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A GILT-BRONZE GLASS AND MOTHER OF PEARL INLAID INCENSE BURNER AND COVER AND A VASEQianlongThe incense burner of rectangular form with upright lug handles, each side of the body and cover decorated with mother of pearl carved with bats and stylised chilong, the cover surmounted by a Buddhist lion, all supported on four flat blade-shaped legs issuing from dragon heads, 16.3cm (6 3/4in) high; the vase of flattened hu-form raised on a short foot, the sides decorated with mother of pearl carved with bats, chilong and geometric patterns, the waisted neck flanked by two s-shape handles, 12.5cm (4 7/8in) high; the outlines of both vessels inlaid with red and green glass stones. (3).Footnotes:清乾隆 銅鎏金嵌料石螺鈿扁瓶及香爐帶蓋 一組兩件The present incense garniture is inspired by the forms of archaic bronzes, which were extremely popular at the Qianlong Emperor's Court. See for example, a gilt bronze and semi-precious stone-inlaid incense burning set, Qing dynasty, in the Qing Court Collection, illustrated in Life in the Forbidden City of Qing Dynasty, Beijing, 2007, p.116. See also a small clock, similarly decorated, Qing dynasty, and part of a treasure box, illustrated A Garland of Treasures: Masterpieces of Precious Crafts in the Museum Collection, Taipei, 2014, p.172.A small related pastiche-glass embellished incense burner and cover, Qing dynasty, was sold at Sotheby's Paris, 16 June 2022, lot 140.Saleroom notices:Please note VAT will be charged at the prevailing rate on Hammer Price and Buyer's Premium †.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE DOUBLE-OVERALY GLASS 'EIGHT HORSES OF MUWANG' SNUFF BOTTLEYangzhou Seal school, 1850-1940Expertly formed of flattened globular shape surmounted by a narrow cylindrical neck, with a double overlay of cinnabar red on emerald green on pale café-au-lait ground, carved in high relief with the Eight Horse of Muwang beneath a pine tree, grazing and frolicking amidst pine trees and beneath the sun and the moon on the other side, jadeite stopper, ivory spoon. 6cm (2 1/4in) high. (2).Footnotes:The item within this lot containing ivory has been registered in accordance with the Ivory Act (Section 10). Ref.1N8BZBRQ該批次中含有象牙的物品已根據《象牙法案》（章節10）註冊Ref.1N8BZBRQ1850-1940 揚州派製米黃地套彩料駿馬圖鼻煙壺Provenance: Count Kurt Graf Blücher von Wahlstatt (1901-1975)Hugh M. Moss Ltd., Hong Kong, April 1969An English private collection, and thence by descentPublished and Illustrated: Hugh M. Moss, Snuff Bottles of China, London, 1971, p.115, no.235.來源：Kurt Graf Blücher von Wahlstatt伯爵 (1901-1975)香港古董商Hugh M. Moss Ltd.，1969年4月英國私人收藏，並由後人保存迄今著錄：Hugh M. Moss，《Snuff Bottles of China》，倫敦，1971，第115頁，編號235The 'Eight Horses of Muwang' or King Mu of the Zhou Dynasty, alludes to a folktale when the King dreamed of being an Immortal. According to the story, the King was determined to visit the heavenly paradise and taste the peaches of Immortality. A brave charioteer named Zaofu used his chariot to carry the King to his destination. During these travels the King's chariot was pulled by eight horses named after the colour of their hair. In other accounts, the horses' names reflected their unusual talents such as 'horse that gallops without touching the ground'.A closely related Yangzhou glass snuff bottle of similar colour scheme, but decorated with Buddhist lions, is illustrated by H.Moss, V.Graham and K.B.Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, vol. 5, Hong Kong, 2002, no.1013.See a related snuff bottle but with three sheep, 19th century, which was sold at Sotheby's Hong Kong, 28 November 2019, lot 507.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

A MAGNIFICENT AND LARGE GREEN JADE MYTHICAL BEASTQing DynastyThe imposing animal carved recumbent with large bulbous eyes beneath bushy brows, a wide mischievous grin revealing fangs, the accentuated spine terminating with the large bushy tail sweeping across its left haunch, its paws neatly tucked beneath the large body, the stone of mottled dark olive-green tone with russet veins. 32cm (12 1/2in) long; 8550g. Footnotes:清 青玉瑞獸Provenance: Milly von Friedländer-Fuld (1866-1943), Berlin (this lot is sold with the permission of the heirs of Milly von Friedländer-Fuld)Auktion Van Marle & Bignell, The Hague, 20-25 October 1941, lot 1384Kunsthandel v.Veen, AmsterdamSpink and Son Ltd., LondonBluett and Sons Ltd., London, 15 November 1984A British private collection, and thence by descentPublished, Illustrated and Exhibited: Chinesische Kunst, Berlin, 1929, p.394, no.1086Somerset House, 1979來源： Milly von Friedländer-Fuld (1866-1943)舊藏，柏林(該拍品經 Milly von Friedländer-Fuld 繼承人許可出售)Auktion Van Marle & Bignell，海牙，1941年10月20-25日，拍品編號1384Kunsthandel v.Veen，阿姆斯特丹倫敦古董商Spink and Son, Ltd.倫敦古董商Bluett and Sons Ltd.，1984年11月15日英國私人收藏，並由後人保存迄今展覽著錄：《中國藝術》，柏林，1929年，第394頁，編號1086Somerset House, 1979年Milly Antonie von Friedländer-Fuld was born in the Netherlands in 1866, the daughter of the banker Elias Jacob Fuld and his wife Lina. Her father, a native of Frankfurt, ran the Amsterdam bank Becker & Fuld together with Carl Becker, which maintained close ties with the Rothschild Bank in Frankfurt. According to a list from 1913, the family was one of the wealthiest families in Germany. The family's town house on Pariser Platz was furnished in a manner befitting its status and contained a constantly growing art collection, which was later to include paintings by van Gogh, Picasso, Gauguin, but also by French Impressionists such as Manet and Monet, which belonged to her daughter Marie-Anne von Goldschmidt-Rothschild. Milly's husband, Fritz von Friedländer-Fuld was known for his collection of gold and silver objects, such as rare boxes, nécessaires, flacons and watches, parts of which he had exhibited in Berlin in 1906. The present lot was loaned by Milly von Friedländer-Fuld and exhibited in the seminal Chinesische Kunst exhibition of 1929 in Berlin. This exhibition was amongst the first major exhibitions of Chinese art in Europe. It included 1270 works of art, on loan from some of the greatest museums such as the Asian Art Museum in Berlin, the Louvre and Guimet in Paris, the Rijksmsueum in Amsterdam, the National Museum in Stockholm, as well from some of the leading collectors and dealers such Adoplhe Stoclet, George Eumorfopoulos and C.T. Loo, to name a few. After her husband's death in 1917, Milly Antonie von Friedländer-Fuld initially moved to the Netherlands and France. However, the palace and its inventory remained in the family and was used by her as well as her daughter Marie-Anne von Goldschmidt-Rothschild and her family, who still resided there in June 1938. Following Hitler's rise to power, the palace was forcibly sold to Albert Speer, on behalf of the German Reich, and much of the family's property was seized. In August 1939 ten trucks left Berlin with inventory and art objects to Amsterdam for storage at De Gruyter & Co. - likely also including the present lot. These were later seized as well and similarly to the fate of the objects in Palais Friedländer in Berlin, were sold at auction between 1941 and 1942. After the occupation of the Netherlands by the Germans, Milly Antonie von Friedländer-Fuld fled to France, and died in Cannes in 1943. The jade mythical beast which was sold in The Hague at Marle & Bignell in October 1941 to a Dutch dealer, made its way to the UK and sold through London dealers Spink & Son and Bluett's & Sons to a British collector. It is now sold with the agreement of the British collector's family and the heirs of Milly Antonie von Friedländer-Fuld.The present lot is remarkable for its extremely large size (32cm long) and weight (8.55kg) and anthropomorphic face. Large jade animal carvings include both animals and mythical beasts; the former such as water buffaloes, horses and elephants and the latter, mythical creatures such as Buddhist lions, qilin and luduan. See for example S.C.Nott, Chinese Jade Throughout the Ages, London, 1975, pls.241, 391, 392, 394, 395 and 397. See also a pale green and russet jade carving of a bixie, Ming dynasty, with closely related humanoid face, which was sold at Bonhams London, 17 May 2012, lot 25.It is extremely rare to find animals and beasts of such striking size, and although widely published and much admired, exceptionally large jade animals such as the present lot, in fact, form a very select and unusual group within the tradition of Chinese jade carving. Usually carved with great sensitivity and naturalness, such pieces have been traditionally dated to the late Ming to early Qing period, based upon a number of factors: the similar mid-green or occasionally greyish colour of the pieces suggest that they were sourced before the quelling of Xinjiang in 1759 gave access to fine and large raw jades sent in as tribute from the new vassal region. See a large jade figure of a horse, late Ming/early Qing dynasty, illustrated by J.Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, pl.26:20, and also a large jade buffalo, late Ming or Qing dynasty, illustrated in Ibid, pl.26:19.For further information on this lot please visit Bonhams.com

A RARE 'CRANE-CRY AUTUMN MOON' STYLE LACQUERED 'HUNDRED-PATCH' GUQINMing DynastySuperbly constructed with the top section made of patches of wutong wood cut hexagonally imitating Buddhist patchwork vestments, the lower section of zimu, the flat elongated body with waisted bulbous central section, the top with thirteen inlaid mother-of-pearl studs (hui), seven strings threaded through tasseled wood pegs (qinzhen) running over the top and tied to either of the two button-like 'goose-feet' (yanzu) on the back, with two rectangular openings, the large one termed 'dragon pool' (longchi), with a seal, and the smaller 'phoenix pond' (fengzhao), all covered in mottled red and black lacquer, metal case and packets of strings. 122.5cm (48 1/4in) long. (3).Footnotes:明 鶴鳴秋月式百衲琴Provenance: Cecilia Lindqvist (1932-2021), Stockholm, acquired in Beijing in 1962Published and Illustrated: C.Lindqvist, Qin, Beijing, 2017, p.33來源：林西莉（1932-2021），斯德哥爾摩，在1962年獲得於北京著錄：林西莉，《古琴》，北京，2017年，第33頁Cecilia Lindqvist was a famous Swedish sinologist and musician of the guqin. She was born in Lund, Sweden, in 1932, and had long held a fascination with China and its ancient history. She first visited China when she was 28 with letters of recommendation including one from the King of Sweden. It was there that she learnt to play the guqin in 'Beijing Guqin Research Association' (北京古琴研究會) under the tutelage of Wang Di. She wrote in the preface to her book Qin:In the early spring of 1961 I saw a Chinese qin at close quarters for the first time. It was lying in front of me on a wooden table in a bare classroom at the University of Peking. Seven strings of tightly twisted silk stretched over a sound box made of black lacquered wood. After a certain amount of difficulty I had managed to get hold of a Chinese student who had promised to try to teach me the basics of playing the qin, and we were due to have our first lesson. He had brought his instrument with him. It dated from the Ming dynasty (1368-1644), and had been passed down through his family since that time.When I touched one of the strings, the tone that was released made the whole room vibrate. It was as clear as silver, but remarkably it also had a kind of metallic dullness, as if the instrument were made not of wood, but of bronze. During the years which followed it was precisely the tone of the instrument that captivated me the most, from the finest bell-like tones or fanyin, 'the floating sounds' as they are called in Chinese – delicate as the sound of the tiny temple bells right on the edge of the roof timbers when the wind gently stirs them – to the vibrating depths of the thick bass strings.The present lot was given to her by the 'Beijing Guqin Research Association' as a gift, which was of great significance to her career as a musician and sinologist. In her own words, 'this qin, and the people that I met in the Beijing Guqin Research Association are the important reasons why I write this book (Qin)'. She included the present lot in her monograph on qin as an example of the 'hundred-patch' qin (百衲琴) that is made of many hexagonal wutong wood sections and requires a high level of adhesive technique to enable an impeccable sound. See Cecilia Lindqvist, Qin, Beijing, 2017, pp.30-33. Apart from the rare 'hundred-patch' construction, its rare shape is known as 'Crane-cry Autumn Moon' (鶴鳴秋月), as it was said to resemble a crane with its wings tucked and standing upright. Compare with a related 'crane-cry Autumn Moon' style guqin, Ming dynasty, in the Hunan Provincial Museum, cited in 'Hunan sheng bowuguan guancang guqin zhi kaobian yu yanjiu (zai xu), Hunan sheng bowuguan guankan, 4, 2007, pp.424-428. See a 'Confucius-style' huanghuali and zitan 'hundred-patch' guqin, Ming dynasty, which was sold at Bonhams Hong Kong, 1 December 2020, lot 13.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A VERY RARE CLOISONNÉ-ENAMEL AND GILT-BRONZE WINE EWER AND COVERJiajing incised six-character mark and of the periodThe oviform tall slender body enamelled on one side with a blue-bodied flying crested mythical phoenix with yellow-tipped wing feathers, the other side with a similar yellow phoenix with blue wing tips, all on a dark turquoise ground enriched with densely scrolling simple flower heads on a gilt meander, the dome cover with eight brick-red lappets radiating from the bud finial. 17cm (6 3/4in) wide. (2).Footnotes:明嘉靖 掐絲琺瑯鳳紋執壺帶蓋「大明嘉靖年製」刻款Provenance: a Swiss private collection, and thence by descent來源：瑞士私人收藏，並由後人保存迄今Jiajing mark and period cloisonné ewers and covers are extremely rare. See a cloisonné-enamel bowl, however, decorated with a similar pair of phoenix and scrolling lotus, with similar Jiajing incised six-character mark and period, illustrated by H.Brinker and A.Lutz, Chinesisches Cloisonné: Die Sammlung Pierre Uldry, Zurich, 1984, no.70. See also a cloisonné-enamel ewer and cover, 16th century, but decorated with lions, illustrated in Ibid., no.98.Compare with a related cloisonné-enamel and gilt-bronze 'Buddhist lions' ewer, 16th century, which was sold at Bonhams London, 12 May 2022, lot 100.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

FOUR PORCELAIN SNUFF BOTTLES18th/19th centuryComprising of a small red-glazed globular snuff bottle surmounted by a waisted flaring neck, the recessed turquoise base with Qianlong seal mark and probably of the period, metal stopper with hardstone-inlay and ivory spoon, 3.5cm (1 3/8in) high; the second snuff bottle of tall cylindrical form carved around the exterior with two Buddhist lions amidst billowing clouds, all covered in a lime-green glaze, coral stopper and ivory spoon, 7cm (2 3/4in) high; the third snuff bottle of famille rose palette, moulded as a lotus leaf issuing small buds, coral stopper and ivory spoon, 6cm (2 3/8in) high; the fourth, a famille verte bottle with a flattened globular body carved in relief on one side with a gentleman resting beneath a willow tree beside a boy dragging a goat, the other side with jagged rocks issuing gnarled branches and a pine tree, 6.5cm (2in) high. (7).Footnotes:十八/十九世紀 瓷胎鼻煙壺 一組四件The items within this lot containing ivory have been registered in accordance with the Ivory Act (Section 10). Ref.MSKHKBTD, 7Z2XU9YB, GTEFVGLU該批次中含有象牙的物品已根據《象牙法案》（章節10）Ref.MSKHKBTD, 7Z2XU9YB, GTEFVGLUProvenance: Christie's London, 14 June 1971, lot 61 (the red glazed snuff bottle)Marchant and Son, London, May 1969 (the lotus snuff bottle)Arthur Gadsby, Hong Kong, March 1970 (The lions snuff bottle)來源：倫敦佳士得，1971年6月14日，拍品編號61（珊瑚紅釉鼻煙壺）倫敦古董商Marchant and Son，1969年5月（荷葉式鼻煙壺）香港古董商Arthur Gadsby，1970年3月（雙獅圖鼻煙壺）See a very similar lotus shaped snuff bottle, 19th century in the Palace Museum, Taipei, illustrated in Lifting the Spirit and Body: The Art and Culture of Snuff Bottles, Taipei, 2012, p.218. A similar famille rose lotus snuff bottle, 18th/19th century, was also sold at Bonhams London, 5 November 2020, lot 246.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

A LARGE SILK EMBROIDERED PANEL-INSET HONGMU SCREEN19th centuryThe large rectangular panel finely embroidered in multicoloured silk with a festive celebration featuring an official seated within an elegant pavilion beneath a pine tree, surrounded by Court ladies and the Hundred Birds, all set within an elaborate garden setting defined by shrubs of flowering peonies, prunus, bamboo and lingzhi, all issuing from pitted rocks below jagged mountains in the background, the reticulated frame and stand skilfully carved with lotus blooms and entwined scrolling foliage, set on recumbent Buddhist lion feet.Overall 164cm (64 1/2in) high x 99cm (39in) wide x 43cm (17in) deep.Footnotes:十九世紀 紅木框刺繡百鳥人物圖屏Provenance: a French private collection來源：法國私人收藏Compare with a related large blue-ground embroidered 'hundred-birds' panel set in a wooden screen, 19th century, which was sold at Christie's London, 6 November 2018, lot 319.This lot is subject to the following lot symbols: * TP Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com

TWO PAIRS OF FAHUA-GLAZED MODELS OF BUDDHIST LIONS16th centuryEach seated on its hindquarters, both looking to the left, one with its right leg resting on a smiling recumbent cub, the other with its left leg on a brocaded ball, all under a dark aubergine glaze, the mane, bushy tail and upper front leg glazed turquoise, on rectangular bases, wood stands, 33.5cm (13in) high; and two green-glazed roof tiles heavily modelled as crouching lions, one with a cub, the other with a ball, on hemispherical bases, 34cm (13 1/4in) high. (4).Footnotes:十六世紀 琺華釉獅子擺件兩對 一組四件Provenance: Ralph M. Chait Galleries, New York (aubergine and turquoise glazed pair)A European private collection來源：Ralph M. Chait Galleries，紐約 （紫釉和孔雀綠釉一對）歐洲私人收藏Models of lions were introduced to China from Central Asia as symbols of religious might, but have evolved to be seen as noble and divine creatures and protectors of the Truth. Typically modelled in pairs of a male and female lion, they also symbolise the yin and yang forces, as well as the auspicious wishes for unity and continuity.Compare with a related pair of fahua-glazed Buddhist lions, Ming dynasty, in The British Museum, London, illustrated by J.Harrison-Hall, Catalogue of Late Yuan and Ming Ceramics in the British Museum, London, 2001, nos.13:38 and 13:39.A related pair of fahua-glazed lions, Ming dynasty, was sold at Christie's New York, 21 March 2000, lot 319.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A LARGE FAMILLE VERTE 'BUDDHIST LION' DISHKangxiBrightly enamelled in turquoise, iron-red, apple-green, aubergine, yellow and brown with a large mythical beast standing on the edge of a terrace above wildly breaking waves, within three large heart-shaped panels of archaistic vessels on stands, alternating with three smaller panels each with a ferocious mythical animal, within a border of alternating trellis and flowerheads pattern. 35.5cm (13 3/4in) diam.Footnotes:清康熙 五彩開光瑞獸紋盤Provenance: Ralph M. Chait Galleries, New York, 19 November 1999A European private collection來源：Ralph M. Chait Galleries，紐約，1999年11月19日歐洲私人收藏Compare with a related famille verte dish decorated with similar lions, c.1700, illustrated by C.J.A.Jorg, Famille Verte: Chinese porcelain in Green Enamels, Lier, 2011, p.68, no.70. Another related dish with similar patterns and lappets, early 18th century, is illustrated in Ibid., p.49, no.42. A related famille verte 'Buddhist Lion' dish, Kangxi, was sold at Bonhams London, 18 May 2023, lot 152.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE LONGQUAN CELADON-GLAZED FIGURE OF BUDAIMing DynastyThe Laughing God heavily potted seated on a deeply-pierced rockwork throne plinth, wearing a translucent greyish-green robe, his bald head, bare protuberant stomach and feet all reserved in the biscuit fired dark brown, holding a rosary on his right knee. 22cm (8 1/2in) high.Footnotes:明 龍泉窯青釉布袋和尚坐像Provenance: Ralph M. Chait Galleries, New York, 2 November 2006A European private collection來源：Ralph M. Chait Galleries，紐約，2006年11月2日歐洲私人收藏The stories of Budai, the Laughing Buddha, centered on an eccentric, but much-loved Zen (Chan) monk who lived during the late Tang to early Five Dynasties period. A native of Fenghua, his Buddhist name was Qici or Qieci (literally 'Promise this') and he was known for working small wonders and predicting the weather.According to an accumulation of several Chinese legends, Budai is most commonly regarded as an incarnation of Maitreya Buddha (the Buddha of the Future). He is admired for his happiness, wisdom and contentment, and is associated with the protection of children.A similar Longquan celadon-glazed figure of Budai, Ming dynasty, in the collection of The British Museum, is illustrated by J.Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, p.502, no.16:98.Compare with two similar Longquan celadon-glazed figures of Budai, Yuan/Ming dynasty, which were sold at Sotheby's Hong Kong, 29 November 2018, lot 605 and Sotheby's New York, 14 September 2019, lot 1764.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A BRONZE FIGURE OF ASCETIC SHAKYAMUNI BUDDHA16th centuryHeavily cast and darkly patinated as the ascetic figure crouched on a flat base cast with the lower part of his robe, his hair in tightly knotted loops, his eyes downcast between large long ears emblematic of his formal wealth as a prince, his long fingers clasping his raised left knee, his rib cage heavily defined, wood stand. 14.5cm (5 3/4in) high. (2).Footnotes:十六世紀 銅達摩坐像Provenance: Ralph M. Chait Galleries, New York, 5 August 2003A European private collection來源：Ralph M. Chait Galleries，紐約，2003年8月5日歐洲私人收藏The present figure depicts Shakyamuni Buddha practicing extreme asceticism in the wilderness during his search for enlightenment. During this time, he realised the futility of such self-punishment and eventually attained enlightenment through meditation, balance and moderation. This representation of the Buddha became especially popular in China during the Yuan dynasty and continued into the Ming and Qing periods. These representations were associated with the Chan school of Buddhism, which encouraged more individualistic paths to enlightenment. Compare with a related bronze figure of Shakyamuni Buddha, Ming dynasty, illustrated by H.Munsterberg, Chinese Buddhist Bronzes, Tokyo, 1967, pl.122. Another related bronze figure of Buddha Shakyamuni, Ming dynasty, is illustrated in Gilt-bronze Buddhist Sculptures, Beijing, 1998, pl.17. A related bronze figure of Shakyamuni Buddha, Yuan/Ming dynasty, was sold at Sotheby's New York, 20 September 2022, lot 130.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

KOMAI OTOJIRO (1842-1917) OF KYOTOA Finely Inlaid Iron Circular Lobed Charger Meiji era (1868-1912), probably circa 1875-1880Raised on a low foot ring, the iron body cast and chiselled in typical Komai silver and gold relief overlay, the central panel decorated in high-relief inlays of gold and silver with a rakan (Buddhist disciple) clutching the sides of his face, staring grumpily ahead, leaning out of the raised ring surrounded by petal-like lappets, encircled by swirling panels radiating from the centre decorated with overlapping diaper patterns and variously-shaped reserves enclosing landscape scenes and flowers and plants; signed on the base in gilt characters within a silver rectangular reserve Kyoto no ju Komai sei. 4cm x 36.4cm (1 9/6in x 14 7/16in).Footnotes:This is one of a group of chargers from the Komai Otojiro factory with central panels incorporating motifs taken from the Manga ('Random Drawings'), the celebrated series of woodblock-printed books designed by Katsushika Hokusai (1760–1849). This particular design, of a grimacing Buddhist figure, probably Daruma (founder of Zen Buddhism), appears with the caption Tate (Vertical) in the twelfth volume of the Manga, published in 1834.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

YAMADA JOKASAI LINEAGEA Gold-Lacquer Five-Case Inro, Edo period (1615-1868), early 19th centuryDecorated in gold takamaki-e and kirikane with a design of shochikubai (the 'Three Friends of Winter', pine, bamboo, and prunus, that flourish at the same time), arranged alternately in horizontal bands across the surface of each case, signed on the bottom case in gold lacquer Jokasai, the interior of matt gold, with a wood two-part manju netsuke with an ivory central peg, carved with tennin (Buddhist angels) on one side and a stylised six-petalled flower on the other; unsigned. 7.8cm (3in) high.Footnotes:Provenance: Presented to Robert Clark, a Civil Engineer at the University of Tokyo 1871-1878, and thence by descent.The item within this lot containing ivory has been registered in accordance with the Ivory Act (Section 10), reference no.T9FA8J39.For further information on this lot please visit Bonhams.com

A BLACK AND GOLD-LACQUER FOUR-CASE INROEdo period (1615-1868), probably 19th centuryDecorated in silver and gold takamaki-e, kirikane and e-nashiji depicting a tennin (Buddhist angel) seated on a pine-clad seashore playing the flute, alluding to the Noh play Hagoromo, the reverse with the looming image of Mount Fuji appearing from the clouds, unsigned; with a kagamibuta netsuke carved in high relief gold and shibuichi with Kosekiko putting the recovered shoe on Choryo's foot, the latter holding a scroll; signed with a kao. 8.5cm (3 3/8in) high.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A BRONZE INCENSE BURNER, GUIHu Wenming seal mark, late Ming Dynasty Expertly cast of archaistic form with a compressed globular body raised on a high foot cast with a band of lingzhi fungus growing on leafy tendrils, the body decorated with continuous foliate lotus scrolls and a band of the 'Eight Buddhist Emblems' bajixiang below the slightly everted rim, all on a diaper ground, flanked by a pair of loop handles with key-fret pattern issuing from dragon heads. 14.5cm (5 3/4in) wide.Footnotes:明晚期 八吉祥蓮花紋簋式爐「胡文明製」篆書刻款Hu Wenming is considered to be amongst the most accomplished bronze casters of the late Ming dynasty, however pieces with his name continued to be made well into the Qing dynasty. The shape of the incense burner is based on archaic prototypes from the Shang and Zhou dynasties. See a similar bronze incense burner, with similar Hu Wenming mark, illustrated by Sydney L. Moss, Ltd., The Second Bronze Age: Later Chinese Metalwork, London, 1991, no.86.Compare with a related parcel-gilt bronze incense burner, Hu Wenming mark, 17th century, which was sold at Bonhams London, 11 May 2017, lot 121.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A VERY RARE CARVED CINNABAR LACQUER '108 SHOU CHARACTERS' BRUSHPOT, BITONGQianlong The cylindrical vessel crisply carved through layers of cinnabar lacquer around the exterior with continous rows of 108 shou characters in various styles of zhuanshu calligraphy, all on a diaper-pattern ground, the mouth rim with a key-fret border. 9.8cm (3 7/8in) high.Footnotes:清乾隆 剔紅「壽」字紋筆筒Provenance: Priestley & Ferraro Chinese Art Ltd., London, 1 February 2013來源：倫敦古董商Priestley & Ferraro Chinese Art Ltd.，2013年2月1日The present brushpot with continuous rows of 108 Shou ('longevity') characters in different forms of seal script, was probably made as a birthday gift. The number of characters is highly significant as it tallies with the number of beads in a Buddhist rosary. The present lot is thus laden with auspicious and religious meaning. A Buddhist rosary has 108 beads because there are said to be a total of 108 energy lines or chakras converging to the heart. One of them, sushumna, leads to the crown chakra, and is believed to lead to the path of self-realisation. The number 108 is also significant for other reasons. The Temple of Heaven in Beijing has 108 pillars in the base, and the first King of the Zhou dynasty called on 108 Gods to help his troops in his attack on the Shang dynasty. The various styles of zhuanshu or seal script calligraphy is also entirely keeping with scholarly and artistic trends of the time. The Qing emperors endorsed Han learning and scholarship, encouraging scholars to study ancient texts carefully and meticulously. This movement, known as the 'searching for evidence' movement (kaozheng 考證), reached its height in the Qianlong era. Numerous dictionaries were published and the new philology sparked a fascination for artistic archaism, with the ancient seal script calligraphy becoming in vogue. See for example, a carved cinnabar lacquer screen with similar 'shou' characters, Qianlong, illustrated in The Creation of Natural Immensity and Grandeur: The Yang Ming Shan Fang Collection of Lacquer from Song, Yuan, Ming and Qing Dynasties, Beijing, 2020, no.66.Compare with a related Imperially inscribed cinnabar lacquer carved brushpot, Qianlong seal mark and of the period, which was sold at Bonhams London, 2 November 2021, lot 66.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Treen - an Indian carved hardwood figure, 62cm high; Tibetan style carved figure of a Buddhist monk, mid 20th century, 18cm high; chip-carved figure of ‘Don Quixote’, 29cm high; carved ‘tribal’ wall mask; etc, (7).

Photography. A collection of albumen prints to include Tāwhiao, leader of the Waikato tribes and the second Māori King, [photographed by Josiah Martin, c. 1881-89], 14.5 x 10cm; Sinhalese Buddhist Priests, by Charles Thomas Scowen, Ceylon [c. 1870-90], 21.5 x 28cm; the Great Sphinx of Giza, by Hippolyte Arnoux [active c. 1860-90, one of the first photographers to produce images of Egypt], 28 x 22.5cm; Bourke Street, Melbourne, [c. 1880], 14 x 20cm; the Mutiny Monument [New Delhi], 29.5 x 21.5cm; RMS Ophir, by the Zangaki Brothers, 22.5 x 29cm; Kandy [Sri Lanka], by C. T. Scowen, 21.5 x 28cm; City of Delhi, stamped to verso, '12 Annas Per Copy. The Arch. Photo. Works of India, Delhi', 21.5 x 29cm, and others, mostly depicting people & topographical views, locations including Sydney, Rome, Suez, Cairo, 70 in total, lightly mounted on card, some loose, generally very well-preserved (70)

A Chinese carved stone Buddhist lion garden ornament, modelled seated, 51cms high.

A collection of five 20th century carved sandalwood Hindu & Buddhist figures. The lot to include three carved sculptures of Krishna playing flute & adorned with headdress, standing on lotus flower, one carved elephant figure, a Buddha making mudra, and a smaller figure of a four armed deity. Tallest to measure approx. 35cm in height.

A FINE AND RARE HARDSTONE EMBELLISHED 'ELEPHANT AND TRIBUTE BEARERS' DOUBLE SIDED TABLE SCREENMid-Qing DynastyOne side attractively inlaid with shaped plaques of mother-of-pearl, variegated shell, red lacquer and hardstones, the reverse with an inlaid mother-of-pearl fourteen-character poem by Du Fu and three auspicious seals, all on lustrous dark brown lacquer grounds and mounted as a zitan four-legged rectangular table screen.44.5cm (17 7/8in) high x 38.5cm (15 1/8in) wideFootnotes:Provenance: from the collection of Edward Gordon Lowder (1862-1942) and Catherine Lucretia Dunster (1865-1940), thence by descent.Edward Gordon Lowder, served with the Imperial Maritime Customs, later known as the Chinese Maritime Customs. The archives of his first son Hugh Gordon Lowder are held at SOAS library.清中期 嵌百寶白象進寶圖硯屏《香稻啄餘鸚鵡粒，碧梧棲老鳳凰枝》《仙蠡》《怡情》《山水怡情》款This screen is a fine and exceptionally large example of a group of related table screens and boxes from the Qing court collection, currently retained in the collection of the Palace Museum in Beijing. A closely related box decorated with an elephant bearing a vase but surrounded by just two foreigners was included in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties (II), Hong Kong, 2002, no.232 rather than five in the present work. Elephants have long been a popular theme at the Qing court and the white elephant has strong Buddhist associations. The Buddha's mother, Queen Maya is said to have been visited by a white elephant following years of not being able to bear a child and Buddha is said to have taken the form of a white elephant for his final incarnation. The presence of the vase (ping 瓶) on the elephant's (xiang 象) head forms a rebus for the phrase taiping youxiang (太平有象), meaning 'Where there is peace, there is an omen (or elephant)'.The inscription on the reverse of the screen is a section of the poem by Du Fu, Stirred By Autumn, no. 8 and may be translated:Even the leftover rice husk on the parrot's beak smells as fragrantThe branch of the jade green Wutong tree provides home to the PhoenixSee a related inlaid brown lacquer table screen, Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties (II) , Hong Kong, 2002, p.200, no.174.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com

TWO FAMILLE VERTE BOWLSKangxiThe first decorated to the interior with a central flower vase below a band with four Buddhist Emblems at the rim, the exterior with different flower spray reserves; the second of fluted form, decorated with a central lingzhi, the exterior with alternating landscape and floral panels. The largest: 18.5cm (7 1/4in) diam. (2).Footnotes:清康熙 五彩盌 兩件For further information on this lot please visit Bonhams.com

A VERY LARGE SILVER AND COPPER INLAID BRONZE INCENSE BURNER, COVER AND STANDVietnam, dated 1934Of rectangular section, raised on four cabriole legs, decorated in silver and copper inlay with figurative panels, the sides fitted with separately-cast scrolling cloud-form handles, the neck of one side incised with the characters Bao Dai gia huc (the final year of Bao Dai), corresponding to 1934, the reverse side with four characters reading phuc loc tho khang (blessings, emoluments, longevity and health) the cover with alternating pierced and inlaid tho (longevity) characters, surmounted by a large Buddhist lion dog finial, and raised on a low stand. 83cm (32 1/8in) high. (3).Footnotes:1934 越南 保大甲戌 銅錯紅銅嵌銀蓋爐及底座This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

ANONYMOUS (18TH/19TH CENTURY)Heavenly King and LuohanInk and pigment on silk, hanging scroll. 39cm (15 3/8in) wide × 115.5cm (45 1/2in) longFootnotes:Provenance: Christie's South Kensington, 14 August 1997, lot 266An English private collection, and thence by descent 佚名 羅漢天王匯合圖 設色絹本 立軸 The warrior deity who is clad in armour and brandishes a sword is one of the 'Four Heavenly Kings'- the Viruḍhaka (增長天王), the Guardian of the Southern Direction and the protector of dharma (Buddhist teaching). The seated figure carried by a group of demons is a luohan regarded as the original disciples of Buddha. Sets of luohan, numbering from sixteen, eighteen to five hundred, were enshrined in larger Buddhist temples. The subject of luohan was a favourite theme in Chinese legend and painting.For further information on this lot please visit Bonhams.com

A PAIR OF FAMILLE ROSE 'BARAGON TUMED' BOWLSDaoguangPainted to the exterior with the Seven Regal Treasures between shou character bands and Buddhist emblems, the centre with a flower roundel below copper-red double lines, the base with a two-character Baragon Tumed mark.14.4cm (5 5/8in) diam. (2).Footnotes:清道光 粉彩七政寶盌 一對For further information on this lot please visit Bonhams.com

TWO SILK CUT VELVET CHAIR COVERS19th centuryEach decorated with two phoenix flying amidst peonies above an Indian lotus medallion, the lower section with two facing Buddhist lions above cresting waves, all framed by lotus scroll. 176.5cm (69 1/2in) high x 67.6cm (26 5/8in) (2).Footnotes:十九世紀 橘地圖紋椅披 兩件For further information on this lot please visit Bonhams.com

A CHINESE IMARI BOWL AND A BLUE AND WHITE TEAPOT AND COVERKangxiThe bowl decorated to the exterior with pagodas and pavilions amongst blossoming trees in a river landscape, the interior decorated with demi-flowerheads and flower sprays; together with a blue and white 'precious objects' teapot and cover with a Buddhist lion finial.The bowl: 25.9cm (10 1/4in) diam. (3).Footnotes:清康熙 外銷伊萬里式盌及青花蓋壺For further information on this lot please visit Bonhams.com

A FINE PAIR OF EXPORT MANDARIN PALETTE OVIFORM VASES AND COVERSQianlongEach decorated in mirror image with a large panel depicting waterfront residences flying European flags with a large gathering of figures on balconies and in boats, watching displays of river combat, the reverse with further river combat scenes, all in mountainous landscapes, on a floral cell pattern ground reserved with smaller figural and floral panels, the covers with sepia landscape panels, surmounted by Buddhist lion finials. 54.5cm (21 1/2in) high. (4).Footnotes:Provenance: Angelo Caldas Collecao, inv. no. 245 (label).Property from a European Private Collection.清乾隆 粉彩蓋瓶 一對For further information on this lot please visit Bonhams.com

A GILT AND LACQUERED WOOD CARVING OF A BUDDHIST LIONCanton, late 19th centuryThe recumbent animal holding a ribboned ball below its paw, the mouth open showing the fangs below the bulging eyes, the body covered by a furry mane ending in a bushy tail. 26cm (10 1/4in) longFootnotes:十九世紀晚期 漆金佛獅像For further information on this lot please visit Bonhams.com

A BRONZE 'BUDDHIST LION' INCENSE BURNER17th centuryThe well cast fierce lion balancing on a brocade bowl with one foreleg raised next to mouth agape showing the fangs below the bulging eyes and bushy eyebrows, the curly mane extending down to the back with further curls of hair, leading to a bushy tail.24.5cm (9 5/8in) highFootnotes:十七世紀 銅佛獅爐For further information on this lot please visit Bonhams.com

A LARGE BRONZE 'ARROW' VASE, TOUHUMing DynastyThe compressed globular body cast with four archaistic taotie masks each separated by a flange, the shoulder with two open-mouthed Buddhist lions, all raised on a spreading foot, the tall slender neck with two applied writhing chilong beneath the mouth with two cylinders attached joint with the same band decoration of taotie masks on a leiwen ground. 50.8cm (20in) highFootnotes:Provenance: Frank Gardiner Fedden, acquired in the early 20th century and thence by descent.明 銅投壺These type of vases were designed for the ancient Chinese game of touhu, or 'arrow throwing', which would form part of the entertainment at banquets and is mentioned in early classical texts such as the Chunqiu Zuo Zhuan. Contestants would aim feathered arrows at the various cylinders applied to the vase, with higher points awarded for the less accessible openings. The loser was made to drink wine, leading to increased inebriation and diminished throwing accuracy.For further information on this lot please visit Bonhams.com

A FAMILLE VERTE 'BUDDHIST LIONS' BOTTLE VASEKangxiThe large pear-shaped bottle raised on a short foot, the tall waisted cylindrical neck with a slightly everted rim, decorated around the globular body with four Buddhist lions cavorting with two brocade balls trailing ribbons, the shoulder with a band of floral scrolls and a ruyi border, the top of the neck with a diaper-pattern band and pendent tassels.43cm (17in) highFootnotes:清康熙 五彩佛獅紋長頸瓶A similar famille verte bottle vase, Kangxi, is illustrated by C.J.A.Jorg, Famille Verte: Chinese Porcelain in Green Enamels, Lier, 2011, p.43.For further information on this lot please visit Bonhams.com

A PAIR OF LARGE CANTON FAMILLE ROSE VASES19th centuryEach of baluster form rising to a foliate rim, enamelled with panels depicting court and bird and flower scenes to the body and neck, against a ground of flowers and butterflies, the shoulders set with Buddhist lion dog and pup handles, applied in relief with a pair of chi dragons.82.5cm (32 1/2in) high (2).Footnotes:十九世紀 廣彩大瓶 一對This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A SILVER-WIRE INLAID BRONZE CUP AND A BRONZE INCENSE BURNER17th centuryComprising: a bronze lobed cup embellished with silver wire decoration depicting river landscapes and Buddhist emblems, flanked by a pair of lingzhi-shaped handles; together with a tripod incense burner raised on short bracket feet and with a pair of bamboo-shaped upright handles, the base bearing a Xuande six-character mark, wood cover. The cup: 10.5cm (4 1/8in) wide across the handles (3).Footnotes:十七世紀 銅錯銀盃及銅爐For further information on this lot please visit Bonhams.com

A WHITE JADE 'SHOULAO AND BOY' GROUP, A SOAPSTONE 'LUOHAN' CARVING AND A JADEITE 'BUDDHIST LION' CARVING19th/20th centuryThe white jade carved as the standing sage carrying a staff with a boy looking up at him from his left side, wood stand; the changmei luohan seated beside a rock reading a book, with a wood stand; the lion carved with his front paws resting on a ball.The jade 4.5cm (1 3/4in) high (5).Footnotes:十九/二十世紀 白玉童子獻壽擺件, 壽山石雕羅漢像及翠玉雕佛獅For further information on this lot please visit Bonhams.com

A PAINTED WOOD 'FLAMING LOTUS' CHESTTibet, 18th centuryDecorated with a central lotus flower emerging from a bud at the base and flames issuing from the centre of the flower, as a symbol of Buddhist belief, amongst several smaller blossoms, buds and geometric forms. 116cm x 66cm x 48cm (45 3/4in x 26in x 19in).Footnotes:Published:Chris Buckley, Tibetan Furniture, Warren, CT., 2005, pp. 71 and 114, no. 115. (a copy of the book is sold with this lot)十八世紀 藏傳木雕彩繪蓮紋衣箱According to Buckley's description for this piece it is notable for the amount of gold leaf used with the design simulating Chinese bronze coins.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A BLUE AND WHITE 'PHOENIX' VASE AND SIX BLUE AND WHITE SAUCER DISHESChenghua four-character marks, KangxiThe baluster vase decorated with two phoenix in flight among clouds and a Buddhist emblems band to the neck; the saucers each decorated at the centre with a lady and a boy in a garden setting, the rim with four peach-spray cartouches against a diaper ground, the exterior with four Buddhist Emblems.The vase: 13cm (5 1/8in) high (7).Footnotes:清康熙 青花鳳凰紋瓶及青花盤六件 《成化年製》款For further information on this lot please visit Bonhams.com

A BLUE AND WHITE FIVE-PIECE 'ACROBATS' GARNITURE19th CenturyComprising: three baluster vases with domed covers surmounted by Buddhist lion finials and two sleeve vases, all similarly decorated with a lively continuous scene of acrobats and performers. 29cm (11 3/8in) high (8).Footnotes:十九世紀 青花瓶 一組五件For further information on this lot please visit Bonhams.com

TWO CANTON FAMILLE ROSE SERVING DISHES19th CenturyEach oval shape dish with a central depiction of scholars and ladies in a pavilion and garden settings enclosed at the rim by a large band of precious objects, Buddhist emblems and flower sprays.36.2cm (14 1/4in) wide (2).Footnotes:十九世紀 廣彩盤 兩件For further information on this lot please visit Bonhams.com

A POLYCHROME ENAMELLED FIGURE OF BUDAIRepublicThe seated immortal with a joyful expression wearing a tiara with three moulded Buddhist figures, the long flowing robes embellished with Shou character and Buddhist Emblems, revealing the bare chest and belly, holding a rosary in one hand and a sack on the other side, impressed Youlin ji zao mark to the base.29cm (11 1/2in) highFootnotes:民國 彩繪佛像《遊林記造》款For further information on this lot please visit Bonhams.com

A COPPER-RED BLUE AND WHITE VASE, HU19th centuryRising from a slightly spreading foot to the waisted neck, flanked by a pair of elephant-head handles set above a raised band around the shoulders, the body painted with a sturdy pine tree next to rockwork and lingzhi, with a Buddhist lion on the ground facing a hawk resting on one of the branches. 33.6cm (13 1/4in) highFootnotes:Provenance: From the collection of Barry C Tattenhall (1907-1989), thence by descent to the present owners.Barry Tattenhall was a well-regarded collector of Chinese porcelain and member of the Oriental Ceramic Society and lent porcelain to their 1950 Polychrome Exhibition and 1964 Qing Exhibition.David and Jellinek (2011, Provenance. Collectors, Dealers and Scholars: Chinese Ceramics in Britain and America) describe him as 'ahead of his time with his interest in nineteenth- and twentieth-century Imperial porcelain'. A number of pieces from his collection were sold at Sotheby's on 12 December 1989.十九世紀 青花釉裏紅壺For further information on this lot please visit Bonhams.com

A PAIR OF LARGE CANTON FAMILLE ROSE VASES19th CenturyEach of baluster form rising to a foliate rim, enamelled with panels depicting court scenes and birds and flowers to the body and neck, against a ground of flowers and butterflies and exotic animals, the shoulders set with Buddhist lion dog and pup handles, applied in relief with a pair of chi dragons, wood stands. 92cm (36 1/4in) high (4).Footnotes:十九世紀 廣彩瓶 一對This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A COLLECTION OF EIGHT BLANC-DE-CHINE FIGURES20th centuryComprising: three groups of Immortals, scholars and attendants; a Guanyin seated on a Buddhist lion; a Guanyin on rockwork holding a ruyi; an official with a sword to his waist; a lady holding a basket; and Hua Mulan dressed as a warrior with sword, arch and bows.The tallest: 18.5cm (7 1/4in) high (8).Footnotes:二十世紀 德化白瓷人物像 一組八件For further information on this lot please visit Bonhams.com

An ornamental Chinese bronze Buddhist figure Guan Yin.

Bronze Kuman Thong Thai Buddhist sculpture - Approx height: 15cm

THANGKA MIT BUDDHISTISCHER GOTTHEIT wohl 1. Hälfte 20. Jh.59 x 37 cmTHANGKA SHOWING A BUDDHIST DEITYprobably 1st half of 20th c.59 x 37 cm

THANGKA MIT BUDDHISTISCHER GOTTHEIT wohl 1. Hälfte 20. Jh.100 x 82 cmTHANGKA SHOWING A BUDDHIST DEITYprobably 1st half of 20th c.100 x 82 cm

§ ‡ Alan Davie C.B.E., R.A., H.R.S.A. (British 1920-2014) Flutter By Night, 1962 signed, titled, dated and inscribed Opus O.445 (verso) oil on canvas Dimensions:122cm x 152.4cm (48in x 60in) Provenance:Provenance Gimpel Fils, London, where acquired by Mrs Charles Benenson, August 1963 Gimpel Fils, London, where acquired by the present owner, November 2007Literature Alan Bowness, Alan Davie, Lund Humphries, London, 1967, cat. no.381, Note: Alan Davie once noted: ‘Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT’. This sentiment remained his guiding principle across a career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his paintings and printmaking internationally, he also designed and made jewellery, wrote poetry and performed as a professional music, most notably as a jazz saxophonist, but also as a cellist and pianist. Davie felt that all these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie was equally as diverse in the sources of his inspiration, seeking it across space and time. He, like many artists of his generation, had a specific interest in Jungian ideas of the ‘collective unconscious’, aiming to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance, a method similar to that of improvisation in jazz. Yet, as was so concisely put in the artist’s obituary, published in The Guardian, ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his and this is particularly clear in an example like the present work. Flutter by Night dates from 1962, an interesting moment in Davie’s artistic life. With the benefit of hindsight and the awareness of the longevity of his career, it feels like a relatively early work but is in fact from a period in which he had already gained significant momentum as an artist. It follows his visit to the U.S.A. in 1956 where he exhibited (with the ground-breaking Catherine Viviano Gallery) and also met artists including Willem de Kooning, Robert Motherwell, Jackson Pollock and Mark Rothko. It also follows a significant retrospective at the Whitechapel Gallery in London in 1958. Another retrospective took place at the Stedelijk Museum in Amsterdam, in the same year as this painting was made. It is easy to feel a sense of this inspiration and energy in Flutter by Night; expressive and energetic, the gestural brushwork and bright colour break their way through the swathes of grey. Davie was said to have developed his understanding of the role of the artist from Paul Klee: ‘he neither serves nor rules – he transmits.’ In Flutter by Night Davie succeeds in this quest, his painterly improvisation viscerally conveying his vigorous vision, reaching across time and space all the way out to reach us, in the here and now.

TENNENT SIR JAMES EMERSON.  Christianity in Ceylon ... with An Historical Sketch of the Brahmanical & Buddhist Superstitions. Eng. frontis, title & text illus. Publisher's adverts. Orig. cloth gilt, some fading, some internal foxing, spotting & marginal browning. 1850.

DEUX RARES PETITS LIONS BOUDDHISTES EN BRONZEDynastie Ming ou antérieurTWO RARE SMALL BRONZE PAPER OR SCROLL WEIGHTSMing Dynasty or earlierEach finely and heavily cast in the form of a Buddhist lion, seated on their hind legs scratching the back of their ears, their mouths wide open and snarling in a fierce expression showing the fangs, with large bulging eyes and bushy eyebrows, the muscular body tensed and dramatically turned around, one lion with inlaid eyes and flanked by a cub resting on its knee, single silk stand. 8cm (3 1/8in) and 7.5cm (3in) high. (3).Footnotes:明或更早 銅獅鎮紙兩件Provenance:The lion:Collection of Heinrich Vetter, Mannheim (1910-2003)Lempertz, Cologne, 4 June 2003, lot 173 (the lion on stand)The lioness:Formerly in a French collection, acquired in the 1970s (by repute)Nagel, Stuttgart, 8 May 2009, lot 97 來源： 公獅：曼海姆Heinrich Vetter（1910-2003）珍藏倫佩茨拍賣行，科隆，2003年6月4日，編號173母獅：法國私人舊藏，於1970年代入藏（傳）納高拍賣行，斯圖加特，2009年5月8日，編號97Compare with a very similar bronze paper or scroll weight, illustrated in Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Hong Kong, 1986, cat.no. 51. The authors note that the illustrated lion paper weight is an enigma as it differs in size, patina, quality and refinement from other known bronze weights cast in animal form, hence dating it to the Ming dynasty or earlier. Compare also with another bronze lion paper or scroll weight, sold in Christie's London, 10 December 1979, lot 41, and a third example, dated to the Song dynasty, sold in Sotheby's New York, 20 March 2002, lot 71.For further information on this lot please visit Bonhams.com

BRÛLE-PARFUM EN BRONZEXVIe/XVIIe siècleA BRONZE 'EIGHT BUDDHIST EMBLEMS' INCENSE BURNER16th/17th century Of bombé form, flanked by a pair of stylised fish-shaped handles, the body decorated with a lower band of lotus sprigs above lappets around the base and a band of bajixiang around the neck, wood stand. 14.5cm (5 3/4in) wide across handles (2).Footnotes:十六/十七世紀 銅八吉祥紋魚耳爐Provenance:Eggert Collection, BerlinNagel, Stuttgart, 30 October 2013, lot 411來源： 柏林Eggert珍藏納高拍賣行，斯圖加特，2013年10月30日，編號411This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

RARE BOÎTE COUVERTE EN BRONZE PARTIELLEMENT DORÉMarque Hu Wenming, XVIIe siècle A RARE PARCEL-GILT BRONZE BOX AND COVERHu Wenming mark, 17th centuryOf circular shape, the box with an incurving inner rim supporting the flat cover cast and gilt with a large peony flower and leafy stems issuing from rockwork, the sides similarly cast and gilt with floral sprigs of peonies and chrysanthemums, the recessed base with an incised and gilt four-character mark Hu Wenming zhi in a square. 7.2cm (2 7/8in) diam. (2).Footnotes:十七世紀 局部鎏金銅花卉紋香盒「胡文明製」款Provenance: Collection of Johann E.O. Theuerkauf (1904-1951), acquired in Tientsin before 1937, then in the family by descent, acquired from the family來源： Johann E.O. Theuerkauf（1904-1951）珍藏，於1937年前得於天津，後家族傳承現藏家得自上述來源Hu Wenming is among the best known metalworkers of the late Ming. Compare this box with two other parcel-gilt bronze boxes of the same shape but with different design, both bearing a Hu Wenming mark, the first illustrated in Sidney L. Moss Ltd., The Literati Mode, London, 1986, no.143, the second example published in Hugh Moss and Gerald Tsang, Arts from the Scholar's Studio, Hong Kong, 1986, no.231. Related examples include a box and cover decorated with lotus flowers, sold in Christie's Hong Kong, 30 November 2011, lot 3176, and a box and cover decorated with fans, fruit sprays and Buddhist emblems, sold at Christie's London, 6 July 1995, lot 141.For further information on this lot please visit Bonhams.com

IMPORTANTE TÊTE D'UN BODHISATTVA EN GRÈSDynastie Sui ou postérieurA LARGE LIMESTONE HEAD OF A BODHISATTVA Sui Dynasty or laterThe rounded face with with a meditative expression, with eyes half-closed below pronounced arched eyebrows, the aquiline nose above a small pursed and slightly smiling mouth, flanked by long pendulous earlobes, the hair combed and neatly arranged around the face, gathered in a high chignon fronted by an elaborate crown with florets and festoons, with traces of red, green, blue, black and gold pigments, Langweil label on the stone stand. 43cm (16 7/8in) high. (2).Footnotes:隋或更晚 石灰岩雕菩薩首Provenance: Collection of Florentine Langweil (1861-1958)Galerie Charpentier, Hotel Drouot, 4 June 1959, lot 346Collection Albert Sze (1932-2008), ParisNagel, Stuttgart, 7 May 2010, lot 35來源： Florentine Langweil（1861-1958）珍藏Galerie Charpentier，德魯奧拍賣行，1959年6月4日，編號346巴黎Albert Sze（1932-2008）珍藏納高拍賣行，斯圖加特，2010年5月7日，編號35Carved in the style that indicates a late sixth century date, this head alludes to the sculptural style that evolved in the transitional period of Chinese Buddhist sculpture which is still steeped in its Indian origins but already shows the Chinese interest in the human form as expressed in the more naturalistic depiction of the physical features. The head with its heavy-set rounded face, fleshy cheeks, wide-set slanting eyes, arched brows and a large nose that leads to the plump lips reflect an awareness of the natural features that are successfully combined to achieve a sculpture that exudes a sense of spirituality. Excavations in Qingzhou, Shandong, have revealed examples of Northern Qi and Sui limestone sculpture with similarly sturdy and heavy-set features that may be stylistically related to this head of a bodhisattva with its similarly rounded, but rather angular face and short, rather stocky neck. Compare, for instance, the figure of a standing bodhisattva, with the same short, thick neck, and rounded face, dated to the Northern Qi dynasty, illustrated in Lukas Nickel, Return of the Buddha. The Qingzhou Discoveries, London, 2002, no.29. Compare also with a seated limestone figure of a bodhisattva from the Longxing Temple hoard, dated to the Northern Qi dynasty, illustrated ibid., p.156, fig.80. Another feature that points to a possible Sui date is the intricate diadem with its petaled lobes, tassels and cabochons that still bears traces of colourful pigments. Compare also with a sandstone figure of a bodhisattva dated to the Northern Qi dynasty, from the von der Heydt Collection and now in the Rietberg Museum, Zürich, pubished in Osvald Siren, Chinesische Skulpturen der Sammlung Eduard von der Heydt, Zürich, 1959, pp.94 and 95, no.27. Compare with the heads of several figures of bodhisattvas dated to the Sui dynasty (581-618), from Shanxi province, published in Osvad Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, vol. II, London, 1925 (reprint 1998), pls. 303A, 303B, 316 and 329.For further information on this lot please visit Bonhams.com

IMPORTANT BRÛLE-PARFUM COUVERT IMPÉRIAL EN BRONZE, DINGMarque et époque Qianlong AN IMPERIAL BRONZE TRIPOD CENSER AND COVER, DINGQianlong six-character mark and of the periodHeavily cast, raised on three sturdy cabriolet legs, the compressed globular body flanked by a pair of elegantly curved S-shaped handles, the cover a reticulated design of a phoenix and dragon flying amidst swirling clouds, rising to a 'dragon and flaming pearl' finial, the bronze with a lustrous rich brown patina. 35cm (13 3/4in) high (2).Footnotes:清乾隆 御製銅龍鳳紋朝冠耳三足蓋鼎「大清乾隆年製」款Provenance: Collection of Max Müller (1867-1960), German consul in Hankow, acquired in China between 1905 and 1912, thence by descent to his daughter Irmgard Müller-Doertenbach (1909-2011), acquired in 1992 from her collectionExhibited:On loan to the Museum of East Asian Art, Berlin, 2001-2004 來源： 德國駐漢口領事Max Müller（1867–1960）珍藏，於1905年至1912年間得自中國，後傳至其女Irmgard Müller-Doertenbach（1909-2011）現藏家於1992年得自上述來源展覽： 2001年至2004年間借展於柏林東亞藝術博物館Sacrificial ceremonies were among the most important rituals of the Qing court, with the emperor attending, if not performing, all of the major rites. Buddhism was the primary religion of the Qing dynasty and there were numerous Buddhist shrines and temples, as well as altars, in the private quarters of the emperors and empresses. All of these necessitated ritual paraphernalia, including altar sets, which were made in various materials including bronze, porcelain and cloisonné enamel of varying size. For a pair of imperial bronze censers with dragon decoration, see Wan Yi, Daily Life in the Forbidden City, New York, 1988, pls.473 and 474, pp.302-303, where they are shown in situ in the shrine in the interior of the rear Hall of the Imperial Ancestral Temple and in the rear part of the Hall of Ancestral Worship. See a similar bronze censer bearing a Qianlong mark, from the collection of Jürgen L. Fischer, Baden-Baden, sold in Koller Zürich, 29 October 2013, lot 179.For further information on this lot please visit Bonhams.com

IMPORTANTE TÊTE DE GUANYIN EN BOISDynastie Jin (1115-1234)A LARGE WOOD HEAD OF GUANYINJin Dynasty (1115-1234) Well carved with a full, round face, with high crescent-shaped eye brows, heavy eyelids over downcast, half-open eyes, with a straight nose with prominent flared nostrils above full lips dimpled at the sides, flanked by long pendulous earlobes, the hair gathered in a high chignon adorned with a with an elaborate crown centering on the image of Amithaba on a lotus base, stand. 50.3cm (19 3/4in) high. (2).Footnotes:金 木雕觀音首Provenance:Hofrat Alexander Koch (1860-1939), DarmstadtDr. Fritz Nagel, Mannheim, 19 November 1935, lot 49Private collection, Bavaria 來源： 達姆施塔特Hofrat Alexander Koch（1860-1939）珍藏曼海姆Fritz Nagel博士珍藏，1935年11月19日，編號49巴伐利亞私人收藏Compare a closely related polychrome-painted carved wood figure of a bodhisattva dated to the Jin dynasty, in the collection of the Metropolitan Museum of Art, New York, published in Denise Patry Leidy and Donna Strahan, Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in the Metropolitan Museum of Art, New Haven, 2010, A49; and a very similar wood figure of a bodhisattva, also dated to the Jin dynasty, in the collection of the Nelson-Atkins Museum of Art, Kansas City, exhibited and published in Masterworks in Wood: China and Japan, Portland Art Museum, Portland, Oregon, 1976, cat.no.13.For further information on this lot please visit Bonhams.com

BRÛLE-PARFUM EN BRONZE17th/18th centuryA BRONZE TRIPOD INCENSE BURNER17th/18th centuryWith a deep rounded body resting on three short tapered feet, rising to a gently flared neck and everted rim, set with a pair of squared loop handles, silver-inlaid wood cover with a jade 'Buddhist lion' finial. 18.5cm (7 1/4in) wide across the handles (2).Footnotes:十七/十八世紀 銅戟耳三足爐 配木嵌銀蓋Provenance: Collection of Max Müller (1867-1960), German consul in Hankow, acquired in China between 1905 and 1912, thence by descent to his daughter Irmgard Müller-Doertenbach (1909-2011), acquired from her collection in 1992來源： 德國駐漢口領事Max Müller（1867–1960）珍藏，於1905年至1912年間得自中國，後傳至其女Irmgard Müller-Doertenbach（1909-2011）現藏家於1992年得自上述來源For further information on this lot please visit Bonhams.com

GRANDE STATUETTE D'UN OFFICIEL EN BRONZE DORÉDynastie MingA LARGE GILT-BRONZE FIGURE OF AN OFFICIALMing DynastyStanding on an angular base with hands held in front holding a ceremonial tablet, wearing long flowing robes tied at the waist and cascading into neat pleats over his feet, the round face hidden behind a long beard, wearing an official's hat. 41.6cm (16 3/8in) high.Footnotes:明 銅鎏金人物立像Provenance: Collection of Fritz Rumpf (1856-1927), Potsdam, acquired from his estate來源： 波茲坦Fritz Rumpf（1856-1927）珍藏現藏家得自上述來源This figure represents one of the Three Great Emperor-Officials (sanguan dadi) comprising the Heavenly Official (tianguan), the Earthly Official (diguan) and the Water Official (shuiguan). A very similar figure of shuiguan, in the Chang Foundation, Taipei, was included in the exhibition Buddhist Images in Gilt Metal, Taipei, 1993, pp.178-179, no.82.For further information on this lot please visit Bonhams.com

IMPORTANT ET TRÈS RARE GRAND BASSIN TRIPODE EN BRONZE DORÉ ET ÉMAUX CLOISONNÉSXVIIe/XVIIIe siècleA VERY RARE LARGE GILT-BRONZE AND CLOISONNÉ ENAMEL BASIN17th/18th centurySuperbly cast in the form of a mallet flower, with deep lobed sides rising to a wide everted rim of corresponding form and a raised bracketed rim, the interior decorated with a pair of Buddhist lions in bright yellow, green and blue enamels playing with a brocaded ball amidst precious objects, surrounded by a band of lotus flowers on the cavetto and the flat rim, the exterior similarly decorated, all reserved on a vibrant turquoise ground, with a stand supported by three gilt-bronze elephant feet. 65.7cm (25 7/8 in.) diam. (2).Footnotes:十七/十八世紀 掐絲琺瑯雙獅戲球紋折沿三象首足火盆Provenance: Collection of the Gebler family, Munich, acquired from Consul Otto Bernheimer (1877-1960), Munich, by repute Private collection, Rosenheim, bought by the present owner from this collection 來源： 慕尼黑Gebler家族珍藏，得自慕尼黑領事Otto Bernheimer（1877-1960）（傳）羅森海姆私人收藏現藏家得自上述來源The vibrant and very dynamic design on this large basin presents many auspicious associations expressing physical and spiritual power and conveying wishes for a high rank. Stylistically, the Buddhist lion decoration on this basin is similar to that seen on a cloisonné enamel bowl bearing a Jiajing (1522-1567) mark, illustrated by Béatrice Quette and Francois Louis (eds.), Cloisonné: Chinese Enamels from the Yuan, Ming and Qing Dynasties, 2011, p.302, no.151. A similar design can also be found on a cloisonné enamel jar in the Palace Museum collection, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, 43. Metal-bodied Enamel Ware, Hong Kong, 2002, p. 41, no. 39, which has a Jingtai four-character mark, and is dated to middle Ming dynasty A similar basin was also sold in Christie's London, 16 December 1981, lot 27. The subject of Buddhist lions playing with beribboned balls dates back to blue and white porcelain of the early Ming dynasty, and can be found on a jar dated to the Yongle period (1403-1424), illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 2008, vol.4, no.1643.For further information on this lot please visit Bonhams.com

FRESQUE EN STUC REPRÉSENTANT UN ENSEMBLE DE DIVINITÉSDynastie Yuan/Début de la Dynastie MingA POLYCHROME STUCCO FRESCO DEPICTING A GROUP OF CELESTIAL MAIDENSYuan/early Ming Dynasty Painted with a group of four ladies against a background of swirling clouds, engaged in a conversation, dressed in loose robes and billowing sashes, the rounded faces with serene expressions, their hair elaborately styled and adorned with jewels, one holding a ruyi sceptre, all in shades of red, ochre, green and black, with details picked out in raised gesso, traces of gilding, framed. 108cm (42 1/2in.) x 59.5cm(23 3/8in.)Footnotes:元/明早期 灰泥彩繪天女圖壁畫Provenance:Collection of Jürgen L. Fischer (d. 2013), Baden-Baden, acquired by his father from Bernheimer, Munich, in the 1960s (by repute)Nagel, Stuttgart, 17 May 2006, lot 819 Published:Jürgen L. Fischer, Chinese Art, Munich 1997, p.18 來源： 巴登-巴登Jürgen L. Fischer珍藏（逝於2013年），其父於1960年代得自慕尼黑Bernheimer（傳）納高拍賣行，斯圖加特，2006年5月17日，編號819出版： Jürgen L. Fischer，《中國藝術》，慕尼黑，1997年，頁18Painted in a highly dynamic and animated style, this fresco with its gilt-gesso highlights must be seen in the wider context of large-scale Buddhist paintings that first appear in the Mogao Cave temples in Dunhuang, and in the Yuan dynasty in the large Daoist pantheon painted in the Yongle Palace in Shanxi, see, for instance, The Murals in Yongle Palace, Tianjin, 2007, pls.54, 55, 64 and 65. Compare with two frescoes featuring ladies with similarly round faces, billowing scarves and precious hair ornaments, the first dated to the Jin/Yuan dynasty, sold in Sotheby's New York, 22 and 23 March 1999, lot 341, the second, dated to the Song/Jin dynasty, sold in Sotheby's Hong Kong, 3 and 4 December 2015, lot 287. Compare also with a large fresco of a Guanyin and two attendant bodhisattvas, dated to the Yuan/Ming dynasty, from the Robert H. Ellsworth Collection, sold in Christie's New York, 20 March 2015, lot 772.For further information on this lot please visit Bonhams.com

STATUETTE DE GUANYIN EN BRONZE INCRUSTÉ D'ARGENTFin de la dynastie MingA SILVER-INLAID BRONZE FIGURE OF GUANYIN SEATED ON A BUDDHIST LIONLate Ming DynastyThe deity seated on the back of a Buddhist lion, wearing long layered robes revealing the chest, the face with a benign expression framed prominent pendant earlobes, the hair drawn back in high chignon, the recumbent animal with its head tilted to the right, with bulging eyes, finely inlaid with silver-wire highlighting the embroidery of the hems and the animal's fur. 15.2cm (6in) high.Footnotes:明晚期 銅錯銀騎犼觀音坐像Provenance: Collection of Dr. E.M., Bavaria, acquired in Germany before 1986, thence by descent in the family, acquired from the family來源： 巴伐利亞E.M.博士珍藏，於1986年前得自德國，後家族傳承現藏家得自上述來源Compare this silver-inlaid bronze figure of Guanyin with an example illustrated in Paul Moss and Gerard Hawthorn, The Second Bronze Age: Later Chinese Metalworks, London 1991, no.7.For further information on this lot please visit Bonhams.com