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Click here to subscribeFour similar slip decorated red ware plates, 23cm diameter together with a Wedgwood majolica wine flask, a Clarice Cliff streak glazed bowl (at fault), small quantity of Commemorative ware, a Cauldron blue and white chamberstick, a Royal Doulton figure, old Lavender seller, H N 1492 and other ceramics
A Chinese famille rose box and cover,18th-19th century, of shaped rectangular form with mask handles, painted with Li Bai seated next to a wine jar with an attendant bringing him a glass of wine, the reverse with a literatus seated in a study, the domed cover with a ball knop,7cm high (2)清十八至十九世纪 粉彩人物故事图盖盒Condition ReportMinute chips to rim.
Two Chinese blue and white wine pots,Guangxu (1875-1908), comprising:one square, painted with Li Bai leaning against a wine pot, surrounded by precious objects, the reverse inscribed with a poem, 20cm high, and another, of hexagonal form, enamelled with bats and shou characters amongst scrolling peony, 12cm high (4)Condition ReportSquare - finial missing. Chips to cover, spout, handle, corners and edges. Hexagonal - spout restored with rivets, loop handle restored. Enamel losses.
Three Chinese qianjiang-enamelled wine pots,Republic period (1912-1949), one of hexagonal form, and another two in the shape of a pear, both painted with ladies in a garden, the reverse inscribed,14 to 18cm high (5)Condition ReportAll with enamel and gilt losses.One pear-shaped missing cover. Hexagonal - cover damaged with losses.
A Chinese famille rose wine pot,Daoguang (1821-1850), of tapering form, painted with a boy seated on a buffalo, pointing directions to a literatus and attendant, 11cm high, and a famille rose teapot and cover,Tongzhi (1862-1874), the rounded sides rising from a circular foot, painted with figures in a garden, a four-character Tongzhi mark to base,16.5cm long (3)Provenance: The Collection of Mr Edmund Bruce Ball (1873-1944), and thence by descent.清道光 粉彩人物故事图酒壶 及 同治 粉彩人物故事图茶壶 一组两件Condition ReportWine pot - a small chip to spout, rim with hairline cracks. Teapot - rim of cover and spout chipped, small glaze chips to handle, a star crack to the interior.
LARGE SUITE OF EDINBURGH CRYSTAL ENGRAVED TABLE GLASS, including tall beakers, champagne flutes, tealight holders, water jug, finger bowls, whisky and liqueur glasses, red wine, white wine and sherry glasses, flower vase, and salad bowl, in sets of 4 and 6 (qty)Provenance: Private collection Cardiff.Comment: generally very good. Condition Report:The jug has a crack and one of the etched bowls has a small rim chip.There are four or six of all types of glasses.One large bowl, looks like a fruit bowl.One jug and one vase.Most are stamped at the base. Some of the tall glasses are not stamped.
A RARE SOMADA-STYLE MOTHER-OF-PEARL INLAID LACQUER MANJU NETSUKEUnsignedJapan, 18th-19th century, Edo period (1615-1868)The two-part manju decorated with geometric motifs inlaid in part with iridescent Somada-style aogai inlays separated by a thick hiramaki-e border. The interior of dense nashiji with silver rims and a looped metal kiku fitting with a cord attachment passing through a silver kiku himotoshi to the exterior.DIAMETER 4.2 cmCondition: Very good condition with minor typical losses to inlays.Provenance: Tamenne Gallery, Brussels, November 29, 1967. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent within the same family. An old collector's label, 'N 286 bis.' Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).Lac Burgauté or Laque burgauté is a technique of decorating lacquer ware with inlaid designs by employing shaped pieces of the iridescent blue-green shell of the sea-ear (Haliotis). This shell inlay is sometimes engraved and occasionally combined with gold and silver. Workmanship is exquisite; therefore, laque burgauté is principally used to decorate small-scale objects like tiny boxes, miniature table screens, vases, and little silver-lined wine cups. Laque burgauté seems to have originated in China, with examples occurring as early as the Ming dynasty and was especially popular in the Qing dynasty. In Japan, it was widely used by craftsmen in the Tokugawa (Edo) period and is referred to as aogai and was often used by the Somada family.Auction comparison:Compare a related small Chinese lac burgauté box and cover, Kangxi period, at Zacke, Fine Chinese Art: Buddhism and Hinduism, 10 March 2023, Vienna, lot 283 (sold for EUR 10,400).
A Pair of Cantonese Porcelain Vases, 19th century, moulded to the necks with mythical beasts decorated in gilt, painted famille rose enamels in typical fashion with panels containing figures, birds and flowers, 14cm high, together with a pair of Republic period vases in Qianlong style, another modern square section vase painted with landscapes and calligraphy, two metal mounted wine ewers painted in underglaze blue, a box and cover and a carved hardstone model of a tree (one tray)Some wear to each of the ceramic pieces but no major damage or losses, the hardstone tree does have some elements lacking and heavier wear
BRONZE RITUAL WINE VESSEL AND COVER, HU HAN DYNASTY 漢 青銅提梁壺帶蓋 the pear-shaped vessel rising from a flaring foot to a waisted neck and slightly everting mouth, the shoulders encircled by a wide band with a ridge cast in relief, further flanked by a pair of taotie masks suspending loose rings carrying a chained loop handle, the cover with two suspended rings, a small knob finial Dimensions:30cm high Provenance:Provenance: Nicholas S Pitcher, 2002 (according to collector's inventory).Dr. Kenneth P. Lawley's inventory number: M.29. Note: Please note this lot will be offered with no reserve. 本拍品不設底價
BRONZE TRIPOD WINE VESSEL AND COVER, YOU HAN DYNASTY OR LATER 漢或以後 青銅提樑卣 the globular body on three zoomorphic-feet rising to waisted neck and straight mouth, raised ribs decorating the shoulders, with a chained loop handle, the cover moulded with archaic motifs enclosing a small loop finial Dimensions:18.3cm high; 1498g Provenance:Provenance: OAG (Oriental Art Gallery Ltd.), 1996 (according to collector's inventory).Dr. Kenneth P. Lawley's inventory number: M.20. Note: Note: Two related bronze xianglou you (one without cover), Han dynasty, are in the National Palace Museum, Taipei, collection nos. Gu Tong 故銅1921 and 1922. Similar form of wares are also seen on the market, one sold at Christie's London, 7 Nov 2017, lot 171; the other at Bonham's Los Angeles, 21 June 2022, lot 89.Also compare to two more related examples, note the related treatment of covers, one in the abovementioned museum, collection no. Zhong Tong 中銅1046, and the other sold at Christie's New York, 15 Sep 2017, lot 910.Please note this lot will be offered with no reserve. 本拍品不設底價
BRONZE RITUAL WINE VESSEL AND COVER, BIANHU HAN DYNASTY 漢 青銅扁壺 of flattened globular form raised on a spreading oval foot, the curved sides accentuated by shallow, recessed panels, flanked by a pair of suspending loose rings, the slightly domed cover with deep inner rim and a small loop finial in the centre Dimensions:28.3cm high; 2934g Provenance:Provenance: Capital Gallery, Hong Kong, 10 June 1998, with an original receipt.Dr. Kenneth P. Lawley's inventory number: M.25. Note: Please note this lot will be offered with no reserve. 本拍品不設底價
RARE BLACK POTTERY WINE VESSEL, JUE SHANG DYNASTY 商 黑陶爵 elegantly potted, the oval body supported on three blade legs, the mouth extended to a cupped pouring tip at one end and a raised pointed tip at the opposite flanked by two vertical posts with conical finials in between, one side of the vessel applied with a loop handle Dimensions:19cm high Provenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. Acquired at Christie's London, 19 Jun 2001, lot 3, with an original receipt. The result of the Oxford Authentication Ltd. thermoluminescence analysis test, sample no. C101j70, is consistent with the dating of this lot, with a photocopied certificate dated 1 May 2001. Note: Note: Ritual wine vessels in the form of a jue are more commonly seen in bronze. They were designated for heating and pouring wine during Shang dynasty rituals. The capped posts rising from the rim would have allowed the hot metal vessel to be lifted from the heat and poured, whereas the ceramic form of this vessel would not have been suitable for this.Compared to zun and gu vessels dated to the Shang dynasty made in the form of ceramic instead of bronze, fewer jue and jia vessels are known. Compare to a greatly simplified and squatted jue, dated to the late Shang dynasty, in the Asian Art Museum, San Francisco, object no. B60P1834, and illustrated by He Li in Chinese Ceramics - The New Standard Guide, London: Thames and Hudson, 1996, p. 63, no. 20. Also see other similar simplified examples, Shang dynasty, one in Princeton University Art Museum, museum no. y1965-52; some in Institute of History and Philology, Academia Sinica Taipei, accession nos. R023599BBWA_2, R000175CCWA, R000174CCWK_1. These tripod vessels with slender legs, like this lot, would have been more difficult to fire successfully.
BLUE AND WHITE BOWL QING DYNASTY, QIANLONG PERIOD 清乾隆 花押款 青花松下飲酒圖碗 painted on one side of the bowl with a nobleman holding a wine cup, a boy assistant carrying a vessel containing a wine cup walking towards him, all underneath a canopy of pine tree, reverse with a bat in flight, the base painted with a floral motif Dimensions:17.8cm diameter Provenance:Provenance: Private Scottish collection, Glasgow
FAMILLE ROSE 'IMMORTAL' PORCELAIN PLAQUE ATTRIBUTED TO WANG XIAOTANG (1885-1924) 汪曉棠款 粉彩白髮仙人圖瓷板印文: 汪氏、曉棠 brightly painted with a white-haired immortal with his attendant holding his staff and double-gourd wine vessel by a riverside bank, inscribed upper right with poem, signed, sealed and dated to the winter of Ji Wei year Dimensions:39cm x 26cm
TWO RARE PARCEL-GILT 'CARDOGAN' COPPER-ALLOY AND SILVER RITUAL WINE EWERS NEPAL, 18TH-19TH CENTURY 尼泊爾 十八至十九世紀 局部鎏金銅合金及銀杜爾噶、文殊菩薩倒流壺（兩件） each of oval form on a flared foot, each side with a gilded floral form cartouche containing a multi-armed deity in relief, reserved on a copper sheet hammered and etched with rocky hills and mountains on sides and further etched with scrolling foliage, one side set with a handle, the opposite with makara-form spout Dimensions:widths: 16.5cm &15.5cm; 272g & 286g Provenance:Provenance: Michael Backman Ltd., 23 June 2022, with an original invoice.Dr. Kenneth P. Lawley's inventory number: M.71. Note: Note: According to the research by Michael Backman, four multi-armed deities on the pots, of which three appear to be Durga, and one other is Manjusri.Please note this lot will be offered with no reserve. 本拍品不設底價
RARE IRON-PAINTED 'CHRYSANTHEMUM AND BAMBOO' HANDLED MOONFLASK JOSEON DYNASTY, 18TH-19TH CENTURY 朝鮮王朝 白磁鐵畵菊竹紋雙耳扁瓶 of flattened globular form set on a high spreading oval foot with a cylindrical neck and everted lip, decorated on one side with bamboo and the reverse with chrysanthemum, two loop-handles flanked the shoulders, two sides of the foot with perforations Dimensions:17.5cm high Provenance:Provenance: Christie's, 1981 (according to collector's inventory).Dr. Kenneth P. Lawley's inventory number: Cer.88. Note: Note: The Korean potters started experimenting with iron brown or black painting as early as the 12th century influenced by the Chinese Cizhou ware. At the beginning of the Joseon period, painting with iron pigment was the distinguishing feature of pottery produced at the Keryong-san kilns. By the end of the 16th century to the end of the dynasty, local potteries across the country have produced white or grey porcelains and stonewares decorated with underglaze iron painting. Some of the finest brushwork is seen on jars and wine flasks decorated with sprays of bamboo, a favourited subject with scholar-artists and aristocrats in the mid-Joseon period, 16th-17th century. Observes G. St. G. M. Gompertz, 1968, Korean Pottery & Porcelain of the Yi Period, London: Faber and Faber, pp. 48-50.Compare to a finer wine flask with underglaze iron painting of bamboo, 17th century, without the loop handles, illustrated ibid. pl. 62, and a wine flask similarly decorated but flanked with two squirrel-form handles, illustrated ibid. pl. 71A, subsequently sold at Bonhams London, 7 Nov 2013, lot 26. Including this lot, these three moonflasks are decorated with bold sweep of brushwork and rich brown, almost black, of iron pigment producing an effect that evokes admiration.Several other related comparable examples with nuances of form and detail, all dated to the Joseon Dynasty, are in museum collections. Including the National Museum of Korea, collection no. 동원 248; The Cleveland Museum of Art, accession no. 1999.44; Harvard Art Museums, museum no. 2002.267. Further compare to one with similar cord runners, was sold at Bonhams New York, 24 Sep 2020, lot 1047.Please note this lot will be offered with no reserve. 本拍品不設底價
A RARE CLOISONNÉ-ENAMEL AND GILT-BRONZE VASE, FANGGUQianlong four-character mark and of the periodCrisply cast of square section, the bulbous central section with archaistic taotie masks, the square flaring neck with stylised chilong beneath upright lappets, the interior with a band of scrolling lotus, the spreading foot with further chilong and lappets, with scrolling flanges on the edges and centre, gilt base with the incised four-character mark within double square, drilled, wood stand. 24cm (10in) high. (2).Footnotes:清乾隆 銅胎掐絲琺瑯獸面紋出戟方觚「乾隆年製」楷書款Provenance: an English private collection來源：英國私人收藏The present lot is based on an archaic prototype, fanggu, or ritual wine vessel of the Shang dynasty. The Qianlong Emperor was known for his admiration of 'the ancient ways'. During his reign, not only a large number of antiquities were collected at Court, and many works of art, such as the present fanggu, were made with archaic references. Compare with a related square cloisonné gu with animal-mask decoration, Qianlong mark and of the period, in the Palace Museum, Taipei, illustrated in Enamel Ware in the Ming and Ch'ing Dynasties, 1999, Taipei, p.127. See also a related square cloisonné gu with flanges and design of animal masks, in the Palace Museum, Beijing, illustrated in Compendium of Collections in the Palace Museum: Enamels, Cloisonné in the Qing Dynasty, Beijing, 2011, p.183.A related gilt-bronze and cloisonné enamel gu, Qianlong mark and of the period, was sold at Christie's Paris, 7 June 2011, lot 208. See also a similar cloisonné enamel gu, 17th century, which was sold at Bonhams Hong Kong, 29 May 2023, lot 849.For further information on this lot please visit Bonhams.com
A BLACK LACQUER AND MOTHER-OF-PEARL INLAID BOX AND COVERJun Zan mark, 17th centuryThe box and cover meticulously decorated with a scene of a scholar beneath a gnarled pine tree seated beside a large double-gourd, fanning a stove, all surrounded by a ruyi-head band and florets on the rim, the sides with floral scrolls, the box raised on a tapered foot, the base with mother-of-pearl inlaid Jun Zan mark.7.6cm (6 7/8in) diam. (2).Footnotes:十七世紀 漆嵌螺鈿人物松石圖蓋盒「君贊」款Provenance: Bluett and Sons Ltd., London (label)A French private collection來源：倫敦古董商Bluett and Sons Ltd.（標籤）法國私人收藏The shape and mark as seen on the present lot are very rare. Black lacquer and mother-of-pearl boxes and covers of this type are usually marked and associated with Jiang Qianli. Jiang Qianli was a renowned craftsman specialising in inlaid lacquer. Although he was traditionally thought to have lived during the late Ming period, recent scholarship has dated him more to the Kangxi period. The present lot shows a mastery of the skill and control required for such minutely detailed workmanship, as well as a pleasing exploration of varied textural patterns and colour of the mother-of-pearl. For a lobed box inlaid with the Qianli mark, see G.Tsang and H.Moss, Arts from the Scholar's Studio, Hong Kong, 1986, no.144.Compare with a related hexagonal mother-of-pearl inlaid box and cover, 17th century, similarly decorated to the cover with a garden scene depicting a boy attendant serving wine to a seated scholar, which was sold at Sotheby's Hong Kong, 8 October 2010, lot 2241.For further information on this lot please visit Bonhams.com
A CARVED AGATE 'SAGES' SNUFF BOTTLE19th century Of flattened globular form surmounted by a short cylindrical neck, carved on one side with two seated sages and a boy-attendant amongst rockwork, continued on the reverse with two birds perched on a leafy branch, incised in cursive calligraphy with an inscription, the stone of semi-translucent grey tone with dark chocolate-brown inclusions cleverly worked to enhance the details, agate stopper and tortoiseshell spoon. 5cm (2in) high. (2).Footnotes:十九世紀 巧雕瑪瑙刻詩文鼻煙壺Provenance: a French private collectionAn English private collection, acquired in 1970, and thence by descent來源：法國私人收藏英國私人收藏，獲得於1970年，並由後人保存迄今The inscription reads: 且吸杯中月Which may be translated as:To drink the moon in the cupThis line comes from the Song dynasty scholar Su Dongpo's (1037-1101) poem 'On a Moonlit Night Drinking Wine with a Guest below the Apricot Blossoms' (月夜與客飲酒杏花下).Compare with a similar inscribed agate snuff bottle, 1730-1840, which was sold at Bonhams Hong Kong, 28 May 2010, lot 82. See also another similar agate snuff bottle with two sages and four-character inscription, 1760-1800, which was sold at Bonhams London, 8 November 2004, lot 45.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
A CARVED COCONUT SHELL LOBED CUPXuanshi mark, 17th/18th century Exquisitely carved and hollowed, the deep rounded sides forming three lobes, each lobed carved with a meandering floral scroll in relief, the interior lacquered black and decorated in gilt with an archaistic chilong, the base with a seal mark reading Xuanshi. 7.1cm (2 3/4in) wide. Footnotes:十七/十八世紀 椰殼雕花卉螭龍紋碗 「玄示」刻款Provenance: a French private collection來源：法國私人收藏Coconut from the Annam (present day Vietnam), Hainan, Guangdong and Guangxi Provinces were noted by the early Ming connoisseur Cao Zhao in his Gegu Yaolun, where in a section on coconut cups he describes them as being painted or set in silver. In a later edition (1462) the following information is added: 'The small ones are the most expensive and hard to come by'. Compare with a related coconut wine cup, possibly 16th/17th century, illustrated by G.Tsang and H.Moss, Art from the Scholar's Studio, Hong Kong, 1986, p.260, no.256.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
A PEACHBLOOM-GLAZED BEEHIVE WATERPOT, TAIBO ZUNKangxi six-character mark and of the periodFinely potted of classic domed taibo zun form, the slightly tapering sides rising to a rounded shoulder and short waisted neck below a lipped mouth-rim, the exterior evenly applied overall save for the rim and base with a sumptuous crimson-red glaze suffused with pink sprinkles imitating the skin of a ripening peach, the body further faintly incised with three roundels enclosing archaistic dragons, the recessed white base inscribed in underglaze blue with a six-character reign mark in three columns. 12cm (4 6/8in) diam.Footnotes:清康熙 豇豆紅釉團龍紋太白尊青花「大清康熙年製」楷書款Provenance: Alexander von Frey, ParisRalph M. Chait Galleries, New York, 20 September 1944Hans (1888-1966) and Ludmilla Arnhold (1894-1976) acquired from the aboveA European private collection來源： Alexander von Frey，巴黎Ralph M. Chait Galleries，紐約，1944年9月20日Hans (1888-1966)和Ludmilla Arnhold (1894-1976)伉儷從上處購得歐洲私人收藏Evenly coated with a lustrous glaze of crushed raspberry tone, ending evenly beneath the lipped rim and thickening around the base, the present waterpot is one of the finest examples of its type.Waterpots shaped as beehives are known as taibo zun after poet Li Taibai of the Tang dynasty, who is often depicted leaning against a large wine jar of a similar form. The shape was also referred to as jizhao zun as it resembled a chicken coop.The attractive peachbloom glaze was notoriously difficult to achieve due to the temperamental nature of the copper pigment and appears to have been only employed on a small number of shapes reserved for use on the scholar's table and created during the reign of the Kangxi Emperor.Copper-red glazes were produced since at least the Ming dynasty, however, they were greatly improved during the Kangxi reign, likely under the supervision of Zang Yingxuan, the Imperial supervisor who was sent to Jingdezhen in 1681 to oversee the rebuilding of the kilns. The fugitive copper-lime pigment, rather difficult to manage, would have been sprayed onto a layer of transparent glaze via a long bamboo tube and then fixed with another coat of clear glaze. A similar peachbloom-glazed waterpot, Kangxi mark and period, in the Palace Museum, Beijing, is illustrated in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p.142, pl.125; three further 'peachbloom'-glazed beehive waterpots, Kangxi marks and period, are illustrated by Wang Qingzheng, Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, pl. 206, and M.Medley, Ming and Qing Monochrome Wares in the Percival David Foundation of Chinese Art, London, 1989, pl.580, and S.G.Valenstein, A Handbook of Chinese Ceramics, New York, 1989, pl. 234.Two similar peachbloom-glazed beehive waterpots, Kangxi marks and period, were sold at Christie's Hong Kong, 29 November 2013, lot 1904 and 31 May 2017, lot 3012.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 SOFT-PASTE WHITE-GLAZED BEEHIVE-SHAPED WATERPOT, TAIBO ZUN KangxiThe domed vessel with orange-peel skin surmounted by a small waisted neck with flaring mouth rim, the sides incised with three roundels containing archaistic chilong, covered in a creamy ivory-white glaze. 12cm (4 3/4 in) diam. Footnotes:清康熙 白釉暗刻團螭紋太白尊Provenance: Professor E.T.Hall C.B.E (1924-2001)Christie's London, 7 June 2004, lot 70來源： E.T.Hall C.B.E (1924-2001)舊藏倫敦佳士得，2004年6月7日，拍品編號70Professor Edward Thomas Hall C.B.E (1924-2001) was a scientist and inventor. Educated at Eton and New College, Oxford, he became a leading expert in the development of archaeometry, radio-carbon dating and research in thermoluminescence techniques. A trustee of the National Gallery and the British Museum, he sat on the Advisory Council of the Science Museum. He was also a hot-air balloon pilot and created his own balloon. He was a regular client at Bluett's and purchased Qing Imperial monochromes. See R.Davids and D.Jellinek, Provenance, Oxford, 2011, pp.211-212. The Taibo zun vessel such as the present lot is typical of the Kangxi reign. Its name derives from the Tang dynasty poet Li Bai (701-762), also known as Li Taibo who was notorious for his drinking, and is often depicted leaning against a wine jar of this form. This shape is also referred to as a jizhao zun, as it resembles a chicken coop. Waterpots of this beehive shape are more commonly found with peachbloom glazes. See for example, one peachbloom-glazed waterpot, Kangxi mark and period, in the Percival David Collection, the British Museum, illustrated by R.Scott, Qing Porcelain for the Imperial Court from the Percival David Foundation of Chinese Art, Singapore and London, 1997, no.60. See a similar soft-paste beehive-shaped waterpot, Kangxi, in the Art Gallery of New South Wales, Sydney (acc.no.348.1994). See a related white-glazed waterpot, Kangxi six-character mark and of the period, is illustrated by J.Ayers, Chinese Ceramics: The Koger Collection, p.167, pl.139, where the glaze is described as 'moon-white' and the medallions are of 'a dragon biting another creature, and a bat'. Another white-glazed beehive waterpot, Kangxi, is illustrated in The Wonders of the Potter's Palette: Qing Ceramics from the Collection of the Hong Kong Museum of Art, Hong Kong, 1984, pp.64-65, no.28.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 BLUE AND WHITE 'SPRING EVENING BANQUET' BRUSHPOT, BITONGJiajing six-character mark, KangxiThe cylindrical vessel with slightly waisted sides painted around the exterior in vibrant tones of cobalt-blue with a continuous scene of an elegant gathering of scholars, the moon and stars in the sky and the lanterns in the trees indicating it is night, a servant pours wine from an ewer to a scholar at a desk with paper and brushes, another scholar at the same desk pushes a cup towards a seated gentleman, another with cup in hand has let his robes fall to reveal his bare back, all within a balustraded garden setting with gnarled rocks and trees, across the wall more scholars read from books, while one sits on a mat in the centre with a fan, the recessed base with the six-character mark. 18.6cm (7 1/4in) diam. Footnotes:清康熙 青花「春夜宴桃李園」筆筒青花「大明嘉靖年製」楷書款Provenance: Marchant & Son, London, 21 November 1997Professor D.R.Laurence (1922-2019)Marchant & Son, London, 4 November 2010Published, Illustrated and Exhibited: S.Marchant & Son, Selected Chinese Porcelain from the Collection of D.R.Laurence, London, 2010, p.32, no.18.S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, p.136.來源：Marchant & Son Ltd.，1997年11月21日D.R.Laurence教授 (1922-2019年)倫敦古董商Marchant & Son Ltd.，2010年11月4日展覽著錄：S.Marchant & Son，《Selected Chinese Porcelain from the Collection of D.R.Laurence》，倫敦，2010年，第32頁，編號18S.Marsh，《筆筒淵鑒：收藏家的隨心所悟》，香港，2020年，第136頁Desmond R. Laurence (1922-2019) was Professor Emeritus of Pharmacology and Therepeutics at University College London, and co-author of nine editions over 40 years of a highly successful medical textbook. He also compiled Chinese Porcelains: 25 Years of Unscholarly Collection. He first became interested in Asian ceramics in 1947-1948 during his military service in Japan as a medical specialist in the Royal New Zealand Army medical Corps: see R.Davids and D.Jellinek, Provenance, Oxford, 2011, p.289.Congregations of scholarly and cultivated friends, known as 'elegant gatherings' (yaji 雅集) were an important form of social interaction in traditional China. These gatherings were held for various reasons and could be either large or small. The host and guests not only enjoyed fine food and drink, but also took part in other refined activities such as reciting poetry, performing on the guqin, playing weiqi, viewing paintings and calligraphy, and enjoying tea. These parties offered opportunities for inspiration and friendly competition.Numerous elegant gatherings became immortalised in cultural memory and works of art such as the 'Orchid Pavilion Preface' by Wang Xizhi (303-361), 'Elegant Gathering in the Western Garden' (circa 11th century), with guests such as Su Shi (1037-1101) and Huang Tingjian (1045-1105), which probably never happened, but which still fed peoples' imaginations. Gu Ying (1310-1369) held as many as thirty elegant gatherings which became known collectively as the 'Elegant Gathering at Jade Mountain'. The elegant gathering thus sometimes was not necessarily a real one-time historical event, but an imagined gathering of all the great scholars and artists of a particular period. Another such example, often seen on brushpots, is the 'Eighteen Scholars of the Tang Dynasty'. See for example a similar blue and white brushpot, Kangxi, depicting the 'Eighteen Scholars', illustrated in Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, pp.70-71, pl.46.The present lot has a very similar scene to a blue and white brushpot which was sold at Sotheby's New York, 21 April 2023, lot 604. The said brushpot has a poem by Li Bai (701-762), Chunye yan tao liyuan xu 春夜宴桃李園序 (Preface to the Spring Evening Banquet at the Peach and Pear Blossom Garden). It is therefore very likely that the present brushpot is also depicting the Spring Evening Banquet, which is confirmed by the moon and stars decorated on it. The poem was composed around 733, and begins with a rumination on the transience of life while describing Li Bai drinking and composing poems during a spring evening with friends, the fragrance of peach blossoms hanging in the air, and concludes with a drinking punishment for those who fail to compose a poem.See a related blue and white brushpot of slightly waisted cylindrical form but with the same scene, Kangxi, illustrated by Chen Runmin, Gugong bowuyuan cang Qingdai ciqi leixuan, Qing Shunzhi Kangxi chao qinghuaci, vol.1, Beijing, 2004, pl.211.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
Vinyl - My Bloody Valentine, 4 albums to include: Ecstasy And Wine (original UK 1989 1st pressing, rough finish picture sleeve and with hand-etched runouts. Lazy Records LAZY 12), Loveless (US 2003, Plain Recordings, PLAIN 105), Isn’t Anything (US 2003, Plain Recordings, PLAIN 104), This Is Your Bloody Valentine (German 1990, Dossier Records, DLP 7501). Condition EX overall
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![[WINE]. CHATEAU BOIS DU MONTEIL HAUT-MEDOC, 1996 6 bottles, (case, sealed).](https://cdn.globalauctionplatform.com/7a87d910-9b7b-40c4-bbed-b0a700775427/d4c3f89e-5d86-4da7-9519-b0a8010f8532/468x382.jpg)
