Li's nephew, Li Jingfeng, continued the negotiations and

in 1895 China accepted the Japanese terms. In 1896 Li represented

China on the Tsar's coronation, where he negotiated a secret treaty

aimed against Japan. From Russia, Li proceeded to visit the Kaiser

and Chancellor Bismarck in Germany, further stopping at The Hague,

Brussels and Paris. He had an audience with Queen Victoria, and was

introduced to President Cleveland in Washington.

In the summer of 1898, during the 'Hundred Days of Reform', Li was

dismissed from the Zongli Yamen and sent to supervise work along

the Yellow River. He retained his position as Superintendant for the

North. He was then appointed Acting Governor-General of Guangdong

and Guangxi, and was then made a full Governor-General. During

the Boxer Rebellion, he was recalled to negotiate with the Western

powers. Appointed Governor-General and Plenipotentiary of Zhili he

strove to minimise the indemnities, but the power lay in the hands of

the triumphant Western powers and an onerous treaty was signed on

7 September 1901. He died on 7 November. Li was posthumously

given the title of Grand Tutor, the name Wenzhong (文忠) and the

hereditary rank of Marquis of the First Class. His name was entered

in the Temple of Eminent Statesmen, and in later years temples were

erected to his memory in Beijing, Tianjin, Shanghai, Nanjing, Suzhou

and other places.

A Note on Li Hongzhang

FINE CHINESE ART | 89

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 LI HONGZHANG AND AXEL CARLANDER FANG HU

李鴻章和AXEL CARLANDER青銅方壺

53 *

AN IMPORTANT AND RARE MONUMENTAL ARCHAISTIC

BRONZE RITUAL WINE VESSEL, FANG HU

Song/Ming Dynasty

The imposing vessel of oblong pear-shaped form with rounded

corners, rising from a high rectangular-shaped flaring pedestal foot to a

flared waisted neck flanked by a pair of tapir handles each suspending

a loose ring, the body cast with raised tapering cross straps simulating

leather strapwork centred by diamond and half-diamond shaped

rivets, each of the four cells on the central border enclosing relief cast

adult and young confronted birds with a chilong from above, the adult

bird comprising of two birds, all between the lower bulbous unadorned

cells, and a border around the neck relief cast on each of the wider

sides with a pair of confronted birds within a taotie mask comprising

interlocking chilong and trunk-shaped elements, with a plain flaring rim

mirroring the unadorned lower section, the foot similarly relief cast to

the neck above a plain rectangular pedestal.

52.8cm (20 3/4in) high.

£80,000 - 120,000

CNY730,000 - 1,100,000

宋/明 青銅鳥紋雙獸耳方壺

Provenance: Li Hongzhang, GCVO (1823-1901), Premier of the

Viceroyalty of Zhili and leading statesman during the late Qing dynasty

Li Jingfang (also known as Li Ching-Fong) (1854-1934), nephew and

adopted son of Li Hongzhang; a Chinese statesman during the late

Qing dynasty

Noted in a Valuation and report on the Lord Li Ching Fong collection,

Tianjin, 30 May 1918, no.410

Axel Carlander (1869-1939), Sweden, acquired circa May 1918,

and thence by descent

Published and Illustrated: Li Jingfang, Chinese Art of Past

Generations, Shanghai, 1916, pl.D9845.

來源 : 李鴻章，皇家維多利亞勳章受勛人（1823-1901），直隸總督，

晚清政治家

李經方（1854-1934），李鴻章侄子和養子；晚清政治家

在”李經方藏品評估報告”中被提及，天津，1918年5月30日，編號410

Axel Carlander (1869-1939)，瑞典，約於1918年5月獲得，並由後人

保存迄今

展覽著錄：李經方，《Chinese Art of Past Generations》，

上海，1916年，編號D9845

90 | BONHAMS

Mid Western Zhou fang hu, Image

courtesy of Nezu Art Museum, Tokyo

Western Zhou dynasty fang hu,

Zhongguo qingtongqi quanji

Image courtesy of The Metropolitan

Museum of Art, New York

For related Western Zhou dynasty bronze examples: the middle

western Zhou dynasty fang hu, in the Nezu Bijutsukan, Tokyo,

illustrated by J.Rawson, Western Zhou Ritual Bronzes from the

Arthur M. Sackler Collections, vol.III, Washington D.C., 1990, p.611,

fig.95.3 (58.5cm high including cover); and another, late Western

Zhou dynasty, in the Asian Art Museum of San Francisco, ibid., p.614,

fig.95.7 (53.4cm high including cover). See also a related bronze fang

hu, Western Zhou dynasty, in The Metropolitan Museum of Art, New

York, acc.no.1988.20.4a, b (55.2cm high including cover). See also

a further fang hu, Western Zhou dynasty, in the Art Institute Chicago,

acc.no.2008.702 (48.5cm high). For another related example,

mid-Western Zhou dynasty, in the Palace Museum, Taipei, (image

no.K1A002132N000000000PAC). See also a related fang hu, early

Spring and Autumn period, in the Shanghai Museum, excavated in

Taixin county, Shandong Province (40.6cm high), illustrated by Li

Jianwei and Niu Ruihong, Zhongguo Qingtongqi Tulu, Beijing, vol.I,

p.199 (top). Finally, see a related example with stylised dragon designs

within each framed strapwork, early Eastern Zhou dynasty,

illustrated by J.Rawson, ibid., vol.IIA, p.125, fig.180.

Whilst the present vase shares with the above examples the general

form and relief strapwork, and many demonstrate variations in design,

it is otherwise exceptionally rare in the framed relief decoration with

plain spacing around it, allowing the decoration to stand out. However,

compare the relief-cast decoration of a bird on each side of a bronze

gong, early Western Zhou dynasty, in the Asian Art Museum of San

Francisco, illustrated by J.Rawson, ibid., vol.IIA, p.50, fig.54. See also

the use of plain space and cast-decorated space within the strapwork

cells on a related bronze hu, Western Zhou dynasty, in the Asian Art

Museum of San Francisco, illustrated by R-Y L. d’Argence, Bronze

Vessels of Ancient China in the Avery Brundage Collection, Japan,

1977, pp.100-101, pl.42 (top left).

92 | BONHAMS

Whilst the present vessel shares many close similarities

to the Western Zhou archetypes, its method of casting

and design demonstrate it is a remarkable vase produced

during the Song/Ming dynasty as part of the archaic

revival movement which became prevalent from the late

Northern Song and Southern Song dynasties. This was

greatly influenced by the Bogutu or Xuanhe Bogutu, the

illustrated catalogue of archaic bronzes collected by the

Northern Song dynasty Court, which was first published in

the fifth year of Yuanhe reign (1123 AD), and republished

in various editions during the Southern Song, Yuan, Ming

and Qing dynasties. Whilst the archaistic attribution would

appear clear nowadays, it is important to recall that when

it passed through the collection of Li Hongzhang and then

his adopted son and nephew, Li Jingfang, it was highly

prized as a Shang bronze; see Li Jingfang, Chinese Art

of Past Generations, Shanghai, 1916, pl.D9845, which

places the vessel with other Shang and Zhou dynasty

bronzes and is described as being 'decorated with

fabulous animals & scrolls' (p.26).

94 | BONHAMS

Preface written and signed by Li Jingfang

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.

54 * Y

A BRONZE FIGURE OF GUANYIN

Yuan/Ming Dynasty

The deity cast seated with hands resting on the lap in dhyanamudra,

the head lowered and face with serene benevolent expression, the hair

pulled up in a high chignon beneath an elaborate tiara, the robes open

at the chest to reveal beaded jewellery and cascading in elaborate

pleats around the body, all on a later carved wood throne.

43cm (17in) high. (2).

£18,000 - 22,000

CNY160,000 - 200,000

元/明 銅觀音坐像

The result of Oxford Authentication Ltd. thermoluminescence

test no.C124b65 dated 20 February 2024, is consistent with the

dating of this lot.

本拍品經牛津熱釋光檢測，編號no.C124b65（2024年2月20日），

結果與其斷代相符

The present bronze figure displays meticulous attention to detail,

noted in the serene expression of the figure and ornate rendering of

the personal ornaments and robes.

Also known as Avalokiteshvara, its feminine form appeared to

emerge in the early Tang dynasty. According to the ‘Lotus Sutra’,

the deity could take the form of any type of God, Buddha, King and

Heavenly Guardian and could appear in both male and female forms,

demonstrating the bodhisattva’s limitless transcendence beyond

gender, in order to teach the Dharma (teachings of the Buddha) to

sentient beings. During the Ming dynasty, it was common belief that,

in accordance with descriptions in the ‘Avalokiteshvara’ chapter of

the ‘Lotus Sutra’ and ‘The 25 Great Ones’ chapter of the ‘Surangama

Sutra’, Guanyin could transform at will and appear in more than thirty

human forms to expound Buddhist teaching.

Compare with a related bronze figure of Guanyin, Ming Dynasty,

15th/16th century, in the Metropolitan Museum, New York, acc.

no.12.37.160, which displays a similar style for the headdress and

posture.

A related parcel-gild bronze figure of Guanyin, Ming dynasty, 16th

century, was sold at Sotheby’s London, 7 November 2018, lot 66.

96 | 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.

55

56

55

A SMALL GILT-BRONZE INCENSE BURNER, A SAWASA TYPE

PARCEL-GILT BRONZE INCENSE TOOL VASE AND GILTBRONZE CUP AND SAUCER

17th/18th century

Comprising an incense burner cast with four cartouches in high relief

divided by four flanges, surmounted by a pair of upright lug handles,

supported by three flat blade-shaped legs, 8.5cm (3 3/8in) high; the

vase decorated with three panels enclosing flowering branches, the

waisted neck ending in a chrysanthemum-shaped mouth, supported

on a stepped foot, 9.1cm (3 5/8in) high; the cup rising from a short

straight foot with four lobed sides flanked by a pair of stylised chilongshaped handles, decorated with leafy scrolls, the same decoration

applied to the four-lobed saucer, 12.1cm (4 3/4in) long. (4).

£2,000 - 3,000

CNY18,000 - 27,000

十七/十八世紀 銅鎏金開光三足鼎式爐、局部鎏金銅開光花卉紋香

插、銅鎏金海棠式杯及盤 一組四件

Compare with a similar tripod vessel, but silver, late 17th century,

illustrated in Zhongguo Meishu Quanji: Gongyi meishu bian, jinying,

boli, falangqi, vol.10, Beijing, 1996, p.49. The gilt-bronze incense

burner is inspired by archaic bronzes. See a similar archaistic tripod

censer, 17th century, in The Metropolitan Museum of Art, New York

(acc.no.2019.315). See also related bronze vessels of similar style,

illustrated by B.Quette, De la Chine Aux Arts Décoratifs: L’art chinois

dans les collections du Musée des Arts Décoratifs, Paris, 2014, p.60,

no.52.

THE PROPERTY OF A GENTLEMAN 紳士藏品

56 *

A BRONZE ARABIC-INSCRIBED INCENSE BOX AND COVER

17th/18th century

With straight sides and lipped rims, the flat cover cast with Arabic

calligraphy reading alhamd lilah (دمحلا هلل’ (Praise be to God’, within a

band incised with flowers, box.

10.3cm (4in) diam. (3).

£3,000 - 5,000

CNY27,000 - 46,000

十七/十八世紀 銅鑄阿拉伯文香盒

Provenance: a Middle Eastern private collection

來源： 中東私人收藏

Such bronzes, as the present lot, were crafted primarily for the

domestic Chinese market. It is likely that these artefacts were utilised

by Muslim communities residing within China, including both foreign

Muslims and indigenous Chinese Muslims. Notably, during the

Ming dynasty, the Hongzhi and Zhengde emperors demonstrated

a particular interest in Islam, bronzes with Arabic inscriptions were

made for the Court use and given as gifts to subjects. See R.D.Mowry,

China’s Renaissance in Bronze: The Robert H.Clague Collection of

Later Chinese Bronzes 1100-1900, Phoenix, 1993, p.127.

Compare with a related Arabic inscribed incense set including a

circular box and cover, 16th/17th century, which was sold at Sotheby’s

New York, 15 March 2017, lot 560. See also a 17th/18th century

Arabic inscribed incense box and cover, which was sold at Bonhams

London, 8 November 2018, lot 270.

98 | BONHAMS