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.

57

58

57

A GILT-BRONZE FIGURE OF GUANYIN

AND A STAND

17th century

The Bodhisattva seated in padmasana,

holding a stem in the raised right hand and a

cup in the left, the broad face with a serene

expression, beneath a sweeping veil covering

an image of the Buddha, the pendulous ear

lobes adorned with earrings, the flowing robes

with incised lotus hems open at the chest

with beaded jewellery, and falling in elaborate

folds about the body. 29cm (11 1/2in) high;

together with an associated gilt-bronze lotus

stand, 17.5cm (6 7/8in) wide. (2).

￡4,000 - 8,000

CNY36,000 - 73,000

十七世紀(jì) 銅鎏金觀音菩薩像配座

Compare with a similar gilt-bronze figure of

Guanyin, Ming dynasty, illustrated in Gems

of Beijing Cultural Relics Series: Buddhist

Statues I 北京文物精粹大系：佛造像卷

(上), Beijing, 2001, p.79, pl.39. See a related

gilt-bronze figure of Guanyin, Ming dynasty,

which was sold at Christie’s New York,

22 March 2019, lot 1779.

58

A PAIR OF SAWASA TYPE PARCEL-GILTBRONZE EWERS AND COVERS

17th/18th century

Each globular body cast with two doublegourd cartouches depicting scenes of

prunus branches and a lotus pond in high

relief, amidst intricately incised leafy scrolls,

the neck featuring two cartouches, each

enclosing a crawling chilong, the S-curved

spout issuing from an incised dragon’s head,

the loop handle terminating with a ruyishaped cartouche, the cover surmounted by

a Buddhist lion, all supported on a pieced

splayed foot.

30cm (11 3/4in) high. (4).

￡4,000 - 6,000

CNY36,000 - 55,000

十七/十八世紀(jì) 銅鎏金開(kāi)光螭龍花卉紋執(zhí)壺

一對(duì)

The current lot exemplifies a cross-cultural

dialogue between Chinese and Persian art.

Originating from sixteenth-century Chinese

ceramic vessels, this pair of ewers also

exhibits the influence of Iranian metalwork,

notably seen in the elongated necks and

domed covers. See a similar pair of ewers

with matching covers, illustrated by R. Mowry,

China’s Renaissance in Bronze: The Robert

H.Clague Collection of Later Chinese Bronzes,

1100-1900, Phoenix, 1992, pp.131-136,

pl.26.

Compare with a similar gilt-bronze ‘floral’ ewer

and cover, late Ming dynasty, which was sold at

Sotheby’s New York, 28 March 2023, lot 980.

FINE CHINESE ART | 99

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.

59

60

59

A MOTHER-OF-PEARL-INLAID LACQUER

BOX AND COVER

Mid Qing Dynasty

The domed cover expertly decorated with

mother-of-pearl geometric-pattern roundels,

centred around a large stylised shou medallion

in gilt, all on a cinnabar red ground, the box

similarly decorated, the interior lacquered

brown, the base lacquered black.

39cm (15 3/8in) diam. (2).

￡5,000 - 8,000

CNY46,000 - 73,000

清中期 紅漆嵌螺鈿團(tuán)花紋攢盒

See a very similar box and cover with

sweetmeat compartments inside, mid Qing

dynasty, in the Palace Museum, Beijing,

illustrated in Zhongguo qiqi quanji, vol.6,

Fuzhou, 1993, p.161, no.181, where it

notes that such pieces are extremely rare

and prized. See also a related circular box

with red lacquer but with jade inlay and

compartments, mid Qing dynasty, in the

Qing Court Collection, illustrated in The

Complete Collection of Treasures of the

Palace Museum: Lacquer Wares of the Qing

Dynasty, Shenzhen, 2006, p.187, no.140.

The design of geometric roundels, similar to

Japanese family crests or mon could indicate

a Japanese or Ryukyuan influence. See a

related large mother-of-pearl-inlaid and giltlacquered box and cover, probably Ryukyu

Islands, 17th/18th century, which was sold at

Bonhams London, 11 May 2021, lot 276.

60

A THREE-TIER CARVED CINNABAR

LACQUER QUATREFOIL BOX AND

COVER

16th century

Of quadrilobed form, the flat cover carved with

a scene depicting a scholar seated in a riverside

pavilion, approached by another scholar and

an attendant, all reserved on a diaper ground,

enclosed by a floral-head border, the straight

sides of the box and cover carved with panels

incorporating branches of leafy flowers, the

base and interiors lacquered black.

17cm (6 3/4in) high. (4).

￡2,000 - 3,000

CNY18,000 - 27,000

十六世紀(jì) 剔紅人物故事圖三層海棠式蓋盒

Compare with a related five-tiered cinnabar

lacquer box and cover, 15th/16th century,

with similar scene of a pavilion on the cover,

illustrated in Treasures of Asian Art from the

Idemitsu Collection, Seattle, 1981, p.135,

no.70.

100 | 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.

61 Y

A RARE CLOISONNé ENAMEL ‘FIVE POISONS’ PANEL

Qianlong

The rectangular panel finely decorated with a scene featuring Zhang

Tianshi stepping upon a three-legged toad, and wielding his sword with

a centipede suspending a beaded banner around the tip, a scorpion

poised on one side of the rock, and a hissing snake coiled on the other

side below a lizard slithering around the tree trunk, all on a turquoise

ground with diamond-patterns, set within a carved rosewood frame.

32cm (11 5/8in)x38.5cm (15 1/8in) without frame;

37.5cm (14 3/4in)×43.3cm (17in) with frame.

￡8,000 - 12,000

CNY73,000 - 110,000

清乾隆 銅胎掐絲琺瑯「張?zhí)鞄煍匚宥尽箳炱?/p>

Provenance: Sir Herbert (1867-1933) and Lady Dering

來(lái)源：Herbert(1867-1933)爵士和Dering女爵舊藏

The figure depicted in the present lot is Zhang Tianshi, also known

as Zhang Daoling 張道陵, credited with founding the Way of the

Celestial Master sect of Daoism. Legend has it that Zhang Tianshi

possessed great supernatural powers. He could dispel poisons, ward

off disasters, and eradicate plagues. In folk traditions, it is a common

practice to display an image of Zhang Tianshi fighting off the five

poisons during the Dragon Boat Festival to ward off evil spirits, ensure

safety, and protect households. The structure of the frame indicates

that the piece was mounted for use as a table screen and compares

closely to two related examples in the Compendium of Collections in

the Palace Museum Enamels, vol.III, Beijing, 2011, nos.140 and 141.

The diamond ground patterns derives from textiles of the Ming

period and coloured examples and may be found on other cloisonné

enamel vessels, including, Cloisonné: Chinese Enamels from the

Yuan, Ming and Qing Dynasties, New York, 2011, no. 99, p.174. In

fact the five poisons were traditionally worn as protective charms,

see a brocade with tiger, poisonous creatures and paddy design, in

National Palace Museum accession number 001410N000000000. The

playful depiction of the theme of the ‘five poisons’ in the in the present

artwork, with subtle references its textile derivation, is also referenced

in a painted enamel box illustrated in the Compendium of Collections

in the Palace Museum Enamels, vol.V, Beijing, 2011, no.98. Compare

with a similar ‘five poisons’ cloisonné enamel rectangular panel,

Qianlong period, which was sold at Christie’s New York,

29 March 2006, lot 304.

FINE CHINESE ART | 101

Lot 62 (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.

62 * A MASSIVE AND EXCEPTIONALLY RARE CLOISONNé ENAMEL

AND GILT-BRONZE YENYEN VASE

17th century

The immense body of baluster shape supported by three mythical

beasts with wings biting the foot rim, surmounted by a tall cylindrical

neck with flaring mouth, meticulously enamelled around the exterior

and interior of the mouth with classic lotus scrolls, a ruyi-shaped

band around the shoulder containing further floral sprays, and upright

plantain leaves around the base of the neck and vase.

111cm (43 1/2in) high.

￡150,000 - 180,000

CNY1,400,000 - 1,600,000

十七世紀(jì) 銅胎掐絲琺瑯纏枝蓮紋瑞獸足大鳳尾尊

Provenance: a French private collection

來(lái)源： 法國(guó)私人收藏

104 | BONHAMS

Fang hu from Henan Xinzheng Lijialou, early

6th century BC, Image courtesy of The Palace

Museum, Beijing

Cloisonné vessel, early Qing dynasty (36.4cm),

Image courtesy of The Palace Museum, Beijing

The immense size and lavish decoration of this cloisonné enamel vase

indicates that it was probably commissioned for use in the early Qing

Court. Such grandiose pieces were typically reserved for Imperial

purposes, serving as symbols of wealth, power, and prestige. This

vase stands as a testament to the discerning patronage of the Qing

dynasty rulers, as well as showcasing the mastery of cloisonné enamel

craftsmanship during this period.

The lotus scroll motif featured on the present lot is typical of early

Qing dynasty court cloisonné enamels; see for example, a cloisonné

enamel vase with similar interlocking lotus designs, early Qing dynasty,

illustrated in the Compendium of Collections in the Palace Museum:

Enamels, 2, Beijing, 2011, pp.36-37, no.11. See also another

cloisonné enamel vase, illustrated in Ibid., no14, in the Qing Court

Collection, with very similar interlocking lotus design and mythical

beast stands. The lotus holds symbolic significance, representing

purity, enlightenment, and spiritual renewal. Its prominent presence

in courtly cloisonné enamels reflects the Qing court’s reverence for

traditional Chinese symbolism and aesthetic ideals while serving as a

visual expression of the dynasty’s cultural and spiritual aspirations.

The mythical-beast stands on the present lot could have been later

additions and are more likely to be 17th/18th century. See very similar

gilt-bronze mythical beast stands with wings on a cloisonné enamel

zun vessel with phoenix shaped ears, mid Qing dynasty, in the Qing

Court Collection, illustrated in the Compendium of Collections in

the Palace Museum: Enamels, 3, Beijing, 2011, p.111, no.77. The

concept of mythical beasts supporting large vessels goes back to

archaic bronzes. See for example, a bronze fang hu, early 6th century

BC, in the Palace Museum, Beijing, illustrated by J.So, Eastern Zhou

Ritual Bronzes from the Arthur M.Sackler Collections, New York, 1995,

p.23, fig.17.

See also a related but smaller (59cm high) cloisonné enamel vase with

flanges, Kangxi, with similarly broad flaring mouth and interlocking

lotus design, in the Museé Guimet, Paris, illustrated by B.Quette, ed.

Cloisonné: Chinese Enamels from the Yuan, Ming and Qing dynasties,

New York, 2011, p.259, no.70.

The immense size of the present lot makes it extremely rare. See a

related but smaller cloisonné enamel yen yen vase, 15th/early 16th and

17th century, which was sold at Bonhams Hong Kong, 27 November

2014, lot 121. See also, a rare and large Imperial cloisonné enamel

‘three rams’ vase, 17th/18th century, which was sold at Bonhams

Hong Kong, 1 December 2020, lot 142.

106 | BONHAMS

Lot 62 (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.

The present lot is extremely rare. Cloisonné enamel baskets

represent a remarkable fusion of artistic techniques and cultural

influences. These baskets are characterized by intricate sections

of openwork, together with enamelled surfaces creating intricate

designs and patterns.

The subject of a basket of flowers was a popular design during the

18th century and can be seen in many of the decorative arts of

China; it may be related to the Daoist Immortal Lan Caihe whose

attribute is a basket of flowers. The flower basket, serves as a

poignant symbol of the Immortal’s spiritual journey and connection to

the natural world. As an enigmatic figure embodying transcendence

and enlightenment, Lan Caihe’s ragged attire and playful demeanour

are complemented by the graceful presence of the flower basket.

63 * A VERY RARE CLOISONNé ENAMEL AND GILT-BRONZE

FLOWER BASKET

17th century

The baluster square body with a constricted waist, rising from a

spreading foot to a waisted neck, surmounted by a wide galleried rim

forming a basket, set with a pair of archaistic gilt-bronze kui dragon

loop handles, the body brightly decorated with flowering branches

issuing from jagged rocks between horizontal bands of floral scrolls

and lingzhi sprays, the basket, the bulbous section of the body and

the stepped foot decorated with gilt-bronze archaistic phoenix, kui

dragons and mythical beasts in openwork, the rim bordered with a

keyfret band, the openwork liner possibly European and later.

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

￡20,000 - 30,000

CNY180,000 - 270,000

十七世紀(jì) 銅胎掐絲琺瑯花石圖花籃

Provenance: a French private collection, acquired in the first part of

the 20th century

來(lái)源：法國(guó)私人收藏，獲得於二十世紀(jì)前半期

This iconic attribute represents more than mere adornment; it

encapsulates profound themes of purity, renewal, and the ephemeral

beauty of life. The flower basket, brimming with blossoms of vibrant

hues, embodies the essence of vitality and the eternal cycle of

growth and decay.

See a related hanging cloisonné enamel flower basket but with

broader flat top, second half 17th century, but with similar decoration,

illustrated by H.Brinker and A.Lutz, Chinese Cloisonné: The Pierre

Uldry Collection, London, 1989, no.161.

Compare with a very similar cloisonné enamel and gilt-bronze basket,

17th century, which was sold at Sotheby’s London, 13 May 2015,

lot 308.

108 | 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.

64

A RARE CLOISONNé ENAMEL STEM CUP

Qianlong blue enamel seal mark and of the period

Raised on a tall flared foot decorated with a raised rib and bands

of beaded jewellery pendants, floral and ruyi heads, the everted rim

adorned to the exterior with eight Sanskrit characters surrounded by

leafy tendrils issuing lotus flowers, enamelled in colours and shades of

black, blue, white, red and green reserved on a turquoise ground, the

base impressed with a six-character mark in seal script.

12.8cm (5in) high.

￡18,000 - 24,000

CNY160,000 - 220,000

清乾隆 銅胎掐絲琺瑯纏枝花卉紋梵文高足杯

「大清乾隆年製」篆書(shū)款

The type of butter lamp was originally used in front of Tibetan temple

altars, containing butter as fuel for Buddhist offerings. During the Ming

and Qing periods, especially during religious occasions, the Court

would often donate large quantities of butter to major Tibetan Buddhist

temples. Butter lamps like the present lot decorated with Sanskrit

characters were made not only of cloisonné with enamels but also of

other materials such as silver, porcelain, carved lacquer, and jade. See

a related blue and white stem cup, Qianlong seal mark and period,

illustrated by U.Wiesner, Chinesisches Porzellan: Die Ohlmer’sche

Sammlung im Roemer-Museum, Mainz am Rhein, 1981, pl.59. See a

similar cloisonné enamel butter lamp, Qianlong mark and period, in the

Qing Court Collection, illustrated in Enamel Ware in the Ming and Ching

Dynasties, Taipei, 1999, p.161, pl.74.

Compare with a related cloisonné enamel stem cup, Qianlong mark and

period, which was sold at Bonhams Hong Kong, 29 May 2018, lot 18.

110 | 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 exquisite decoration and craftsmanship of the present lot would

imply that it was perhaps made in Guangzhou for tribute to the

Imperial Court in Beijing where there was a fascination for European

styles. During the Qianlong period, painted enamel decorated

handwarmers emerged as exquisite examples of cultural exchange

between China and Europe. The present handwarmers, adorned with

intricate painted enamel designs, depicting European landscapes,

showcasing scenes of pastoral beauty and architectural landmarks

encapsulates this era of increasing contact between China and

Europe, facilitated by trade and diplomatic exchanges.

Chinese artisans, particularly in Guangzhou, close to the European

trading factories, demonstrated remarkable technical skills in

adapting foreign Rococo styles, resulting in stunning pieces that

served as tangible symbols of intercultural dialogue and artistic

innovation. These handwarmers stand as testament to the dynamic

exchange of ideas and aesthetics between East and West during the

Qianlong period. Indeed, the Qianlong Emperor and the Court were

fascinated by European styles, as can be seen in the architecture

of the Yuanming yuan palace, complete with European style maze

and rococo architectural flourishes, which was designed with the

help of European Jesuits. See a painted enamel vase with European

figures, mid Qing dynasty, in the Qing Court Collection, illustrated in

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

Beijing, 2011, no.234.

65 *

A SUPERB PAINTED ENAMEL AND GILT-COPPER

HANDWARMER AND COVER

Qianlong

Of oval section suspended from a gilt metal loop handle and

surmounted by a fitted lid reticulated with a chilong amidst a floral

reserve, the exterior of the handwarmer intricately painted with

landscapes containing European riverscapes with European buildings,

all within shaped panels framed by floral sprays and reserved on a

lavender ground with further floral scrolls, metal liner.

16.2cm (6 3/8in) wide. (3).

￡40,000 - 50,000

CNY360,000 - 460,000

清乾隆 銅胎畫(huà)琺瑯開(kāi)光西洋風(fēng)景圖手爐

Provenance: Damon & Delente collection, est.1887, France

Alliaume collection, France

來(lái)源： Damon及Delente舊藏，始於1887，法國(guó)

Alliaume舊藏 ，法國(guó)

See a related painted enamel handwarmer, Qianlong, illustrated

in Chinese Painted Enamels of the 18th Century, The Chinese

Porcelain Company, New York, 1993, no.23. Another painted enamel

handwarmer, Qianlong, is illustrated in Tributes from Guangdong to

the Qing Court, Hong Kong, 1987, no.47, where the author notes

that such painted enamel hand warmers were listed as tributes to

the Imperial Court in Beijing: ‘Tribute File, book 166; On the 3rd

day of the 12th month of the 14th year of Jiaqing, Bai Ling, Viceroy

of Guangdong presented ten enamel handwarmers.’ See also five

related painted enamel handwarmers, mid Qing dynasty, in the Qing

Court Collection, illustrated in the Compendium of Collections in the

Palace Museum: Enamels, 5, Beijing, 2011, nos.243-247.

Image courtesy of The Palace Museum, Beijing

112 | BONHAMS

Top view

A Swedish diplomat and civil servant, Mr B??k first had a

career in banking, that led up to the position of Governor

of the Swedish National Bank from 1948 to 1951. His

diplomatic career began when he was appointed head

of the Commercial Department of the Swedish Ministry

for Foreign Affairs and envoy from 1947 to 1948. He was

Minister in Ottawa from 1951 to 1956, Ambassador in

Beijing from 1956 to 1961, and also accredited as envoy

to Bangkok from 1956 to 1959. B??k was the Swedish

Ambassador to New Delhi, India, and also accredited to

Colombo and Kathmandu from 1961 to 1965 and in Bern

from 1965 to 1972. He had special assignments for the

Swedish Foreign Ministry from 1972 to 1975.

The Klas E B??k (1909-1980) Collection

of Chinese Furniture

Lots 66 - 70

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.

Historically, the tapered cabinet evolved from the form of large chests

with panelled doors, which were utilised for storing silk cloths during

the Song period; see S.Handler, Austere Luminosity of Chinese

Classical Furniture, Berkeley, 2001, p.244, pl.15.5. These cabinets,

such as the present examples, later found a place in scholars’ studios,

where they were used to store books, scrolls and writing instruments.

A depiction in a hanging scroll from the Ming dynasty illustrates a

scholar standing beside a small cabinet, poised to select a work from

the shelves stocked with books and scrolls; see L.Lin, Catalogue to

the Special Exhibition of Furniture in Paintings, Taipei, 1996, pl.9.

Compare with a similar small huanghuali round-corner tapered cabinet,

Ming dynasty, illustrated by G.Wu Bruce, Two Decades of Ming

Furniture, Beijing, 2010, p.220. A pair of related huanghuali, burlwood

and fruitwood cabinets, 17th/18th century, was sold at Bonhams

London, 13 May 2021, lot 17.

THE PROPERTY OF A LADY 女士藏品

Lots 66 - 70

66 * TP Y

A SMALL HUANGHUALI TAPERING ROUND-CORNER CABINET,

YUANJIAOGUI

17th/18th century

The floating panel top set into a standard mitre, mortise and tenon,

tongue and groove frame with rounded corners, the four main stiles

gently splayed and double-tenoned into the top, rounded on the

exterior edges, each door inset with a well-figured panel, the interior

fitted with two shelves, the door frame members and the central stile

fitted with two curved rectangular metal plates with a lock receptacle.

72cm (28 2/8in) high x 50cm (19 5/8in) wide x 28cm (11in) deep.

￡8,000 - 12,000

CNY73,000 - 110,000

十七/十八世紀(jì) 黃花梨圓角櫃

Provenance: Klas E B??k (1909-1980), Sweden, acquired during his

service as Swedish Ambassador to Beijing, 1956-1961, and thence

by descent

來(lái)源： Klas E B??k (1909-1980)，瑞典，在擔(dān)任瑞典駐北京大使期

間獲得，1956-1961，並由後人保存迄今。

The present cabinet epitomises the elegant design of classical Chinese

furniture, achieved through a harmonious blend of flat surfaces and

rounded elements. Particularly noteworthy are the four recessed stiles,

gently sloping outward from the top corners, and the slight outward

splay of the four square legs, conveying a sense of upward movement

and adding to the overall aesthetic appeal of the cabinet.

Following the Ming tradition, furniture was typically chosen from

illustrated books at the cabinetmaker’s workshop and tailored to

specific proportions. This practice allowed for the emergence of distinct

personal preferences in stylistic elements. The slight outward splay of

the four square legs conveys a sense of upward movement, dynamism

and vitality.

Round-corner cabinets are one of four distinct styles of cabinets with

shelves crafted by Chinese furniture artisans, alongside open-shelf

stands jiage, cabinets with open shelves liangegui, and square-corner

cabinets fangjiaogui; see Wang Shixiang, Connoisseurship of Chinese

Furniture: Ming and Early Qing Dynasties, Hong Kong, 1990, vol.1,

pp.82 and 85.

116 | 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.

67 * TP Y

A HUANGHUALI SINGLE-DRAWER ALTAR COFFER,

MENHUCHU

17th/18th century

The single-panel top set within the wide rectangular frame with raised

edges above plain spandrels on the front and back, the top supported

on recessed, slightly splayed legs, enclosing the single drawer centred

by a square lock-plate and pull above a plain apron and spandrel.

84cm (33in) high x 85cm (33 1/2in) wide x 49.5cm (19 1/4in) deep.

￡20,000 - 30,000

CNY180,000 - 270,000

十七/十八世紀(jì) 黃花梨翹頭單屜悶戶櫥

Provenance: Klas E B??k (1909-1980), Sweden, acquired during his

service as Swedish Ambassador to Beijing, 1956-1961, and thence by

descent

來(lái)源： Klas E B??k (1909-1980)，瑞典，在擔(dān)任瑞典駐北京大使期

間獲得，1956-1961，並由後人保存迄今。

Compare with a recessed-leg low table with single drawer, Ming

dynasty, of similar form, but made of oak, illustrated in Chinese

Furniture: One Hundred and Three Examples from the Mimi and

Raymond Hung Collection, Hong Kong, 2005, pp.88-89. Another

two single-drawer coffers are illustrated by Wang Shixiang,

Connoisseurship of Chinese Furniture, vol.II, Hong Kong, 1990, E7

and E8. See also another tielimu single-drawer coffer, Ming dynasty,

illustrated in The Chuang Family Bequest of Fine Ming and Qing

Furniture in the Shanghai Museum, Hong Kong, 1998, no.47.

See a related huanghuali single-drawer alter coffer, dantichu, 18th/19th

century, which was sold at Christie’s New York, 20 September 2013,

lot 1560.

118 | 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 simple, elegant form is one of the most frequently employed in

Chinese furniture construction. Whilst the spare strong lines conveyed

the rigor and discipline required of the scholar, the rich graining and

warm color of the dense resinous hardwood add a sumptuous touch,

alluding to the luxuries available to the elite of the time.

Tables such as the present one would most likely have been used as

side tables in a scholar’s studio to support art objects, such as incense

burners, table screens and other antiques. Ser, for example, a side

table featured in ‘Self Portrait of Wang Xizhi’, of the Song dynasty (960-

1279), depicting the scholar seated at the centre of the composition in

his studio flanked by a small rectangular side table laid with boxes and

other objects, illustrated in Classical Chinese Furniture from the Haven

Collection, Hong Kong, 2016, p.206.

68 * TP Y

A HUANGHUALI RECTANGULAR CORNER-LEG LOW TABLE,

AIZHUO

17th/18th century

The rectangular panelled top set within a wide border above a

recessed waist and a plain apron, supported on four legs of square

section terminating in hoof-feet and joined with four humpback

stretchers.

93.5cm (36 3/4in) wide x 51.5cm (20in) high x 46.5cm (18 1/4in) deep.

￡20,000 - 30,000

CNY180,000 - 270,000

The Property of a Lady

十七/十八世紀(jì) 黃花梨有束腰羅鍋棖馬蹄足矮桌

Provenance: Klas E B??k (1909-1980), Sweden, acquired during his

service as Swedish Ambassador to Beijing, 1956-1961, and thence by

descent

來(lái)源：Klas E B??k (1909-1980)，瑞典，在擔(dān)任瑞典駐北京大使期

間獲得，1956-1961，並由後人保存迄今。

Compare with a related huali table, late Ming dynasty, illustrated by C.

Clunas, Chinese Furniture, London, 1988, p.88, no.33, and another

huanghuali table, 16th-17th century, illustrated by G.W. Bruce, Living

with Ming - the Lu Ming Shi Collection, 2000, p. 110, no. 23.

Compare with a related huanghuali corner-leg table, 17th century,

which was sold at Christie’s Hong Kong, 30 May 2022, lot 2906.

120 | 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.

Notable for the elegant and tapering lines, the present cabinet is

among the most successful forms of classical Chinese furniture. The

very subtle taper in the design lends a sense of stability and balance to

the form while retaining a graceful and pleasing profile, and the gently

tapering sides convey the illusion of height and lightness.

Round-corner cabinets are one of the four types of cabinets with

shelves created by Chinese furniture makers, along with open-shelf

stands jiage, cabinets with open shelves liangegui and square-corner

cabinets fangjiaogui. See Wang Shixiang, Connoisseurship of Chinese

Furniture: Ming and Early Qing Dynasties, Hong Kong, 1990, vol.1,

pp.82 and 85.

According to Sarah Handler, the form of tapering cabinets originated

from large chests with panelled doors which, by the Song period, were

kept on large tables and used to store silk cloths. See an example of

these large chests depicted in a handscroll painting, attributed to the

Southern Song dynasty (1127-1279), illustrated by S.Handler, Austere

Luminosity of Chinese Classical Furniture, Berkeley, 2001, p.244,

pl.15.5. In later times, medium-sized cabinets such as the present

example were often kept in scholars’ studios and used to store books,

scrolls or writing instruments. A hanging scroll from the set of ‘Eighteen

Scholars of the Tang Dynasty’, Ming dynasty, in the Palace Museum,

Taipei, depicts a scholar beside a small cabinet about to select a

work from the books and scrolls stacked on the shelves; see L.Lin,

Catalogue to the Special Exhibition of Furniture in Paintings, Taipei,

1996, pl.9.

69 * TP Y

A HUANGHUALI ROUND-CORNER CABINET, YUANJIAOGUI

17th/18th century

With elegantly rounded protruding top with ‘ice-plate’ edge set on

subtly splayed oval corner posts housing well-figured single panelled

doors opening from the removable central stile to reveal the interior

fitted with two shelves, with a metal three-part rectangular lock plate

and pulls, all above a rectangular panel and a plain narrow apron with

rounded apron spandrels.

107cm (42in) high x 74.5cm (29 1/4in) wide x 44cm (17 3/8in) deep.

￡20,000 - 30,000

CNY180,000 - 270,000

十七/十八世紀(jì) 黃花梨圓角櫃

Provenance: Klas E B??k (1909-1980), Sweden, acquired during his

service as Swedish Ambassador to Beijing, 1956-1961, and thence

by descent

來(lái)源：Klas E B??k (1909-1980)，瑞典，在擔(dān)任瑞典駐北京大使期

間獲得，1956-1961，並由後人保存迄今。

A related huanghuali, burlwood and nanmu round-corner cabinet,

late 16th-early 18th century, in the Haven Collection, University

Museum, Hong Kong, is illustrated by Chu Pak Lau, Classical Chinese

Huanghuali Furniture, Hong Kong, 2016, p.227, no.54. See also

a related pair of huanghuali and burlwood cabinets, 17th century,

illustrated by R.H.Ellsworth, Chinese Furniture, New York, 1970,

pl.122.

A related huanghuali round-corner cabinet, 18th century, was sold at

Bonhams London, 13 May 2021, lot 17.

122 | 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.

70 * TP Y

A HUANGHUALI YOKEBACK ARMCHAIR, NANGUANMAOYI

17th/18th century

The chair with a curved crest rail supported on curved rear posts and

a s-shaped splat, the arm rails supported on slender, tapering standing

stiles terminating in the front posts above the soft-mat seat supported

by a board, all above a plain apron of square section and raised on

legs of square section joined by straight stretchers and a plain footrest.

113.5cm (44 5/8in) high x 44cm (17 3/8in) deep x 58cm (22 7/8in) wide.

￡40,000 - 60,000

CNY360,000 - 550,000

十七/十八世紀(jì) 黃花梨高靠背南官帽椅

Provenance: Klas E B??k (1909-1980), Sweden, acquired during his

service as Swedish Ambassador to Beijing, 1956-1961, and thence by

descent

來(lái)源：Klas E B??k (1909-1980)，瑞典，在擔(dān)任瑞典駐北京大使期

間獲得，1956-1961，並由後人保存迄今。

124 | BONHAMS

According to Sarah Handler, the Chinese yokeback chair was

considered the stately seat of Buddhists, deities, royalty and important

people; see S.Handler, Austere Luminosity of Chinese Classical

Furniture, Hong Kong, 2001, p.43. Discussing the origin of this

form, Robert Jacobsen and Nicholas Grindley refer to bent bamboo

construction, popular in the Song and Ming dynasties, as a possible

inspiration for the continuous top and arm rails which is a principal

feature of ‘Southern official’s hat’ armchairs. An illustration from the

‘Legend of the Jade Hairpin’ Yuzan Ji, dated circa 1570, depicts a

pair of speckled-bamboo tall-back chairs with continuous crestrails;

see R.Jacobsen and N.Grindley, Classical Chinese Furniture in the

Minneapolis Institute of Arts, Minneapolis, 1999, pp.52-53.

Compare with a pair of very similar huanghuali ‘Southern official’s

hat’ armchairs, early 17th century, of similar proportions and shaped

aprons and spandrels as the present examples, in the Minneapolis

Institute of Arts, illustrated by R.Jacobsen and N.Grindley, Classical

Chinese Furniture in the Minneapolis Institute of Arts, Minneapolis,

1999, pp.52-53.

See also another nearly-identical pair of huanghuali ‘Southern official’s

hat’ armchairs, 17th century, which was sold at Bonhams London,

13 May 2021, lot 14.

Characterised by restrained lines and generous yet balanced

statuesque proportions, and enhanced by the rich lustre of the

huanghuali honey-coloured wood, the present chair embodies

the search for simplicity through the beauty and elegance of form,

important requirements of the timeless aesthetic taste of the Ming

dynasty.

The ‘Southern official’s hat’ armchair is one of the most prestigious

forms of Chinese furniture. Whereas many armchairs of this form

displayed members and rigid lines, the present lot has slender and

elegant curves. The entirely uncarved surfaces also suggests that the

carpenter appreciated their beauty in form and material. The particular

design for nanguanmaoyi chairs differs from the ‘official’s hat’ armchair

guanmaoyi in that the crestrails continue into the back posts, as

opposed to extending horizontally beyond them. In addition, creating

the continuous line of the crestrail joining into the rear upright posts

was achieved by a rounded, right-angle joint called a ‘pipe-joint,’ which

is also used to join the curved arms to the front upright posts.

Side view

126 | BONHAMS

Lot 70 (detail)

The Dag Malm Cabinets

Lot 71 (detail)

World War broke out. In 1947 Dag Malm was employed as an attaché in the Foreign Ministry

and had placements in Washington D.C., Tokyo (late 1940s), Beijing (circa 1950-1953) and

New York. In 1964–1967 he served as Ambassador in Kinshasa. Malm was appointed Head

of Office at the Swedish Committee of Foreign Affairs in 1971, and in 1975 he was Inspector

of the foreign administration and Head of Expedition/Head of the Ministry of Foreign Affairs’

administrative department 1978–1981. In 1981-1988 he was Ambassador in Vienna. After his

retirement, he settled down in S?dermanland. According to his life-partner, Hans Arvidson, the

pair of cabinets was acquired when Mr Dag Malm was posted in Beijing.

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

71 * TP Y

A PAIR OF FINE HUANGHUALI ROUNDCORNER CABINETS, YUANJIAOGUI

18th century

Each with a rounded-edged cabinet top

between narrow flat bands, resting on four

recessed slightly splayed stiles, the front with

a pair of single-panel doors, each within a

frame and fitted with a metal plate with a

lock receptacle and door pull, and above a

stretcher and plain shaped apron, the side

aprons similarly left plain, the interior divided

into three compartments and a pair of

drawers.

141.5cm (55 3/4in) high x 74.5cm (29 1/2in)

wide x 37cm (14 1/2in) deep (2).

￡40,000 - 60,000

CNY360,000 - 550,000

十八世紀(jì) 黃花梨圓角櫃一對(duì)

Provenance: Ambassador Dag Malm (1923-

2008), Sweden, acquired in Beijing, and

thence by descent

來(lái)源: Dag Malm (1923-2008)大使，瑞典，

從北京獲得，並由後人保存迄今

Dag Malm was born in 1923 in Rahlstadt,

Germany. His father was a Swedish

businessman operating in Argentina and his

mother Norwegian. He grew up in Germany

but moved to Sweden when the Second

130 | BONHAMS

Cabinets of this style are commonly known

as yuanjiaogui, or ‘round-corner cabinets’,

and were highly esteemed by the literati

during the Ming dynasty. The featured piece

showcases the ingenious and aesthetically

pleasing design characteristic of classical

Chinese furniture, achieved through the

skilful integration of flat surfaces and rounded

elements, as well as the incorporation of four

recessed stiles gently sloping outward from

the top corners. As observed by G.N. Kates,

Chinese Household Furniture, New York,

1948, p.32, these cabinets demonstrate the

craftsmen’s remarkable ability to manipulate

rigid wood with such mastery that the

observer perceives the design as if it were

alive and dynamic. This classic Ming style

continued in popularity well into the 18th and

19th century.

For a Ming period example from which the

present lot borrows heavily in style, see a

similar pair of cabinets, late Ming/early Qing

dynasty, but also without a central stile, in the

collection of Dr S.Y. Yip, illustrated by G.Wu

Bruce, Dreams of Chu Tan Chamber and the

Romance with Huanghuali Wood: The Dr. S.Y.

Yip Collection of Classic Chinese Furniture,

Hong Kong, 1991, no.47. The absence of

a central stile in the present pair of cabinets

indicates that the doors were likely not

intended to be fastened with locks.

See a slightly smaller single huanghuali

cabinet, 18th/19th century, which was sold

at Christie’s London, 7 November 2017, lot

188. See also a single huanghuali cabinet,

19th century, also without a central stile, 19th

century, which was sold at Sotheby’s New

York, 17 September 2016, lot 1002.

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 term for a side table in Chinese is banzhuo (半桌), which translates

literally to ‘half table.’ This term derives from its dimensions, being

approximately half the size of an ‘eight Immortal table’ (八仙桌). A

side table may function independently to display objects, serve as a

complement to form an ‘eight Immortal table’ when paired, or extend

the length of a square table. Compare with a similar huali table, 1550-

1650, in the collection of the Victoria and Albert Museum, illustrated by

C.Clunas, Chinese Furniture, London, 1988, p.48, pl.33.

72 W Y

A HUANGHUALI WAISTED CORNER-LEG RECTANGULAR SIDE

TABLE, BANZHUO

Late 16th/early 17th century

The two-board floating panel top of standard mitre, mortise and tenon

frame supported by three dovetailed transverse stretchers underneath,

set within a frame decorated with grooved edge, above a recessed

waist, a beaded-edged apron, and beaded legs of square section

terminating in hoof feet, each hoof foot carved on the outside in the

shape of a leaf and joined by hump-back shaped stretchers.

79.8cm (31 3/8in) high× 93.9cm (37in) long× 47cm (18 1/2in) deep.

￡30,000 - 50,000

CNY270,000 - 460,000

十六世紀(jì)晚期/十七世紀(jì)早期 黃花梨有束腰卷草紋馬蹄足半桌

Provenance: Grace Wu Bruce, Hong Kong, 12 September 1997

來(lái)源：香港古董商Grace Wu Bruce, 1997年9月12日

This table embodies the elegant simplicity of the classical Ming style

which perfects minimalism by using the least amount of material to

achieve both maximum function and aesthetic pleasure. The aesthetic

value of the present lot is further heightened by the intricate design

of the leaves adorning the hoof feet. Compare with a very similar

huanghuali waisted corner-leg side table with the similar decoration of

leaves on the hoof feet, 17th century, which was sold at Christie’s New

York, 23 March 2012, lot 1733.

132 | 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.

73 Y TP

A TIELIMU LOW-BACK CHAIR, MEIGUIYI

Mid-Qing Dynasty

With rounded corner top rail and arm rests, hidden mortise and

tenoned to the stiles running through the seat to become the front and

back legs, the back apron plain and resting on a horizontal stretcher

tenoned to the back rails and front posts and to the seat by two pillar

struts, the seat of standard mitre, mortise-and-tenon construction

drilled for a soft seat with two transverse stretchers and joined to the

shaped and beaded apron extending on the sides of the front rails and

resting on the foot rest, the plain, u-shaped side and back aprons set

above stepped stretchers.

82.5cm 32 1/2in) high x 66.4cm (26 2/8in) wide x 42.3cm

(16 5/8in) deep.

￡3,000 - 5,000

CNY27,000 - 46,000

清中期 鐵梨木玫瑰椅

The origins of low back arm chairs can be traced back to the Song

dynasty, when chairs crafted from a single piece of bamboo featured

back and side panels of equal height; see R.Jacobsen, Classical

Chinese Furniture in the Minneapolis Institute of Arts, Minneapolis,

1999, p.66, nos.15-18 on page 66; see also S. Handler, ‘Roses,

Bamboo and the Lowback Armchair’, in Orientations, vol.29, no.7,

1998, p.12.

Compare with a related pair of huanghuali meiguiyi chairs, 17th/18th

century, which was sold at Bonhams New York, 12 September 2016,

lot 6008.

134 | 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.

74

A LARGE CIZHOU ‘PHOENIX’ JAR

Yuan/Ming Dynasty

Of globular form rising to broad shoulders and a short neck, the

stoneware body painted with a cream slip, painted in brown with two

large quatrefoil panels enclosing two phoenixes in flight amidst clouds,

the shoulder painted with a broad floral band and a band of geometric

pattern, the interior painted with a brown slip, the recessed foot

unglazed, with fitted case.

37.5cm (14 3/4in) high. (2).

￡5,000 - 8,000

CNY46,000 - 73,000

元/明 磁州窯白地黑花鳳紋大罐

Provenance: Brian McElney OBE (1932-2023), Bath

來(lái)源：大英帝國(guó)官佐勳章獲勳人麥雅理(1932-2023)，巴斯

The result of Oxford Authentication Ltd. thermoluminescence

test no.P123b85 dated 31 March 2023, is consistent with the

dating of this lot.

本拍品經(jīng)牛津熱釋光檢測(cè)編號(hào)P123B85（2023年3月31日），

結(jié)果與其斷代相符

The present jar is typical of the robust qualities of Yuan dynasty

Cizhou wares. The dynamic designs exhibit powerful and free-moving

brushwork. Compare with a similar painted Cizhou ‘dragon and

phoenix’ jar, Yuan dynasty, in the Palace Museum, Beijing (acc.no.新

00155616). See also a related Cizhou jar, Yuan dynasty, illustrated by

S.G.Valenstein, A Handbook of Chinese Ceramics, London, 1989,

pl.139, p.144.

Compare also with a similar large painted Cizhou ‘dragon and phoenix’

jar, Yuan/Ming dynasty, which was sold at Sotheby’s New York,

20 March 2019, lot 642.

FINE CHINESE ART | 135

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.

75

75

A GROUP OF FOUR ARCHAIC BELT HOOKS

Eastern Zhou/Han Dynasty

Comprising a large iron belt hook, inlaid in gold and silver with

geometric patterns, 25.3cm (10in) long; a bronze belt hook inlaid in

silver with archaic and abstract patterns, 13.4cm (5 1/4in) long; a

bronze belt hook inlaid with turquoise, silver and gold forming a pattern

of ovoid lozenges, 19cm (7 1/2in) long; a bronze belt hook decorated

with turquoise stones and traces of gilt, 18.8cm (7 3/8in) long; each

cast with a beast-head finial and a raised button on the reverse of the

arched body. (4).

￡4,000 - 6,000

CNY36,000 - 55,000

東周/漢 錯(cuò)金銀鐵帶鉤 錯(cuò)銀銅帶鉤 鎏金嵌綠松石帶鉤 及錯(cuò)金銀嵌綠

松石銅帶鉤 一組四件

Originally used by the Northern grassland ethnic groups, belt hooks

entered the Central Plains during the Spring and Autumn period.

They soon became popular among the elites, evolving into a symbol

of social status by the Warring States period. Compare the bronze

belt hook inlaid in silver with a similar one, Warring States, illustrated

in The Complete Collection of Bronzes Unearthed in China: Henan II,

vol.10, Beijing, 2009, p.463, pl.505. See four related belt-hooks, Zhou

dynasty, illustrated by P.K.M. Kwok, Dialogue with the Ancients: 100

Bronzes of the Shang, Zhou, and Han Dynasties, Hong Kong, 2018,

pp.346-352.

See also a related silver-inlaid bronze belt hook, Warring States Period,

which was sold at Bonhams London, 9 May 2022, lot 265.

76

A GROUP OF ELEVEN ARCHAIC JADE ORNAMENTS

Neolithic Period to Han Dynasty

Comprising: four jade beads of cylindrical form, each centred by an

aperture drilled vertically, the stones of reddish brown and celadon

with brownish veins; a pair of chicken-bone circular tubes, each of

cylindrical form drilled vertically to allow stringing; a jade disc, bi, drilled

to the centre with an aperture and incised with a dragon to each side;

a smaller plain jade disc, bi, centred with an aperture, the stone of

brownish tone with darker veins; a pair of bell-shaped pendants, the

knops perforated for suspension; a jade awl-shaped ornament of

rectangular shape tapering to a pointed end, surmounted by a knop

perforated for suspension; a jade fish carved in an arc with incised fins

and a pierced eye; and a jade seal with a square base and trapezoidal

top pieced for suspension purpose.

The chisel: 8.1cm (3 1/8in) long (11).

￡4,000 - 6,000

CNY36,000 - 55,000

新石器時(shí)期至漢 玉勒子、玉璧、玉佩、玉魚(yú)、玉方印及錐形玉器 一

組十一件

During the Qin and Han dynasties, the style of jade seals was often

simple and concise, adopting a inverted funnel shape where the upper

part is smaller than the lower part. As seen in the present lot, to save

effort and prevent the top from being damaged, the holes of Qin and

Han jade seals were always drilled slightly downward from both ends,

resulting in an outer-large-inner-small shape. See a similar jade seal,

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

Taipei (acc.no.故玉000116N000000000).

136 | 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.

77

76

77

A JADE DISC, BI

Neolithic period

Of flattened circular form centred with an aperture drilled from one

side, carved from mottled celadon stone shading to dark green with

black veins, plastic display stand.

17.2cm (6 3/4in) diam. (2).

￡2,000 - 3,000

CNY18,000 - 27,000

新石器時(shí)期 青玉素面玉璧

See a related jade disc of the similar size, bi, Qijia culture, excavated

in Gansu province, illustrated by Gu Fang, The Complete Collection of

Jades Unearthed in China, vol.15, Beijing, 2015, p.6.

Compare with a related celadon jade disc, bi, Neolithic period, which

was sold at Sotheby’s Hong Kong, 5 December 2023, lot 719.

See a related jade rectangular seal, Western Han dynasty, which was

sold at Christie’s Hong Kong, 29 November 2022, lot 2745.

Archaeological reports suggest that the awl-shaped ornaments

were used as hair ornaments for noble males. When the awl-shaped

ornaments were unearthed, their pointed ends faced outward. See a

group of nine similar awl-shaped ornaments, Neolithic period, Liangzhu

culture, illustrated in Liangzhu yuqi 良渚玉器, Beijing, 2018, p.82.

Fish-shaped jade was a predominant jade type from late Shang to

early Western Zhou. See five related jade fish pendants, from Shang

to Western Zhou period, illustrated by J. Rawson, Chinese Jade: From

the Neolithic to the Qing, London, 1995, pp.228-229.

Jade discs of the present originally were employed as ritual

implements, and subsequently might have been cherished as

antiquities, passed down among collectors throughout dynasties.

The dragons on the larger jade bi should be carved later. See a related

plain bi, c.2000-1500 BC, illustrated by J. Rawson in Chinese Jade

from the Neolithic to the Qing, London, 1995, pp.157-158, pl.7:8.

See a related group of jade ornaments, Neolithic period to Han dynasty,

which was sold by Bonhams Hong Kong, 30 May 2017, lot 11.

FINE CHINESE ART | 137

Property From A Princely Collection 王子藏品

Lots 78 - 91

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.

78

79

78 *

AN IRON BLADE AND JADE GUARD

Late Warring States/ Western Han Dynasty

The jade guard connected to the remnants of an iron blade and a

fragment of the wooden hilt, each side intricately carved in low relief with

a taotie mask, adorned with hatched details, the semi- translucent stone

with an olive-brown hue, stand.

29.8cm (11 3/4in) long. (2).

￡4,000 - 6,000

CNY36,000 - 55,000

戰(zhàn)國(guó)晚期/西漢 鐵劍配饕餮紋玉劍珌

Provenance: D. David-Weill (1871-1952), no. 3058 (by repute)

Sotheby’s London, February 1972, lot 57

A Western private collection

Roger Keverne Ltd., London, May 2008

A Princely collection

來(lái)源： D. David-Weill (1871-1952)，編號(hào)3058（據(jù)傳）

倫敦蘇富比，1972年2月，拍品編號(hào)57

西方私人收藏

倫敦古董商Roger Keverne, Ltd.，2008年5月

王子藏品

David David-Weill (1871-1952) was a French American banker,

philanthropist, and art collector known for his significant contributions to

the cultural and financial spheres of France. Born into a wealthy banking

family, David-Weill pursued a successful career in finance, eventually

becoming the head of the prestigious Banque Lazard. Alongside his

professional endeavours, he amassed an extensive art collection.

Twelve long swords were found in the tomb of the King of Nanyue (died

circa 122 BC), placed next to the body, of which five were fitted with

jade accessories, some of which were still attached to the blades: see

P.Y.K.Lam, Jades from the Tomb of the King of Nanyue, Hong Kong,

1991, nos. 71, 83, 88 and 91.

Compare with a very similar jade guard (zhi), Warring States Period, in the

Qing Court Collection, illustrated in The Complete Collection of Treasures

of the Palace Museum: Jadeware I, Hong Kong, 1995, p.204, no.171.

See a related archaic beige jade sword guard, Western Han dynasty, with

remnants of the iron sword still attached, which was sold at Bonhams

London, 7 June 2021, lot 425.

79

A RARE GOLD AND BONE-INLAID COMB

Tang Dynasty or earlier

Of wide U-shape with finely cut bone teeth, the gold upper section with

cloisons in geometric patterns, some with stone inlay.

4.2cm (1 5/8in) wide.

￡800 - 1,000

CNY7,300 - 9,100

唐或更早 金花纍絲寶鈿梳

Provenance: Jules Speelman, London, 2008

A Princely collection

來(lái)源: 倫敦古董商Jules Speelman，2008年

王子藏品

Compare with a related jade and gold comb, Eastern Han dynasty, in

the Metropolitan Museum of Art, New York, (acc.no.2004.322). See

also a gold ornament plaque with related ‘cloisons’, Han dynasty to Six

Dynasties period, in the Metropolitan Museum of Art, New York

(acc.no.20.50).

140 | 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.

Another very similar Yixing stoneware

model of a mythical beast, Qianlong,

is in the Qing Court Collection and

is illustrated in Yixing Zisha Wares in

the Palace Museum, Beijing, 2009,

p.234, pl.143. Objects crafted from

Yixing clay held special significance

for the Court during the Yongzheng

and Qianlong eras. According to the

Archives of Imperial Workshops and

Court Inventories of the Qing dynasty

(Qinggong zaobanchu gezuo chengzuo

huojidan), in the forty-eighth year of the

Qianlong reign (1783), the Qianlong

Emperor commissioned the Imperial

workshop to create a matching wooden

stand for an Yixing stoneware mythical

beast presented by the eunuch E’leli.

80 *

AN YIXING STONEWARE MODEL OF A

MYTHICAL BEAST

Qianlong

Exquisitely modelled in a crouched position

with knobbly spine extending down to a bush

tail, the mouth agape and teeth exposed, its

keen eyes glazed in a lustrous deep black,

while the teeth and claws glimmer in white,

with meticulously incised fur covering its body,

the stoneware body of a soft, pale brown hue.

8cm (3 1/8in) long.

￡4,000 - 6,000

CNY36,000 - 55,000

清乾隆 段泥小異獸

Provenance: Mr & Mrs Gerard Hawthorn,

London

Bonhams Hong Kong, 28 November 2011, lot 207

A Princely collection

來(lái)源： 倫敦Gerard Hawthorn伉儷

香港邦瀚斯，2011年11月28日，拍品編號(hào)207

王子藏品

Image courtesy of The Palace Museum, Beijing

FINE CHINESE ART | 141

Lot 81 (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.

81 *

AN EXCEPTIONAL YIXING STONEWARE SLIP-DECORATED

BRUSHPOT, BITONG

Yang Jichu three-character seal-mark, Qianlong

The cylindrical vessel with straight sides finely decorated around the

exterior with a thatched pavilion on stilts above a body of water, a

bridge links the pavilion to the land with a large craggy rock and willow

tree with moulded bark, the pavilion with a screen and jars, a scholar

on a daybed gazing over the water with lilies and ducks tended to by a

man on a sampan.

18.3cm (7 1/4in) diam.

￡120,000 - 150,000

CNY1,100,000 - 1,400,000

清乾隆 段泥彩繪羲之觀鵝圖筆筒

「楊季初」篆書(shū)款

Provenance: Hugh M. Moss Ltd., 1970s

Mr & Mrs Gerard Hawthorn, London

Bonhams Hong Kong, 28 November 2011, lot 208

A Princely collection

Illustrated: P.Moss, ‘I-Hsing-Tea-Taste’, Journal of the International

Chinese Snuff Bottle Society, vol.10, no.3, September 1978, p.10,

fig.17.

來(lái)源：古董商Hugh M. Moss Ltd.，1970年代

倫敦Gerard Hawthorn伉儷

香港邦瀚斯，2011年11月28日，拍品編號(hào)208

王子藏品

著錄：P.Moss，《I-Hsing-Tea-Taste》，《Journal of the

International Chinese Snuff Bottle Society》，第10冊(cè)，編號(hào)3

，1978年9月，第10頁(yè)，插圖17。

144 | BONHAMS

It is extremely rare to see an Yixing stoneware brushpot adorned with

coloured slip decoration, and the present lot stands out as one of

the finest documented examples of its kind. A brushpot with nearly

identical decoration is in the Palace Museum, Beijing, but with a sixcharacter Qianlong seal mark rather than the Yang Jichu seal mark,

illustrated in Yixing Zisha Wares in the Palace Museum, Beijing, 2009,

p.184, pl.103. The Palace Museum brushpot is speculated to have

been crafted as an Imperial tribute piece or commissioned personally

by the Qianlong Emperor himself. Another Yixing stoneware brushpot

bearing Yang Jichu’s mark is also in the Palace Museum, Beijing,

illustrated in Ibid., p.186, pl.104.

Yang Jichu is recorded in the Chongkan jingxi xianzhi (重刊荊溪縣志),

or The Republished Jingxi Gazetteer and gained renown for his

exceptional craftsmanship in creating Yixing stoneware brushpots,

particularly those adorned with slip decoration, during the Yongzheng

and Qianlong reigns. The current brush pot, with its pale golden hue,

provides an ideal canvas for landscape painting, drawing parallels

between the stoneware vessel and traditional silk or paper artworks.

146 | BONHAMS

The composition evokes a sense of tranquillity, accentuated by details

like wine jars, a white screen, and a rattan curtain. Symbolic elements

such as the thatched roof and overhanging willow and cypress trees

add to the idyllic imagery, epitomising the literati’s yearning for escape

and communion with nature. The present lot depicting a scholar

gazing out at geese could be a reference to Wang Xizhi (317-420 AD),

revered as the ‘Sage of Calligraphy’ in Chinese culture. Legend has it

that Wang observed the graceful movements of geese’s necks, which

inspired him to wield the brush in a similar way to create his calligraphy.

However, the decoration on the present lot is close to that of a painted

album leaf Landscape with Pavilion and Willows, attributed to Shen

Zhou (1427-1509) in the Metropolitan Museum of Art, New York,

although the geese are absent in the painted album.

Further Yixing brushpots adorned with slip-painted landscapes on a

dark background and stamped with Yang Jichu’s seal are in both the

Suzhou Museum and the Yangzhou Museum, illustrated in Zhongguo

taoci quanji- 23-Yixing, Tokyo and Shanghai, nos. 24 and 70.

See a similar Yixing stoneware slip-decorated brushpot, signed Yang

Jichu, Qianlong period, which was sold at Christie’s New York, 22

March 2012, lot 1246. And another also signed Yang Jichu, Qianlong,

which was sold at Christie’s Hong Kong, 1 June 2016, lot 3374.

FINE CHINESE ART | 147

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.

82 *

AN YIXING STONEWARE RECTANGULAR TEAPOT AND COVER

Qianlong

Crisply potted with rectangular body applied with a spout of square

section set opposite a rectangular handle, the skilfully fitted cover of

flat rectangular form surmounted by a small square loop-handle, the

stoneware of a rich reddish-brown with tiny paler flecks.

13cm (5 1/8in) wide. (2).

￡3,000 - 5,000

CNY27,000 - 46,000

清乾隆 朱泥方壺

Provenance: Mr & Mrs Gerard Hawthorn, London

Bonhams Hong Kong, 28 November 2011, lot 201

A Princely collection

來(lái)源： 倫敦Gerard Hawthorn伉儷

香港邦瀚斯，2011年11月28日，拍品編號(hào)201

王子藏品

The present lot, characterised by crisply defined square edges

meticulously crafted with precision, showcases a refined vermillion clay

texture that emanates a timeless sense of elegance and simplicity. See

a related rectangular vermillion clay Yixing teapot and cover, Qianlong

period, which was sold at Christie’s Hong Kong, 3 June 2015, lot 3359.

148 | BONHAMS