An illuminated Qur'an, copied by al-Hafiz Ahmad al-Hilmi Ottoman Turkey, Edirne, dated AH 1279/AD 1862-63Arabic manuscript on paper, 306 leaves, 15 lines to the page written in compact naskhi in black ink, inner margins ruled in black, blue and gold, verse-endings marked by gold roundels, sura headings written in riqa' script in white on a gold ground within illuminated panels, floral illuminated marginal devices, double-page illuminated frontispiece with undulating vine and vine leaves in gold in outer margins, illuminated finispiece, brown leather gilt, covers with sunburst motif, with flap 207 x 140 mm.Footnotes:ProvenanceThe Shakerine Collection.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, pp. 172-175, no. 41.The colophon reads: katabahu al-'abd al-dhalil sayyid ahmad al-hilmi min talamidh al-sayyid muhammad al-khulusi afandi, 'The abject servant [of God] Sayyid Ahmad al-Hilmi [Seyyid Ahmed Hilmi], from among the pupils Muhammad al-Khulusi Afandi [Seyyid Mehmed Hulusi Efendi] wrote it.' Though there are several calligraphers with the name Seyyid Ahmed Hilmi, though none of these are recorded as being the pupil of the famous teacher Seyyid Mehmed Hulusi Efendi (d. AH 1291/AD 1874).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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An illuminated Qur'an, copied by Ibrahim al-Labib bin al-Hajj 'Umar al-Harbuti Ottoman Turkey, dated AH 1277/AD 1860-61Arabic manuscript on paper, 299 leaves, 15 lines to the page written in naskhi script in black ink, inner margins ruled in blue and gold, verse-endings marked by white-centred gold roundels with blue and orange dots, sura headings written in riqa' script in white on a gold ground within illuminated panels, illuminated marginal devices, double-page illuminated frontispiece, f.298b with a finispiece folio with the colophon within a cartouche against a profusely illuminated ground, brown leather gilt with stamped lattice-work central panel, doublures of embossed dark blue paper, with flap 193 x 133 mm.Footnotes:ProvenanceThe Shakerine Collection.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, pp. 170-171, no. 40.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
An illuminated Qur'an, copied by Abdullah bin Ali Naqi Ahmed Persia, dated Rabi' I 1239/November-December 1823Arabic manuscript on paper, 269 leaves plus 2 fly-leaves, 15 lines to the page written in naskhi script in black ink, Persian interlinear translation in shikasteh in red, inner margins ruled in black and gold, verse-endings marked by gold and polychrome rosettes, sura headings written in riqa' script in red on a gold ground within cartouches, gold and polychrome verse markers in the margins, opening double-page illuminated frontispiece, later Qajar marginal texts (on the benefits of reciting each sura) in shikasteh within gold cartouches, main text followed by invocations and prayers in riqa', in floral lacquer binding 225 x 150 mm.Footnotes:ProvenanceThe Shakerine Collection.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, no. 8, pp. 54-55.The date in the colophon has been changed from 1239 to 1139.Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: • R• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
An illuminated Qur'an, copied by Ibn Muhammad Hashim Mahmud al-Musawi Qajar Persia, dated AH 1277 AH/AD 1860-61Arabic manuscript on paper, 306 leaves, 19 lines to the page written in neat naskhi script in black ink, inner margins ruled in blue and gold, verse-endings marked by gold and polychrome rhomboids, sura headings in written in riqa' script in red on a gold ground within cartouches, marginal devices marking nisf, juz and sajdahs, f.1b and f.2a with a double-page spread of illumination consisting of a central lobed panel with naskhi against a blue and gold ground, f.2b and f.4a with a double page of illumination, f.3 with a prayer written in nasta'liq script within a tree-shaped cartouche, floral lacquer binding decorated with flowers 143 x 88 mm.Footnotes:ProvenanceThe Shakerine Collection.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, pp. 73-75, no. 14.Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: • R• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
An illuminated Qur'an North India, Kashmir, late 18th/19th centuryArabic manuscript on paper, 395 leaves, 11 lines to the page written in naskhi script in black ink, interlinear Persian translation written in small nasta'liq script in red, inner margins ruled in gold and blue, verse-endings marked by gold roundels, double-page illuminated frontispiece, sura headings written in red within cloudbands on a gold ground, gold and polychrome verse markers in the margins, five further double pages with borders decorated with interlacing gold scrolls, light brown stamped binding 310 x 205 mm.Footnotes:ProvenanceThe Shakerine Collection.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, pp. 102-105, no. 21.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Nineteen small portraits of Timurid and Mughal rulers, possibly commissioned by the French Resident Colonel Jean-Baptiste-Joseph Gentil (1726–1799) while serving at the court of Nawab Shuja ud-Daula in Oudh Oudh, probably Faizabad, circa 1774-75pencil and gouache on paper laid down on card, identifying inscriptions in ink in a European hand, the nineteen circular paintings laid down on card covered with gold leaf and framed together paintings: the largest 46 mm. diam., the remainder 39 mm. diam.; frame 235 mm. diam.Footnotes:The nineteen portraits here appear to be closely related to likenesses used to illustrate Gentil's Abrégé historique des souverains de l'Indoustan ou Empire Mogol (History of the rulers of Hindustan or the Mughal Empire) completed in 1772. They are the work of a single artist, who has depicted the first eight rulers in the dynasty (up to and including Akbar) in three-quarter profile and the remaining eleven side-on. In this latter group (as well as with Akbar's portrait), we see a direct stylistic connection with those that appear in Abrégé historique. Additionally, the spellings of the emperors' names largely match those found in both Abrégé historique and a separate album of twenty paintings of Mughal emperors compiled by Gentil.Each of the rulers in the set is identified with an inscription in a French hand (perhaps that of Gentil himself). They present an almost unbroken list of the Timurid-Mughal sovereigns of India beginning with Timur and ending with Shah Alam II. They are as follows:Tamerlan 1: Timur/Tamerlane (reg. 1370–1405)Mirancha: Miran ShahSultan Mahmoud: Sultan Muhammad MirzaAboussaid: Sultan Abu Sa'id Mirza (reg. 1452–19)Omarchek: Umar Shaykh Mirza (reg. 1469–94)Babourcha: Babur (reg. 1494–1530)Oumahioun: Humayun (reg. 1530–40, 1555–56)Akbar: Akbar (reg. 1556–1605)Djehanjuir: Jahangir (reg. 1605–27)Chadjehan: Shah Jahan (reg. 1627–58)Alemguir 1er: Aurangzab, Alamgir I (reg. 1658–1707)Bahadourcha: Bahadur Shah, Shah Alam I (reg. 1707–12)Mouiezeaudin: Muiz ud-Din Muhammad, Jahandar Shah (reg. 1712–13)Rafioderdjat: Rafi ud-Darajat (reg. 1719)Rafioul daula, Chadjehan 2: Mirza Rafi ud-Daulah, Shah Jahan II (reg. 1719)Mametcha: Muhammad Shah (reg. 1719–48)Ametcha: Ahmad Shah (reg. 1748–54)Alemguir 2: 'Alamgir II (reg. 1754–59)Chaalem 2: Shah Alam II (reg. 1760–1806)Gentil was a French military officer who served in the French East India Company (or Compagnie des Indes Orientales), and spent nearly twenty-six years in India after his arrival in Pondicherry in 1752. Gentil went on to live in Hyderabad, Bengal and then Awadh, where he served Nawab Shuja ud-Daula as an adviser. Gentil was awarded with the title of French Resident of the court at Awadh and served in a military, political and strategic capacity until the death of Shuja ud-Daula in 1775. Following a three-year stint in West Bengal, Gentil eventually returned to France in 1778, though he was recalled to service to act as interpreter to Tipu Sultan's embassy to Versailles in 1787.Like Antoine Polier and Claude Martin, Gentil was one of several European military advisors and connoisseurs closely connected with the court of Nawab Shuja ud-Daula in Awadh. He had a keen interest in the cultures, religions, customs and architecture of the people of India, and established a private atelier employing several Indian artists to help illustrate this. He also collected numerous Indian and Persian miniatures and paintings in what would now be called Company style. At the time of his return to France, his collection comprised more than fourteen albums, as well as over a hundred Persian, Arabic and Sanskrit manuscripts on law, poetry and calligraphy, as well as numerous individual paintings. Presented to Louis XVI for the Royal Library, the Gentil collection today forms the core of the South Asian Collection in the Cabinet des Estampes of the Bibliothèque Nationale de France in Paris today.The Victoria and Albert Museum has an album put together by Gentil with 58 pages of paintings by various artists including Nevasi Lal and Mohan Singh, produced in Faizabad in 1774. To quote Archer, it 'contains a collection of drawings depicting the manners and customs of the people of India [...] and appears to be a compilation of Gentil's library of books in Faizabad, now scattered. It is clear that Gentil supervised and designed the album himself, dividing the pages into rectangles, some of which he faintly inscribed in pencil with the names of the subjects which he wanted the artists to include'. See M. Archer, Company Paintings, London 1992, p. 117ff., no. 89: especially to be noted are figs. 89(16) and (20), p. 120, showing figures, both Indian and British, drawn in a similar style.For a rare copy of one of Gentil's manuscripts, see Christie's, Paris, 22nd October 2013, Bibliotheque de Ducs de Luynes, Chateau Dampierre, lot 527: Abrégé historique des Souverains de l'Indoustan ou Empire Mogol– 1772 – à Faizabad par M. Gentil, Faizabad, 1773, with illustrations of Shah Alam II, a map of the provinces of Hindustan, with 238 pages.For further information on this lot please visit Bonhams.com
A collection of selected suras from the Qur'an and prayers, with numerous diagrams and illustrations of the Ka'ba and the Mosque of the Prophet at Medina, copied by Husain al-Rushdi al-Kastamoni Ottoman Turkey, dated AH 1260/AD 1844-45Arabic manuscript on cream paper, 148 leaves, 11 lines to the page written in naskhi script in black ink, inner margins ruled in gold and black, verse-endings marked by gold roundels dotted in blue and orange, titles and sura headings written in white cursive on a gold ground, one illuminated opening headpiece in colours and gold in rococo style, one further similar headpiece, numerous hilyehs, the names of Allah, the Prophet and 'Ali, stylised diagrams and two depictions of the Ka'ba and the Mosque of the Prophet at Medina, brown stamped leather binding with covers with diaper pattern in gold, doublures of green paper 103 x 78 mm.Footnotes:ProvenanceChristie's, Islamic, Indian and Southeast Asian Manuscripts, Miniatures and Works of Art, 24th November 1987, lot 78.The Shakerine Collection.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, pp. 276-277, no. 73.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
A newly-discovered page from the Saint Petersburg Album: A female allegorical figure seated in a landscape, alongside a winged and grass-skirted peri, attributed to Abu'l Hasan and Manohar, laid down on a large illuminated album page, a fine calligraphic composition verso, copied by 'Imad al-Hasani Mughal, the painting 1602-04 and 1605-10, with later additions in Persia, circa 1750-58, the calligraphy dated AH 1016/AD 1607-08 gouache and gold on paper, inner borders with plain gold and floral motifs in gold on a pink ground, later outer borders depicting deer and other creatures amidst trees and foliage in gold on a plain ground, verso, a fine calligraphic page in nasta'liq script, copied by 'Imad al-Hasani, dated AH 1016/AD 1607-08, with wide outer borders decorated with floral and vegetal motifs in gold on a dark blue ground, in a 20th Century Iranian painted wood frame painting 268 x 180 mm.; album page 465 x 338 mm. For further information on this lot please visit Bonhams.com
Four Nishapur pottery bowls Persia, 10th Centurycomprising an imitation lustre bowl depicting a bird; an imitation lustre dish depicting a hare; a yellow-staining black bowl with pseudo-calligraphy; and a buffware bowl with pseudo-calligraphy the largest 21 cm. diam.(4)Footnotes:ProvenancePrivate UK collection.Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: * R* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
An illuminated Qur'an Qajar Persia, dated AH 1220/AD 1805-06Arabic manuscript on paper, 213 leaves, 12 lines to the page written in small naskhi in black ink with interlinear translation written in small naskhi in red, interlinear and inner margins ruled in black and gold, verse-endings marked by gold and polychrome rosettes, sura headings written in riqa' script in red on a gold ground within illuminated cartouches, illuminated marginal devices marking hisb, juz and nisf, marginal commentaries in naskhi within cloudbands, double-page illuminated frontispiece in colours and gold, preceded by a double page of illumination comprising prayers written within gold cartouches on a gold floral ground, f.3b and f.4a, succeeding opening frontispiece, with gold floral illumination in the margins, double-page finispiece consisting of prayers written with gold cartouches against a gold floral ground, floral lacquer binding 130 x 88 mm.Footnotes:ProvenanceThe Shakerine Collection.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, pp. 60-61, no. 10.Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: • R• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
A small illuminated Qur'an Qajar Persia, 19th CenturyArabic manuscript on paper, 306 leaves, 22 lines to the page written in small naskhi script in black ink within cloudbands on a gold ground, inner margins ruled in black and gold, verse-endings marked by gold and polychrome rosettes, sura headings written in riqa script in red on a gold ground within cartouches, illuminated devices in wide margins marking the juz and nifs, marginal texts in nasta'liq script within cloudbands on a gold ground, illuminated double-page opening in colours and gold, floral lacquer binding, doublures with floral sprays 99 x 60 mm.Footnotes:ProvenanceThe Shakerine Collection.LiteratureN. Safwat, A Collector's Eye: Islamic calligraphy in Qur'ans and other manuscripts, London 2010, p. 72, no. 13.Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: • R• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
ANONYMOUS (MING/QING DYNASTY)A WHITE WHIPPETA Chinese painting depicting a recumbent white whippet amidst bamboo and lily sprays, ink and colour on silk, inscribed with four lines of calligraphy, dated to the dinghai year, four collectors' seals, two from Xiang Yuanbian, which read, Xiang Zijing jia zhencang and Xiang Molin jian cang zhang; the other two from Song Huizong, which read zheng he and yu fu bao hui, framed and glazed, 126cm x 66cm. OFFERED WITHOUT RESERVE 本拍品不設底價。Provenance: from The Robin and Rupert Hambro Collection.佚名 (明/清) 獵犬 設色絹本 鏡框題識：唐人所畫犬獸圖，喜其畫法工巧神采奕華，當時白犬過庭之意，描寫殆畫機暇，仿佛牝牡之外可也。丁亥御筆。鈐印：政和、御府寶繪藏印：項子京家珍藏、項墨林鑒藏章來源：Robin及Rupert Hambro收藏。
QIAN SHUN JU (attributed to, 1239 — 1299)Portraits of Periodical OfferingsChina, 18th century or earlierA handscroll containing two sections of painting in ink and colour on silk, each sealed, depicting foreign emissaries parading gifts of jade, coral and beautifully caparisonned horses, a title slip reading Yuan, Qianshun Ju, Zhígòngtú, and a section of calligraphy on paper with a title reading Zhígòngtú, dated December 11th 1385, stamped with five seals and signed with the name of Zhang Shen, a collector, scholar and calligrapher active at the turn of Yuan and Ming dynasties, explaining he appraised a Zhígòngtú and provided it with an introduction.31.5cm x 53cm; 35.5cm x 56cm; 35.5cm x 56cm Provenance: an English private collection, acquired in the 1990s.A very closely related painting dated to the Ming Dynasty is housed in the collection of the Smithsonian's National Museum of Asian Art, Washington DC, accession no F1915.16. The Smythsonian scroll is traditionally attributed to Han Gan (715 — 781), the Tang Dynasty painter renowned for his vivid and spirited depiction of horses from the Imperial stables. Throughout the history of the Chinese empire, the vassal states and tribes were obliged to deliver diplomatic gifts to the court on regular basis. Portraits of Periodical Offerings, Zhígòngtú, (職貢圖 / 职贡图) was a popular theme and a way of recording those foreign tributes arriving at the court and ambassadors delivering them. Each depiction was accompanied by a short description of the diplomat and their country of origin. Examples were commissioned since the Liang Dynasty (526 - 539) and copies made for circulation among the court officials. Horses played a crucial role in these tributary ceremonies as an important commodity and a symbol of status. In Tang dynasty they were imported from great distances as gifts to the Chinese emperors: there was a belief that the steeds form the Sogdian valeys in Central Asia (area roughly covering today's Kyrgyzstan, Tajikistan, Turkmenistan and Kazakhstan) have descended form dragons and have been called Tianma - Heavenly Horses. Some were said to sweat blood, a condition most likely due to a parasitic infection. Both horses and their foreign grooms were in high demand at the subsequent Chinese courts. 《元钱舜举职贡图》18世纪或更早 这幅画卷包含两部分，画布为丝绸，设色，分别有印章，画卷描绘外国使者向朝廷进贡玉器、珊瑚和装饰华丽的马匹。其中一部分为书法，带有简短的题词“洪武乙丑冬至前二日获观钱玉谭职贡图因书其首 ”和五个印章，题签上书有“职贡图”。来源：来自英国私人收藏，购于1990年代。 31.5cm x 53cm; 35.5cm x 56cm; 35.5cm x 56cm
Rubbing of Huang Tingjian's Calligraphy, Qing Dynasty | 黃文節公法書石刻 Huang Tingjian (黃庭堅 1045-1105) was a Chinese calligrapher, painter, and poet of the Song dynasty. He is predominantly known as a calligrapher, and is also admired for his painting and poetry. He was one of the Four Masters of the Song Dynasty (宋四家), and was a younger friend of Su Shi and influenced by his and his friends' practice of literati painting, calligraphy, and poetry; regarded as the founder of the Jiangxi school of poetry. L:29.5cm, W:16.5cm Properties from a Private Japanese Collection
A PAIR OF PORCELAIN CALLIGRAPHY PANELS Gilt characters on a red ground, framed, 20th Century The frame 95 x 32cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A CHINESE FAMILLE ROSE PORCELAIN PLAQUE Depicts scholars and attendants gathered in a courtyard with architectural elements, trees, and rocks, featuring calligraphy and red seals, framed in wood 28 x 20cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A CHINESE FAMILLE ROSE PORCELAIN PLAQUE Depicting two birds perched on a rock with chrysanthemums and vines, featuring calligraphy and seals marks, framed in wood 50 x 33cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A CHINESE CARVED AND GILT CALLIGRAPHY PANEL Carved red lacquered panel with gilt characters '春光及第' Chun Guang Ji Di, with foliate carved surround 118 x 61cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A Chinese calligraphy, 20th century, reads 'pu ti' (Buddhist term of enlightenment), in regular script in the style of Zhao Puchu (1907-2000), inscribed with the signature and artist's seals of Zhao Puchu, ink on paper,65 x 32.5cmCondition ReportCockling and creasing. Staining, foxing and dirt marks throughout.
A Chinese calligraphy couplet, 20th century, in regular script in the style of Shen Meisou (1850-1922), inscribed with a dedication and the signature and artist's seals of Shen Meisou, ink on paper,each 354 x 71cm (2)Condition ReportCreasing and cockling throughout. Small tears to edges, one with a large tear to the lower section.Minor foxing and staining marks.
A Chinese calligraphy, 20th century, in regular script in the style of Wu Changshuo (1844-1927), inscribed with a dedication and the signature and artist's seals of Wu Changshuo, ink on paper,35 x 132.5cmCondition ReportCreasing and cockling throughout. Small tears to edges. Staining, foxing and dirt marks in various locations.
A Chinese calligraphy, 20th century, of a poem, in the style of Yu Youren (1879-1964), inscribed with the signature and an artist's seal of Yu Youren, ink on paper,241 x 129cmCondition ReportTears and holes in various locations, some with signs of old repair. Staining, foxing and dirt marks throughout. Creasing and cockling badly. In poor condition, a/f.
A Chinese calligraphy, 20th century, reads 'Cang Gu Lou' in regular script in the style of Liang Qichao (1873-1929), inscribed with the signature and artist's seals of Liang Qichao, ink on paper,30 x 120cmCondition ReportReceipt not included with the lot.Mounting cut off to edges with tears. Creasing, cockling, foxing and staining throughout.
A group of Chinese calligraphy, 20th century, of quotations from Buddhist sutra in regular script in the style of Huang Binhong (1865-1955), inscribed with the signature and artist's seals of Huang Binhong, ink on palm leaves, accompanied by three handwritten letters, 48 x 6cm (11)Condition ReportLetters with creasings, tears and losses. Palm leaves with holes and dirt marks, one restored, three cracked.
Persian School, 19th century, of a court scene between four arranged columns of calligraphy, gouache on paper heightened with gilt,24.5cm x 17.5cm, framed and glazedProvenance: Acquired by the vendor's grandparents during their time in Pakistan in the 1960s, thence by descent.Condition ReportFrame size 43 x 35cm. Small knocks to frame.One small hole to the centre of the painting of approximately 5mm. A few other very small pin holes. Some fine craquelure. Some smudges to script. Small tears, signs of old repair. Did not examine outside of frame.
CHINESE GRISAILLE-DECORATED 'LITERATI' BRUSH POT QING DYNASTY, 19TH CENTURY 清 成化款 墨彩高士雅聚圖筆筒of cylindrical form, painted on one side with a shed in a dense forest, two learned men served by a boy servant with a wine pot, one writing calligraphy, another drinking, the counter sunk base inscribed with a six-character Chenghua mark in underglaze blue 14.3cm high
Persia, a calligraphy of a poem, a Quartrain, 18th century or earlier. four lines of a Persian poem. With three borders of fine painted flower design, at the bottom a line with text. 25,5 x 16 cm. framed Provenance: Sotheby’s ~ Oriental Manuscripts & Miniatures ~ London ~ 23. 04. 1997, lot 77 [1]
PERSIAN / OTTOMAN GLASS MOSQUE LAMP, LATE 19TH CENTURY with trumpet rim over a globular body with three applied handles, wheel engraved with Arabic calligraphy script and Arabesques, gilded borders, polished pontil scar26cm highWidest point 21cm diameter at main body.Height 25.5cm.A few tiny chips around the upper rim. Surface scratching all over and gilt losses.
Four Chinese snuff bottles19th and 20th centuryComprising: a painted enamel bottle with apocryphal Qianlong four-character mark to base, 5.7cm high; a brass bottle with incised calligraphy, 5cm high, associated stopper; a lapis lazuli bottle in the shape of a leaping carp, original stopper, 8cm high; and an agate bottle with incised flowers, 5.5cm high (4).十九至二十世紀 鼻煙壺四件
A group of Chinese ceramics and one English Staffordshire Chinoiserie teapot and coverQing dynasty, 17th century - late 20th centuryComprising: a pair of underglaze blue, enamelled and gilt tea cups and saucers from the Nanking Cargo, 7.5cm and 11.5cm diameters; a blue-glazed stoneware moulded teapot ad cover, the unglazed base inscribed Yu He (玉合), 16cm wide; an Yixing teapot by Lu Fujun (b.1966), with moulded calligraphy on the sides, reading huahaoyueyuan (花好月圆) and huakaifugui (花开富贵), the base with impressed seal mark Lu Fujun zhi, 陆福君制, the interior of the lid also with impressed seal mark 11.5cm wide, wood stand; and a Chinoiserie Staffordshire teapot and cover, 13cm high (7).清十七至二十世紀 中國及中國風瓷器七件Provenance: the tea cups and saucers, Christies, The Nanking Cargo, lot 5717 (labels to saucers).來源: 茶杯、碟，佳士得，南京號沉船, lot 5717（標籤）。Condition Report: One of the tea cups with rim hairline; one saucer with rim chip to exterior of rim, both with expected firing imperfections, some wear and rubbing to enamels and gilt.Turquoise teapot with fritting and nibbling to edges of spout, a shallow surface flake to the underside of the foot and general firing imperfections.The Yixing with general surface wear and nibbling to edge of the spout. Large pit to the underside.The Staffordshire teapot with two nibbles to the edge of the lid; the spout broken off in several parts and repaired together with stitching.
A pair of Chinese famille rose 'figurative' jardinièreRepublic periodPainted with ladies within landscape, 29cm diameter (2).民國 粉彩繪仕女園景圖紋花盆一對 Condition Report: Expected light wear and rubbing to enamels. One jardinière with star check to the exterior, by the calligraphy, approx. 60x85mm, but only very partially going through the body and visible through the interior, and a smaller star-shaped glaze line next to it, which does not appear to go through the body. There is also a patch of plaster-like surface residue stuck to the interior.The other jardinière also with large star crack, as well as a rim chip and associated rim hairline approx. 13cm long.
PAN LINGGAO (1867-1954)Du Fu's Four Poems on Ancient Sites in running script, 1933Ink on paper, framed and glazed, inscribed and signed Pan Linggao, with two seals of the artist. The calligraphy 64.5cm (25 3/8in) wide x 43cm (17in) high.Footnotes:1933年(癸酉年) 潘齡皋書杜甫詠懷古跡四首 水墨紙本 鏡框款識：癸酉春三月潘齡皋鈐印：潘齡皋字錫九印信宜壽、乙未聯捷翰林Provenance: a Danish private collection來源： 丹麥私人收藏Pan Linggao 潘齡皋 (1867-1954), a native of Anxin, Hebei Province, distinguished himself as a patriotic calligrapher and a politician. In 1904, he passed the Imperial examination and attained the jinshi degree, and was then granted the post of Compiler of the Hanlin Academy (翰林院編修). In 1921, he was appointed as the governor of Gansu Province by the Nationalist government. However, disillusioned by the corruption within the government, he resigned and returned to his hometown in 1922. Later, he moved to Tianjin and Beiping, where he cultivated his passions for poetry composition and calligraphy. His mastery in these fields garnered him widespread acclaim, establishing him as a renowned calligrapher in northern China during the Republic Era. During the tumultuous period of Japanese occupation, he was arrested for refusing to serve as the governor of Hebei Province. In 1948, Pan Linggao wrote several letters to Fu Zuoyi, urging him to negotiate with the Communist Party. After 1949, he served as a consultant to the Military Affairs Committee of the Central People's Government and as a member of the Central Research Institute of Culture and History.Pan's calligraphy is elegant and refined, with a balanced and graceful structure, echoing the timeless subtleties of revered ancient calligraphers such as Zhao Mengfu, Yan Zhenqing and Liu Yong. He was renowned alongside Tan Yankai at the time, earning the saying 'Tan in the south, Pan in the north' (南譚北潘). It was considered prestigious for businesses in Tianjin and Beijing to commission Pan to inscribe their plaques. See a related calligraphy hanging scroll by Pan Linggao, sold by Christie's Hong Kong, 30 November 2015, lot 969.This lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.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
A VERY RARE SMALL INSCRIBED ZITAN BRUSHPOT, BITONGSigned Xu Fang and Li Tianzhi, cyclically dated to the Wuxu year corresponding to 1658 and of the periodThe tall cylindrical vessel of dark-brown tone incised around the exterior with a portrait of a gentleman and calligraphic inscriptions in clerical script. 10.5cm (4 1/8in) high.Footnotes:戊戌年（1658） 紫檀雕詩文筆筒「徐枋」「龍湫山人」款Provenance: a Danish private collection來源： 丹麥私人收藏The inscription above the portrait of the gentleman in seal script reads: 蜃園肖景(影) which may be translated as 'The portrait of Shenyuan', with the seal and signature of Xu Fang 徐枋（1622-1694）.The main inscription in clerical script reads: 野態何煩彩莙痕，為留模樣與兒孫。心中應有難言意，不共攜家住鹿門。俟齊園後余自題，崆峒為刊於此。Which may be translated as: Retreating to wilderness (I) should not feel discomfort about consuming wild vegetation, as it serves as a model for the sons and grandsons. Grappling with sentiments that resist easy expression, (I) could not take my family to live in seclusion. After waiting for the completion of Qi Garden, I inscribed this myself. Kongtong carved this here (for me).The signature reads 'Longqiu shanren' 龍湫山人 (The Mountain Man of Longqiu) which is the self-proclaimed title of Li Tianzhi 李天植(1591-1672) who is also known as 'Shenyuan xiansheng' 蜃園先生 (The Gentleman of Shenyuan). Li Tianzhi passed the Imperial examination in the sixth year of the Chongzhen period (1633), gaining the rank of 'juren', but he was carefree by nature and had no intention of pursuing an official career. After the fall of the Ming dynasty, he retired to Chen Mountain and lived in seclusion. He established a school in a temple and made a living by teaching. After residing there for ten years, he found the school affairs too bothersome, so he retreated to his family's estate, Shenyuan, and earned a living by selling his writings and woven baskets. Despite his financial difficulties, when the villagers tried to support him with provisions, he declined their help. Local officials, hearing of his reputation, visited him, but he evaded them by climbing over the wall. See Li Keqiang and Yue Shuzhen, Jin, Yuan, Ming ren cihua 金元明人詞話, Tianjin, 2012, p.665.Compare with a related zitan brushpot, with calligraphy and incised portrait, 17th/18th century, illustrated by M.Flacks, Custodians of the Way: Chinese Scholar's Objects in Precious Woods, London, 2014, p.124.See a also a related inscribed zitan brushpot, 18th century, which was sold at Sotheby's Paris, 18 April 2013, lot 80.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 CARVED BAMBOO AND BAMBOO VENEER FAN GUARDS MOUNTED WITH FAN LEAFS, TWO PAINTED BY PU JIN (1893-1966), YUN HOUMING, AND BOXIANG JUSHIFan guards signed by Wu Hufan, Wu Disheng, Jin Beilou and He Shaoji, 19th/20th centuryComprising: a folding fan, ink and colour on paper, painted with a scholar by the lake, signed by Pu Jin, with a seal of the artist, the reverse with calligraphy in clerical script by Yun Houming and the seal of the artist; the second with calligraphy in running script, dedicated to Fengbin and signed by Boxiang jushi with two seals of the artist, the fan frame carved with a pheasant perched on a leafy branch and inscriptions with the signatures of Wu Hufan, Wu Disheng and Wang Wei; the third with the fan frame carved with a pheasant perched on a leafy branch of pine tree and inscriptions with the signatures and seals of Jin Beilou and Ziyi jushi; the fourth with the fan frame carved with inscriptions cyclically dated to the Yiwei year (1835) with the signature and seal of He Shaoji. The largest 33.2cm (13 1/8in) long. (4).Footnotes:十九/二十世紀 成扇四把Provenance: a Danish private collection來源： 丹麥私人收藏The fan painted with a scholar by the lake, is inscribed 'Zhuquan gaoyi' 竹泉高逸 (bamboo, spring, and elegant scholar), signed by Pu Jin 溥伒 (1893-1966) and followed by an artist's seal 'Pu Jin yinxin changshou' 溥伒印信長壽 (The seal of Pu Jin Longevity). Pu Jin was the grandson of Prince Dunqin Yicong 奕誴 (the fifth son of Emperor Daoguang) and the eldest son of Prince Zaiying 載瀛. After the Xinhai Revolution, he no longer involved himself in politics and made a living through calligraphy and painting. In 1966, amid the turbulence of the Cultural Revolution, he left home with his daughter and disappeared without a trace. Profoundly influenced by his exposure to the rich repository of Qing Court paintings, he integrated these experiences into his artistic endeavours, inheriting some characteristics of previous renowned painters. See a similar fan painted with 'Scholar by the Lake' and signed by Pu Jin, 1941, which was sold at Sotheby's Hong Kong, 11 October 2021, lot 3007. The art of bamboo fan frame carving originated in the late Ming dynasty, reaching its peak during the middle to late Qing dynasty. Bamboo fan frame carvings often integrated various art forms including poem, calligraphy, painting, and seal engraving. Owing to its widespread acclaim among the literati of the period, many intellectuals and artists contributed to the production of bamboo fan frame carvings, some famous ones as seen in the current lot, including Wu Hufan 吳湖帆, Wu Disheng 吳迪生, He Shaoji 何紹基 and Jin Beilou 金北樓. Wu Hufan (1894-1968) was hailed as a master painter and calligrapher. He was also a important collector and connoisseur of ancient paintings, calligraphic works, and antiques that were largely inherited from his grandfather Wu Dacheng 吳大澂 (1835-1902). Wu Disheng, active around the Republic period, was a student of Qi Baishi, and a famous calligrapher, painter, seal and bamboo carver. He Shaoji (1799-1873), a native of Hunan Province, attained the degree of Jinshi in the 16th year of the Daoguang reign (1836), distinguishing himself as a poet, painter, and calligrapher during the late Qing dynasty. Jin Beilou (1878-1926), also known as Jin Cheng and Jin Shaocheng, was a famous political figure, painter and calligrapher active from late Qing to Republic period.（扇一）：溥伒/運侯名 設色紙本 竹泉高逸圖 成扇 扇面一款識：竹泉高逸 南石居士溥伒鈐印：「溥伒印信長壽」扇面二錄文：言入黃花川，每逐青溪水。隨山將萬轉，趣途無百里。聲喧亂石中，色靜深松裡。漾漾泛菱荇，澄澄映葭葦。我心素已閒，清川澹如此。請留磐石上，釣魚將已矣。款識： 錄王維詩《青溪》以求政茗仁兄指正，時於乙亥仲夏。弟侯名敬寫並學畫。鈐印：「運侯名」扇骨一：萬里長江一小舟，初更停後入瓜州。清風明月行人少，水色山光處處秋。山外青江江外沙，白雲處處有人家。舟中不是仙元在，空有飛來一片花。花見先生妒不休，石公年老當風流。年年三月初三日，人不看花到白頭。仲夏之月刊。 扇骨二：江天一色帶片云，處處空中有月明。江上何人初見月，明月何處初照人。開心日日到青山，山色時時不改妍。我同青山何日老，青山同我已時閑。海上看山二十年，山中同住有神仙，神仙只見雲來去，不許凡人在此間。云刊。（扇二）：水墨紙本 書法 成扇 扇面一款識：鳳斌同志拂暑 家奎 鈐印：「博產館主」扇面二款識：博香館主鈐印：「博香館主」扇骨一刻文：揚州曾聽玉人蕭，廿四橋邊魂黯消。清韻而今何處去，月明依舊湧江潮。刻款：湖帆書 迪生刻竹 刻印：「吳」扇骨二刻款：句宴王偉刻印：「王」（扇三）：成扇扇骨一刻文：團雪上晴梢，紅明映碧寥。店香風起夜，村白雨休朝。刻款：自怡居士刻印：「佛元」扇骨二刻款：北樓刻印：「金」「書印」（扇四）：成扇扇骨一刻文：道以德充聲由業廣刻款：何紹基刻印：予貞扇骨二刻文：禮為教本敬者身基。刻款：乙未仲春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
Small group of blue and white piecesChineseincluding a small lotus bowl with Qianlong mark, 10cm diameter, a snuff bottle, an ink pot and cover, 6cm diameter, a hexagonal pen holder with calligraphy sides, 7cm high and a bird feeder (5) Wear and nicks on the underside of the ink pot. Wear and scratches on the pen holder.
A Chinese blue and white 'hundred antiques' brush potQing dynasty, Kangxi period with apocryphal Jiajing markThe elegantly waisted body finely painted with antique objects in vibrant cobalt blue, one side with a calligraphy inscription, six-character apocryphal Jiajing mark within a double-circle to base, 13cm high.清康熙 青花博古圖紋筆筒，青花楷書「大明嘉靖年製」寄托款Condition Report: Generally good, apart from expected light wear and firing imperfections consistent with age and type.
China. Six copies of Masterpieces of Chinese Painting in the National Palace Museum, Taipei: Published by the National Palace Museum, Taiwan, tipped-in colophon dated 1970, parallel Chinese and English text, printed in colour, original red cloth, lettered in gilt, slipcases en suite, 4to; late 20th c facsimiles of Chinese calligraphy, etc., (16)
Bibliophily. Private Presses: The Rampant Lions Press Miscellany, copy no. 127/185, Cambridge: Will and Sebastian Carter, 1988, original publisher's grey cloth over papered decorative boards, uncut, 4to; Grosvenor, Chater & Co. Ltd. & Abbey Paper Mills, Stock Samples, Volume 2: Boards, polychrome sample book, n.d. [c. 1950], original pictorial and lettered black cloth binder, oblong 4to; Broomhead (Frank), The Zaehnsdorfs (1842-1947), Craft Binders, one of 1,200 copies, Private Libraries Association, 1986, cloth, 8vo; Bertram Rota Catalogue 192, The Printer and the Artist, 1974, original wrappers, 8vo; further books, monographs, off-prints, and ephemera on various branches of bibliophily, bibliography, typography, printing and illustration, paper production, private presses, calligraphy, etc
Three pieces of Chinese porcelain, including a Ming bowl with calligraphy, an 18th century landscape bowl, and a 19th century prunus dish, 28cm diameterThe dish has a very small rim chip. The landscape bowl has a reglued section on the rim, hairlines in the middle, and a couple of small chips. The other bowl has some fritting and glaze wear.
A FAMILLE ROSE 'WU SHUANG PU' HEXAGONAL HAT STANDQianlong four-character mark, 19th century With straight sides, each pierced with a shaped panel, decorated with calligraphy and various figures from the 'Table of Peerless Heroes'. 28.5cm (11 1/4in) high. Footnotes:十九世紀 粉彩鏤空無雙譜帽峝「乾隆年製」款Provenance: Nicholas Panes Collection no.131 (label)For further information on this lot please visit Bonhams.com
XU SENGENG (1826-1890)Calligraphy CoupletInk on paper, pair of hanging scrolls.237.6cm (93 1/2in) x 48.7cm (19 1/8in); 235.8cm high (92 3/4in) x 48.7cm (19 1/8in). (2).Footnotes:徐三庚 書法對聯 水墨紙本 立軸一對款識：宣時布和修德行惠，增榮益誉受福宜年。翯然散人徐三庚褎海書於滬。鈐印：「徐三庚之印信」、「褎海」For further information on this lot please visit Bonhams.com
THREE ALBUMS OF RUBBINGS AND A RUBBING MOUNTED AS A HANGING SCROLLCirca 1918Comprising: an album of rubbings of 25 sheets of rubbing circa 1918, concertina bound with a postscript by Lu Yaoling dated 1923; an album of rubbings of 23 sheets of rubbing with the title Wen Zhengming shutie (The Rubbing of Wen Zhengming); the set of loose rubbings, incomplete, 29 sheets in total.The largest: 59.5cm (23 1/2in) high x 104.5cm (41 1/8in) wide (4).Footnotes:約一九一八年 《葉有道碑》、《文征明書帖》、《多寶塔感應碑文》及立軸一幅立軸款識：隹廿又八年五月既望庚寅，王才周康穆宮。旦，王各大室，即立。宰頵右㝨入門。立中廷，北郷。史黹受王令書。王乎史淢册易㝨：幺衣黹屯、赤市、朱黄、鑾旂、攸勒。戈琱戟、厚)必、彤沙。㝨拜稽首。敢對揚天子丕顯遐休令，用乍朕皇考鄭白、鄭姬寶般。㝨其萬年子子孫孫永寳用。鈴印：「阮氏家廟藏器」、「六舟所拓金石」Provenance: Arthur Probsthain bookshopa letter from the British Museum dated 30 January 1957 addressed to Mr Lyall describing the calligraphy.For further information on this lot please visit Bonhams.com
ZHEJIANG PROVINCE SEA CHART MAP (Zhejiang sheng quan hai tushuo)Qing DynastyInk and colour on paper, with a calligraphic description as the title, hand scroll.The calligraphy: 41.5cm (16 3/8in) high x 56cm (22in) wide; the map: 41.5cm (16 3/8in) high x 564cm (222 in) wideFootnotes:清 浙江省全海圖說款識：謹按浙海自東南一帶，紆迴廣濶，盤旋通達，逼臨大海者，定海黄巖溫州皆設總兵一員，各率所轄員弁舟師出哨遊巡，以資保障。内定海孤懸海外，西與寕波相爲犄角，東至蓮花大洋，北達乍浦，與江南崇明接壤，南與黄巖温州互相聯絡，與福建烽火營交界。更有温属玉環，乃懸海之區，設水師參将一員，率領弁兵駐防巡守。乍浦逼臨海濵，界連江南，爲海汎之要口。設水師參将一員，滿漢駐防至提標右營。設立水師船隻，每年四季，奉委將偹千把，輪駕戦船，分巡定黄温所属海汛，稽察各營哨巡官兵勤惰，其海島懸山各分界限，汛守臺寨，防範纂嚴。海不揚波，共慶昇平。漌繕水師沿海全圖，分别營縣山嶼島嶴，水程更数開載於後：今開：自乍浦至黄盤一更。黄盤至伏龍山一更。伏龍山至蛟門一更。蛟門至黄牛礁一更。黄牛礁至舟山衜頭一更。舟山衜頭至星羅一更。星羅至青龍港一更。青龍港至温州嶼一更。温州嶼至東西柱一更。東西柱至鞍子頭一更。鞍子頭至大目山一更。大目山至旦門一更。旦門至鎖門一更。鎖門至銅瓦門一更。銅瓦門至三門一更。三門至斷棚一更。斷棚至牛頭宫一更。牛頭宫至聖堂門一更。聖堂門至川礁一更。川礁至海門一更。海門至榔機山一更。榔機山至馬蹄嶴一更。馬蹄嶴至松門一更。松門至調班洋一更，調班洋至銅鉄礁一更，銅鉄礁至乾港一更，乾港至長峙沙頭一更。長峙沙頭至黄坎門一更。黄坎門至三盤一更。三盤至小門一更。小門至黄華關到鳳凰洋一更。鳳凰洋至琵琶洋一更。琵琶洋至炎亭一更。炎亭至金鄉一更。金鄉至草嶼一更。草嶼至北關一更。乍浦起至北關止共計三十六更，每更約計水程六十里不等，統共約計水程二千一百余里合併登明。Provenance: an English private collection.This detailed military chart depicts coastal defences along the Zhejiang coast, charting around 300 miles of coastline with areas labelled in detail and red lines marking out divisions of authority. Further notes are listed in a calligraphic inscription at the start of the hand scroll.For further information on this lot please visit Bonhams.com
AN ALBUM OF PITH PAINTINGS, FOUR PITH PAINTINGS AND AN ALBUM LEAFThe red brocade-mounted album with 11 leaves capturing various scenes from daily life; the four pith paintings in an envelope; an album leaf with calligraphy opposite a figurative painting signed Ke Jiusi.The largest: 38.4cm (15 1.8in) high x 33.8cm (13 5/16in) wide (3).Footnotes:通草畫冊頁十一開、通草畫四幅及柯九思作畫一張Provenance: Arthur Probsthain bookshop款識：漢章帝時，大旱上欲封爵諸舅，馬太后不許。言事者以為不封外戚之故，有司請依舊典，太后詔曰：凡言事者，皆媚吾以要福耳，昔王氏五侯，同日俱封，其時黄霧四塞，不聞澍雨之應，先帝防慎舅氏，不令在樞機之位。帝省詔乃止。鈴印：「柯九思印」、「柯敬仲氏」For further information on this lot please visit Bonhams.com
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