The stone of greyish black with cream inclusions, carved in high relief with a chilong chasing its tail, all within canted corners, the other side pierced for hanging, applied paper label, natural flawsDiameter: 5cmPROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportA small chip, approx 5mm to the rim which runs from a natural flaw which is about 3cm long visible to the underside. Please see the photograph with the ballpoint pen for the exact area of the chip. The stone with a nice natural polish and patina.
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Simulating celadon jade, with traces of encrustation, 5cm; together with a whitish jade sword fitting, carved with a chilong, 5.5cm (2)PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportGlass cicada: nicely translucent, with encrustation to the surface. Small chips to one side of head, and edges and tips of wings.Sword slide: Three small chips to rear, see additional photographs
A hole drilled through its snout, suspension loop to its rear, length 7.5cm, together with a brown stone animal, with turquoise eyes (2)PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportThe greenish jade pig with a ‘waxy’ polish and surface scratches. The stone with white flecked inclusions around its snout. Otherwise good.The brown stone animal: The stone is soft, soapstone, with several surface scratches.
The recumbent mythical beast scratching its ear with his rear leg, all wrapped around by his sinuous tail, applied paper labelLength: 2.5cmPROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportIn good condition. The stone with a ‘waxy’ polish. The label now missing.
The sleeping recumbent bird with its head resting on its archaistic wings, the underside of the stone with a russet inclusion, applied paper labelLength: 4.5cmPROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportThe celadon coloured stone with ‘crushed ice’ and russet inclusions and natural flaw. The jade with a good ‘waxy’ polish overall.
Skilfully carved using the russet outer skin of the pebble for a string of coins Liu Hai carries over his shoulder, the toad beneath him accentuated by the grey-flecked interior of the pebble providing the perfect contrast to the embodiment of wealth, applied paper labelLength 3cmA similar white and black jade carving of Liu Hai was sold at Christie’s New York, Fine Chinese Ceramics and Works of Art, 15th September 2011, lot 1396相似巧雕劉海戲金蟾見 佳士得 紐約 2011年 9月15日拍品1396號。PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportThe three colour jade with a good ‘waxy’ polish. Overall in good condition
Length: 7.5cm, together with a duan stone carving of a peach and a mother of pearl fox, (3)PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportThe wooden liu hai in good condition.The duan stone peach with natural flaws, and ‘nicks’ to edges.
The smoky opaque stone carved with a seated mythical beast, 6cm, together with a green quartz drum, with gilt-metal mounts (2)Provenance: Purchased from Honeychurch Antiques Ltd, 19th March 1987於1987年3月19日購自香港古董商HoneychurchPROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportThe seal with a few minor chips to the front edge.The green drum, with signs of overall surface wear, minor nicks to edges.
Cast in the form of sinuous dragon-like mythical beasts, terminating in a goose neck hook, traces of original gilding and malachite encrustation together with three other bronze animal plaques (4)Length: 11cmProvenance: The belt hook from Kevorkian, Art d’Orient et de L’Islam, Paris來源：購自巴黎古董商KevorkianPROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportThe belt hook: the goose neck slightly compressed and pushed to one side, traces of malachite encrustation, small area of flaking to reverse.The other three pieces all with some form of malachite encrustation, generally in good condition.
Of cylindrical form, supported on three moulded feet in the form of bears, the sides moulded in high-relief with taotie masks with rings and a frieze of galloping animals, including tigers, huntsman on horseback, the domed lid in the form of a stylised mountain range, with further figures and animals, all covered in a rich green glaze, with traces of iridescence, spur marks to cover and base, cover restored, applied paper labelHeight: 23cmDiameter: 19.5cmProvenance: purchased from J.J. Lally & Co., New York, 3rd June 1994, invoice available來源：於1994年7月3日購自於紐約古董商J.J. LallyPROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportOverall a good attractive example of this type with Lally provenance. Crisp relief-moulded decoration. The cover has been broken into three pieces and well restored, more visible to the red buff body to the interior. Two small areas of glaze loss to the rim, approx 1cm each. The stilt marks visible where the cover was supported during firing.The censer has one bear foot broken where it meets the body and re-stuck. A small area of glaze loss, the Lally label stuck on it to partially obscure the break. Otherwise general iridescence, mud and minor frits and crazing to the glaze. The stilt marks evident to the rim, some wear/fritting to the rim interior. See additional light of day photos.
Decorated with six panels containing alternating designs of narcissus, covered in a pale blue glaze, 18.5cm, together with a Jianyao bowl, modern (2)Compare an identical Qingbai bowl, sold at Christie’s New York, from the Collection of Nathan L. Halpern, 21st September 2004, lot 227, provenance S. Marchant & Son, London相似影清印花卉紋盌見 2004年9月21日，紐約佳士得拍品227號，Marchant & Son舊藏。PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportOverall in good condition. Some minor surface scratches to the glaze, three slightly rubbed spots to the interior of the bowl. One iron spot to the interior.
The conical bowl covered in a running russet and black glaze falling short of the foot, exposing the unglazed purplish-brown bodyHeight: 6cmDiameter: 12.5cmPROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportThe bowl overall in good condition with some minor surface scratches to the exterior. The interior with several burst air bubbles to the pool with associated glaze lines running away from the centre. A good example of its type. Please see the natural light photos taken outside to appreciate its full beauty.
The conical bowl covered inside and out in a russet and olive-black glaze falling short of the foot, exposing the unglazed purplish brown bodyHeight: 5cm Diameter: 12cmPROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportThe Jianyao bowl with some fine irregular crazing to the interior of the bowl and surface scratches, otherwise in good condition.
The conical bowl covered in a running russet and olive-black glaze falling short of the foot, exposing the unglazed purplish brown body, together with another similar bowl (2)Height: 5cm Diameter: 12cmPROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportJianyao bowl, (main bowl online and catalogue image)Overall in good condition, an irregular glaze running around the pool of the bowl to the interior.Second bowl: predominantly russet brown, with olive-black centre. Please note there is a third bowl in this lot which is modern, and in good condition.
Of deeply potted form, the interior decorated in a stripped rich russet glaze radiating from the centre, against olive-black, the exterior with a mottled running glaze, falling short of the foot rim, exposing the buff off-white body Height: 9.5cm Diameter: 19cm PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019) Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art. (An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所 ,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。 TO BE SOLD WITHOUT RESERVE 無底價起拍Condition ReportThe Cizhou bowl presents well, with an attractive running glaze. A burst bubble to the interior, and minor firing faults, the glaze to the rim well-crazed, two of which run from the rim into a hairline across the glaze, approx 2cm.
The recumbent tiger with a shaped oval panel to its back, decorated with broad brush strokes in ochre, black and russet on a cream ground, the base unglazed, stencilled collection number 52200 to the baseLength: 33cmHeight: 9cmA similar tiger-form pillow, is illustrated by Jiena Huo in Fire and Earth: Chinese Ceramics (3500 B.C. - 1400 A.D.) in the Museum of East Asian Art, Cologne, 2008, p 187, no. 147, where it is dated Jin Dynasty, 12th century. The author notes that this type of pillow is probably from Changzhi, in Shanxi, where other pillows of this type have been found. This type of pillows were believed to protect against evil and to have helped women give birth to sons相似磁州窯虎枕見霍潔娜《火與土：中國早期陶瓷》科隆東亞藝術博物館 2008年，圖147 ，頁187。其作者認為此類型虎枕產於山西長治，用於保佑孕婦生得男孩不受邪惡侵擾。Another similar Cizhou tiger pillow was sold at Christie’s New York, 13th September, 2014 lot 835, Masterpieces of Cizhou Ware: The Linyushanren Collection另一相似虎枕見紐約佳士得2014年9月13日拍品835號。PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportOverall the tiger pillow is in good condition for its age. The base with a cleaned area and a number ‘52800' written in black ink. The cream pillow section well crazed, with a y-shaped hairline confined within this area, approx 10cm long. The left eye of the tiger with some glaze loss, revealing the buff body. Now patinated, overall the glaze finely crazed, with some discolouration. An area of glaze loss by the tigers front left paw, approx. 2.5cm, where it meets the base.
Woven with a ferocious four-clawed dragon against a dark blue ground, framed and glazed in Perspex, some repairThe image: 38cm by 44cmOverall: 55cm by 60cmFor a similar kesi dragon panel, see Emblems of the Empire, Selections from the Mactaggart Art Collection, John E. Vollmer & Jacqueline Simcox, The University of Alberta Press, 2009, page 143, cat. no. 2005.5.221.相似龍紋緙絲見John E. Vollmer & Jacqueline Simcox著《Emblems of the Empire, Selections from the Mactaggart Art Collection》，阿爾伯塔大學出版，2009年圖2005.5.221，頁143。PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportPlease bear in mind this is a fragment from a larger composition. The colours of the silk are bright and attractive, see the natural light photos. There is one small dark stain to a dragon scale, evident in catalogue photo. A 3cm by 5cm patch of dark blue silk to bottom left corner. Some irregular darns along the bottom edge backed by dark blue silk. A central darn to dragons left jaw. Mounted on a pale cream silk mount, encased in Perspex and ready to hang.
The colourful woven silk panel with elements of gold thread, depicting two cranes amongst, peaches, pomegranates, peonies, asters and lingzhi fungus, within rocks and cloud scrolls, reserved against a rich red ground, associated border stripes, framed and glazed in PerspexThe image: 86cm by 60cmOverall: 69cm by 100cmFor a similar late Ming Dynasty kesi panel, see Chinese Textiles: Ten Centuries of Masterpieces from the Met Collection, August 15, 2015 - June 19, 2016, The Metropolitan Museum of Art, New York, The Seymour Fund, 1960 (60.1)相似明代緙絲見圖錄《Chinese Textiles: Ten Centuries of Masterpieces from the Met Collection August 15, 2015 - June 19, 2016》紐約大都會博物館 1960年PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportPlease bear in mind this is a fragment from a larger composition, see the comparable mentioned in the footnote. As one can see from the natural light photos the colours are attractive, the border panels may be from another hanging and have been overlaid. There are some darns and patches missing but these are not so noticeable as they have been backed by matching fabric. It has been professionally mounted and backed in Perspex and is ready to hang.
With a rectangular green field and crimson and gilt border, mounted on a stretcherDimensions: 214cm by 95cm overallProvenance: from Palembang, Sumatra, Indonesia來源：舊港，蘇門答臘，印度尼西亞PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportFinely woven with silk and gold thread, mounted on a board, ready for hanging. Some discolouration to the green silk, minor holes, and stains. Some darning to the end panels claret ground. Some holes, losses to selvedge. Please see natural light of day photos
KRISHNA AND RADHA OBSERVING GOPIS CELEBRATING IN THE RAINBUNDI, RAJASTHAN, NORTH WEST INDIA, CIRCA 1800With opaque pigments heightened in gold, on paper, framed and glazedThe image: 28cm by 20cm, 38cm by 29cm overallProvenance: Purchased from Michael & Henrietta Spink, 1992PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportOverall in good condition. Not inspected out of its frame. A very fine crackle is evident to the red painted margin.
KAKUBHA RAGINI SIROKI, RAJASTHAN, NORTH WEST INDIA, CIRCA 1650A woman stands with a peacock, symbol of passion and love, framed and glazed, applied paper labelThe image: 20cm by 14cm, 35cm by 25cm overallProvenance: Purchased from Doris Weiner Gallery, New York, 17th September 1997PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportOverall the colours of this painting are good and bright. Although there is some loss of pigments to the two trees. Nicely framed, not inspected out of the frame. Applied gallery label to reverse.
(GARLAND OF MUSICAL MODES): VASANT RAGNI ORCHHA, MALWA, CENTRAL INDIA, CIRCA 1645With opaque pigments, on paper, with a central nobleman flanked by four female musicians, framed and glazedThe image: 22cm by 15cm, 54cm by 41cm overallPROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportThe painting not inspected out of the frame. Framed and glazed. As one can see from the mounting, it is a fragment, reduced along each margin and a couple of small tears. The colours overall bright and attractive. Some small losses to pigment, in particular the dark blue ground colour.
Modelled standing, with a caparisoned howdah on its back, rectangular base, its details picked out in ochre and natural pigments, some damage and repairHeight: 63cmLength: 36cmProvenance: Purchased from Jonathan Tucker & Antonia Tozer October 2005來源：2005年購於古董商Jonathan Tucker & Antonia Tozer。PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportSome fractures to legs and trunk, please see additional photographs
Modelled standing on rectangular wooden base, right hand palm raisedHeight: 59cm, 65cm overall including standPROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportA grey schist fragment, mounted on ebonised stand. The left hand sleeve, broken off and poorly glued back. Two lead plugs to the rear of the fragment. Please see additional photographs
Seated crossed legged in Bhumisparsha mudra, ‘touching the earth’, highlighted in gilt, some losses and minor damageHeight: 85cmPROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportThe finial to the head of the buddha a later wooden replacement, painted in black with traces of gilding, likewise the elements of the crown are all wooden replacements, painted in black and gilt. The left hand ear has been broken off and re-stuck where it meets the mandala and shoulder. Both mandala’s later wooden replacements. The base and interior is hollow, with strengthening wooden elements to interior.
Seated crossed legged in Bhumisparsha mudra, ‘touching the earth’, with gilt and applied mirrored decoration, dedication cover missing to reverse, some lossesHeight: 113cmPROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportOverall an impressive and evocative work of art. The dedication panel and contents removed and missing, applied paper label to reverse, ‘Burmese wooden Buddha, 18th Century’ Top finial, the crown elements and mandala all appear to be later replacements, some damage to this, one element broken and detached, one re-glued. Mirrored inserts, some damaged and missing, loss of elements to lacquer and some shrinkage around the body. Please refer to additional photographs for guidance. Weight 24.65 kg, depth of base 31cm, width 53cm.
FERNANDO ZÓBEL (Manila, Philippines, 1924 - Rome, Italy, 1984)."The View XXVIII", 1974.Oil and graphite on canvas.Dated in the lower right corner. Signed, dated and titled on the back.This work will be included in the artist's Catalogue Raisonné.We thank Mr. Alfonso de la Torre for his invaluable help in cataloguing this lot.Measurements: 80.5 x 80.5 cm; 83.5 x 83.5 cm (frame).A soft, vaporous and reticulated brushstroke defines this conceptual landscape, in which Zóbel retains a certain vibration in the stroke, which denotes the transmutation of a changing reality, immersed in a completely personal atmosphere, which stands out for its lyricism and poetic aesthetics in the manner of artistic synesthesia. This work made in 1974 reflects the artist's interest in the landscape, and that balanced tension, which generates a view where the elements of nature are adapted to a contained abstraction. However, it should be noted that this work is also close to the series he made during the 80's, in which he introduced a change in the way of applying color, providing greater chromatic activity and playing with the gradations of tones, creating more dynamic and daring compositions.Historian, patron of the arts, university professor and collector are some of the adjectives corresponding to the figure of Fernando Zóbel, one of the most outstanding painters of the 20th century in Spain. The formation and cultivation of his personality, never ceases to develop, highlighting his love for books. He studied Medicine in the Philippines and graduated in Philosophy and Arts at Harvard University in the United States, being at this time when he became interested and involved with the pictorial world influenced by the Boston School, whose palette showed almost pure colors framed by a very marked drawing. Thus, in 1951 he took up the chair of Fine Arts at the Ateneo de Manila. Zóbel's evolution and need to develop a personal artistic language led him to explore the world of abstraction influenced by Rothko, or the expressionism of Pollock or de Kooning, working on very valid non-figurative proposals. To this, it is necessary to add the great influence and interest he felt towards oriental cultures, increasing this eagerness with his participation in a Chinese archaeological excavation discovered in the Philippine peninsula of Calatagan. As it was said, Zóbel's work drinks from the East, so much so that oriental calligraphy is the one that favors the presence of sinuous lines of great elegance, which can be appreciated in the work that concerns us, in which the meticulous and thoughtful previous work can be appreciated. And there is nothing left to chance in his apparently spontaneous painting, all of them contain a period of reflection and previous execution, because, as he said: "my process is the process of sketch, drawing, sketch and painting", a planning that gives rise to perfect scenographies formed by movement, lines, speed, space and light. His work is represented in important museums such as the Museo de Arte Contemporáneo Español in Valladolid, the Museum of Fine Arts in Boston, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Brooklyn Museum of Art in New York, the Joslyn Art Museum in Omaha (Nebraska), the Hispanic Society of America, as well as in collections such as Chase Manhattan Bank, the AENA Art Collection of Contemporary Art in Madrid, as well as the Banco Urquijo in Barcelona.
清雍正 粉彩麻姑獻壽圖大盤 the interior delicately enamelled with Magu, the goddess of longevity, holding a lingzhi spray, beside a boy attendant carrying a basket of peaches over his shoulder, and a stag with a peach in its mouth, the mouth rim gilded, the base with a wheel engraved Johanneum Inventory mark 'N=183 I'43.5cm diameterProvenance:August II, 'August the Strong', Prince-Elector of Saxony (1670-1733), Dresden;Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920's.Footnote: Note: The scene on this dish depicts the Daoist Immortal, Magu, on her way to celebrate the famous peach banquet of the Queen Mother of the West, Xi Wang Mu, who rules over the garden of the peaches of longevity. The fine drawing of Magu's feminine face is in the traditional Chinese style without shading. The scene contains many symbols of long-life and immortality, especially the lingzhi fungus, the deer, and the peaches, while the blossoming prunus tree represents youth and new life.Augustus II (1670-1733) King of Poland and Elector of Saxony known as Augustus the Strong, whose passion for collecting created the basis of Dresden’s Art Collections, had a particular fondness for East Asian porcelain from the 17th and early 18th centuries. Obsessed with porcelain, he had the largest collection of Asian porcelain in Europe with over 29,000 pieces recorded on his death in 1733.This plate can be dated with some accuracy since no new pieces were added to the collection of Augustus the Strong (1670-1733) after his death in 1733, and the inventory books at Dresden reveal that dishes of this kind were acquired in 1727. After his death in 1733, the porcelain was packed away in the cellars of the unfinished "Japanische Palace". The term "Johanneum" was taken from the building in Dresden to which the royal collection was moved in 1875-76.One plate with the same number of the old Dresden inventory (N=183 I, inventory 1779) and almost identical decoration and size is in the Dresden collection.[1] Some other examples with the same inventory number entered the art trade presumably as a result of earlier sales, with examples found in the museum Boijmans Van Beuningen in Rotterdam[2] and in the former Collection Ignazio Vok.[3] Two smaller dishes (39cm diameter and 38.8cm) with the same design and inventory number were sold respectively at Christie's London, 30 April 2015, lot 111 and Sotheby's New York, 17 March 2021. [1] Eva Ströber, La maladie de porcelaine ..., East Asian Porcelain from the Collection of Augustus the Strong, Leipzig, 2001, no. 32[2] C.J.A. Jörg, Oriental Porcelain, A Choice from the Boymans-van Beuningen Museum Collection, Rotterdam, 1995, p. 61, and fig. 25[3] Ulrich Wiesner, Seladon Swatow Blauweiss. Chinesische Keramik aus der Sammlung Ignazio Vok, Köln, 1983, no. 153
A RARE CINNABAR LACQUER CARVED TRIPOD INCENSE BURNER, DINGQianlongOf archaistic form, carved around the exterior with taotie masks and archaic style motifs on a diaper-pattern ground, the globular body supported on three legs terminating in clawfeet issuing from mythical-beast heads, set with a pair of S-shaped handles, with hardwood stand and cover with jadeite finial, original metal liner. 15.1cm (6in) wide. (3).Footnotes:清乾隆 剔紅饕餮紋三足爐Provenance:Spink & Son Ltd., London (label)Parry Collection, London, and thence by descent來源：倫敦古董商Spink & Son Ltd.（標籤）倫敦Parry家族收藏，並由後人保存迄今See a related carved cinnabar lacquer tripod incense burner and cover, second half of the 18th century, without handles but with similar globular body and carving, in Brighton Pavilion until 1848, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen, vol.III, London, 2015, p.873. See also a related cinnabar lacquer box and cover in the form of a tripod ding, Qianlong/Jiaqing, illustrated by D.Clifford, Chinese Carved Lacquer, London, 1992, p.138, pl.113.Drawing inspiration from antiquity in form and design was strongly advocated by the Qianlong Emperor who actively guided the production of Court lacquerwares. He proposed to 'restore ancient ways', referring to the view of ancient culture as having intrinsic qualities of sincerity, simplicity and happy exuberance. For this purpose the Emperor instructed the Court to collect drawings of antiquities, such as the Xi Qing Gu Jian (Catalogue of Xiqing Antiquities); see Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.49-50; and see Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2008, p.117, and for Qianlong period archaistic lacquer examples see nos.167-169.Compare with a carved cinnabar lacquer tripod bowl and cover, Qianlong, without handles, but of similar globular form, which was sold at Sotheby's Hong Kong, 2 June 2017, lot 666.造型古雅，獸面蹄足上承半球形腹，口沿兩側各有一曲耳，器外壁以錦地饕餮紋為飾。布萊頓英國皇家行宮內於1848年前藏有一例十八世紀下半葉剔紅鼎式帶蓋香爐，與本例形制相似惟無附耳，圖見J.Ayers著，《Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen》，卷三，倫敦，2015年，頁873。另參考一例清乾隆/嘉慶剔紅鼎式帶蓋盒，收錄於D.Clifford著，《Chinese Carved Lacquer》，倫敦，1992年，頁138，圖版113。乾隆帝十分推崇自古物中取材器物造型與設計，其慕古之情對清代宮廷漆器藝術之影響甚深。亦因其提倡「復古」，當時清宮內匯集大量古物圖譜如《西清古鑑》等，相關討論可參見張麗端《宮廷之雅：清代仿古及畫意玉器特展圖錄》，台北，1997年，頁49-50。另有多例乾隆年間的仿古漆器，見《和光剔彩——故宮藏漆》，台北，2008，編號167-169，可為參考。香港蘇富比曾於2017年6月2日售出一座清乾隆剔紅三足蓋盌，拍品編號666，可資比對。This 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
§ § Hock-Aun Teh (Malaysian-Scottish 1950-) A letter from homesigned with monogram (centre right); artist's label to the reverseacrylic on board81 x 113cmFootnote: A self-described “kampung boy” at heart, Malaysian born artist, Hock-Aun Teh, has gained international acclaim for his vigorous and dynamic abstract compositions, which have been exhibited throughout Asia and Europe and are held in public collections including The National Visual Arts Gallery in Kuala Lumpur, National Art Museum of China, Beijing and Glasgow’s Gallery of Modern Art, Glasgow. Born to Chinese parents in, Sungei Gedong, a remote Malaysian village, in 1950, Teh spent his early childhood training in traditional Chinese ink painting and calligraphy, before being accepted to study at The Glasgow School of Art in 1970. The first person of Asian descent to graduate from Glasgow’s Drawing and Painting Department, Teh’s work has been praised for its anomalous fusion of the delicacy and lyricism of traditional calligraphic lines with the gestural hyper-masculinity associated with abstract expressionism.Condition report: The frame is quite loose. The surface with a light layer of dust. A few fibre inclusions beneath the paint layer. Thr right hand side with a small abrasion and subsequent paint loss and the lower edge with a larger abrasion (approx 10cm) with paint loss.Overall there is a scattering of very minor surface accretions, but overall in good condition. See additional images.
陳衍寧 《虎嘯圖》 鏡框 紙本設色 ink and colour on paper, framed, titled, stamped and signed upper right58.5cm x 38.6cm; 80cm x 58.6cm overallFootnote: Provenance: Susan J and Michael Gassaway (Syllavethy Gallery, Aberdeenshire), with a letter of authenticity stating that the work was painted in the gallery during his visit to the Britain in 1986 under the sponsorship of the gallery by an official invitation from The Scottish Arts Council.Note: Mr and Mrs Gassaway met Chen Yanning on a trip to China in 1984, when he was the Head of the Guangdong Institute of Fine Art. To reciprocate his hospitality, Susan and Michael invited Yanning to visit the UK to view some of the Old Masters of Western Art that he had only seen in books back in China. Two years later, Yanning arrived in Aberdeen and together with Susan and Michael, he visited the museums in Scotland and London. Yanning made the museum attendants nervous as he wanted to get up close to study the thickness of paint on his favourite masterpieces. He, Susan and Michael communicated by using sign language and drawing sketches and quickly established a great friendship.Chen Yanning (b.1945) is a Chinese painter who lives and works in the United States. He was born in the southern province of Guangzhou, where he studied at the Academy of Fine Arts, graduating in 1965. He continued to work at the Academy as a painter until 1986 when he relocated to America, to study at Oklahoma City University. His early Chinese works include the poster Chairman Mao Inspects the Guangdong Countryside (1972) and New Doctor of the Fishing Port (1973).He has had many public portrait commissions most notably for the British Royal Family, in which he painted Queen Elizabeth, Duke of Edinburgh and Princess Anne. Yanning's portrait of the Queen was subsequently used by Royal Mail for the Jubilee Year stamp.Yanning works with oil paint, a medium predominantly used by western artists. Chinese painting was traditionally based on the technique of brush painting, which consisted of similar techniques to calligraphy using black ink or coloured pigments. Although a very different medium to oil paint, Yanning's portraits, in employing an impasto technique, which imbues the surface with an almost blurred washed finish, seems to suggest the sustained influence of his country's native painting.A comparable ink painting of three reclining tigers resting on a rock, also painted by Chen Yanning in 1986, was sold at Duton's Tianjin, China, 18th Dec 2011, lot 115
1840 handwritten journal of an English woman's trip to France from 30th April to 29th July, culminating in the celebrations of the 'Journee's de Juillet'. Illustrated with some prints and the occasional pencil drawing and well bound. Interesting social history and contemporaneous commentary. Sketches include a litter picker, nun, the sculpture of Joan of Arc, Chinese character and a woman wearing a high-collar garment amongst book engravings of places of interest.
19th CENTURY ALBUM. A 19th century gold tooled album containing a large number of scraps, pencil drawings, poetry, pen & ink drawings, hand tinted prints & greetings cards. Including the young Queen Victoria, an engraving of Prince Albert Edward as a child, a comic drawing of discoveries among the Jura mountains, a drawing of the collieries, Cheshire, two Chinese pith paper figures, (damaged) etc. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Five 19th century figure studies, comprising C F Smith, 'A Chinese with pipes for sale', signed and dated 1836, watercolour, 20cm x 16cm, bust-length portrait of a gentleman with side whiskers, sepia wash, 25.5cm x 17.5cm, four figures at rest, watercolour, 13cm x 12cm, D de Cellier, seated man playing a serpent, dated 1840, pencil drawing, 20.5cm x 14cm, and 'Gleanings by the wayside' signed with initials 'GB', pencil drawing, 21cm x 15cm, (5),From the property of a deceased local collector.
A PAIR OF GEORGE II CARVED AND PAINTED PEDESTALSMID 18TH CENTURY, POSSIBLY BY WILLIAM HALLETT (1730-1767)The serpentine tops with paterae and riband moulding above acanthus carved shaped bodies above egg and dart moulded plinthsEach 44cm high, 62cm wide, 37cm deepProvenance:The Saloon Brightling Park (then known as Rosehill House) Reputedly commissioned by John Fuller (1706-1755) for the Drawing Room at Brightling Park Sussex, circa 1747Thence by descent to his brother Rose Fuller (1708-1777) to his nephew John (Mad Jack) Fuller (1757-1834) inherited by his cousin Augustus Fuller in 1834 acquired by Percy Tew, in 1879, when he purchased the house (and renamed it Brightling Park) by descent to his son Thomas Percy Tew (d. 1853) in 1921 thence to his daughter-in law Rosemary Grissell, window of Lieut. Thomas Tew (d. 1940) and thence by descent at Brightling Park until sold Bonhams London 2nd March 2011, lot 95.The pair of stands was recorded in situ in the Drawing Room at Brightling Park during the mid-20th century (see photograph reproduced from the Grissell family album, Bonhams Catalogue 2nd March 2011, p.76) where they are shown in niches either side of the bay window. Although they are seen supporting large Chinese vases, they originally would have been made for large statues supplied by Sir Henry Cheere. John Fuller's journal records a payment of £139 to 'Henry Chere for statuary' on July 11th 1747 (East Sussex Record Office SAS/RF/15/29). The pedestals' possible association with William Hallett is based on a series of six separate payments to him amounting to £488 over a seven year period 1746-1753, the majority of which coincided with the remodelling of the house (see payments drawn from Bank of England Account and paid to 'Hallett' recorded in John Fuller's journal for 1745-1756 East Sussex Record Office SAS/RF 15/29). Stylistic comparisons with Hallett's commissions for carved interiors at The Foundling Hopsital, London, Kirtlington Park in Oxfordshire and the Drawing Room at Brightling Park. In addition decorative elements such as the trussed scrolls and cherubs' heads in the Drawing Room at Brightling Park correspond with furniture traditionally attributed to William Hallett. It should be noted that when the pedestals were entirely white when sold at Bonhams, and have subsequently been partially dry-stripped to reveal an earlier pale green ground colour to the white painted carved elements. The History of Brightling ParkBrightling Park was acquired by the iron master and gun-founder John Fuller (1680-1745) in 1705 and shortly after he renamed it 'Rosehill' in honour of his wife Elizabeth Rose, heiress of Fulke Rose of Jamaica. On the death of John Fuller, the property passed to his son John II who embarked on substantial remodelling of the house and augmenting of the estate by almost 400 hectares. John II's younger brother Rose Fuller was the next to inherit the property but did little to the house, preferring to concentrate on his political career until his death in 1777 when title of the house transferred to his nephew and most famous inhabitant known as either 'Mad Jack' or 'Honest John' Fuller (1757-1833) who employed Robert Smirke to extend the house between 1810 and 1812 as well as build garden follies including a temple and observatory. This augmented the landscaping work to the Park after designs by Humphry Repton carried out two years earlier. When John Fuller III died the house was inherited by his cousing Augustus Fuller who let the house to tenants until he sold it in 1879 to Percy Tew whose family retained ownership until it passed to the Grissells who were related by marriage. Unfortunately the part of the house that contained the Drawing Room was demolished in 1955 to pay death duties.Condition Report: Marks, scratches, chips, splits and abrasions consistent with age and use.Cracks along construction joints.Some repairs.The backs cut to sit flush with a skirting board.Evidence of old worm.Please refer to additional images for visual reference to condition Condition Report Disclaimer
19th or early 20th century Chinese scroll painting (possibly one part of a larger image) depicting various birds including quails, chickens, pheasants and parakeets amongst flowers and fruiting vines, image size 180cm x 45cm,. Damages including wormholes, tears, etc., some scotch taped repairs; also a later Japanese colour print on crepe paper depicting figures on a terrace with cherry trees in blossom, 51cm x 152cm.Condition report:Holes, chipping, tears, taped repairs, worn damage, creases and staining (including rust stains from drawing pins).Crepe panel - Generally ok condition, very slight yellowing to paper.
Henri Michaux - - 1899 Namur (Belgien) - 1984 Paris Peinture à l'encre de Chine. 1965. Tuschpinselzeichnung. Rechts unten monogrammiert. Verso wohl von fremder Hand datiert und betitelt. Auf festem, leicht strukturiertem Velin von Canson & Montgolfier (mit dem Wasserzeichen). 74,5 x 109,5 cm (29,3 x 43,1 in), blattgroß. [CH]. • Seit über 45 Jahren in schweizerischem Privatbesitz. • Aus Michaux’ bedeutender Werkserie der 'Encre de Chine'-Bilder. • Großformatiges Zeugnis seiner Faszination für asiatische Kalligrafie, insbesondere für chinesische Ideogramme. • Weitere Arbeiten dieser Werkserie befinden sich u. a. im Städel Museum in Frankfurt am Main, in der Londoner Tate, im Guggenheim Museum in New York und im Centre Georges Pompidou in Paris. Die vorliegende Arbeit ist in den Archives Henri Michaux, Paris, verzeichnet. PROVENIENZ: Galerie Le Point Cardinal, Paris (1967, verso mit der Inventarnummer 'H 319'). Erker-Galerie, St. Gallen (auf der Rahmenrückseite mit dem Galerieetikett). Privatsammlung Schweiz (1975 vom Vorgenannten erworben). AUSSTELLUNG: Henri Michaux. Retrospektive, Palais des Beaux-Arts, Charleroi, 18.9.-24.10.1971, Musée des Beaux-Arts, Gent, 10.11.-12.12.1971, Palais des Beaux-Arts, Brüssel, 13.1.-10.2.1972, Kat.-Nr. 132 (mit Abb.). Henri Michaux, Erker-Galerie, St. Gallen, 7.7.-7.9.1974. Aufrufzeit: 19.06.2021 - ca. 13.32 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONHenri Michaux -1899 Namur (Belgien) - 1984 Paris Peinture à l'encre de Chine. 1965. Brush and India ink drawing. Lower right monogrammed. Verso dated and titled, presumably by a hand other than that of the artist. On firm, slightly structured wove paper by Canson & Montgolfier (with the wtaermark). 74.5 x 109.5 cm (29.3 x 43.1 in), the full sheet. [CH]. • Part of a Swiss private collection for more than 45 years. • From Michaux’s important work series 'Encre de Chine'. • Large-size document of his fascination for Asian calligraphy, in particular for Chinese ideograms. • Other works from this series are in the collections of, among others, the Städel Museum in Frankfurt am Main, the London Tate, the Guggenheim Museum in New York and the Centre Georges Pompidou in Paris. This work is registered at the Archives Henri Michaux, Paris. PROVENANCE: Galerie Le Point Cardinal, Paris (1967). Erker-Galerie, St. Gallen (with a gallery label on rear of the frame). Private collection Switzerland (acquired from aforementioned in 1975). EXHIBITION: Henri Michaux. Retrospective, Palais des Beaux-Arts, Charleroi, September 18 - October 24, 1971, Musée des Beaux-Arts, Gent, November 10 - December 12, 1971, Palais des Beaux-Arts, Brussels, January 13 - February 10, 1972. Henri Michaux, Erker-Galerie, St. Gallen, July 7 - September 7, 1974. Called up: June 19, 2021 - ca. 13.32 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).
FIVE SETS OF EARLY CHINESE COMICSChina, Macao. Five sets of modern early comics (manhua) with 2, 4 or 8 volumes inside. Executed mostly in black print, with multi-coloured covers. Chinese humorous and narrative drawing began to take on characteristics of Western-defined cartoons of the period at the juncture of the 19th and 20th cent. Growing dissatisfaction with Qing dynasty reign and revolution in 1911 increased the contact with the outside world that brought in different ideas and modern printing technology, including lithography.Condition: Traces of age and wear. Discolorations, some creases, stains and tears mostly around the margins of the covers but also on some pages of the comic books. Provenance:Private collection of a German artist and collector living in Southeast Asia. Weight: 294 gDimensions: 13 cm x 9 cm
Laetitia Yhap (b.1941) Conversation, 1981 Liquitex on printed Vilene 58 x 76 cm Hastings Museum and Art Gallery is celebrating Laetitia Yhap’s 80 years of ‘Vital Life’ and work this year with an exhibition of her paintings and drawings chronicling the working lives of the town’s fisherman.* Born in London during the Blitz to an Austrian mother and Chinese father, Yhap studied at Camberwell School of Arts and Crafts and in 1962 travelled to Italy for a year on a Leverhulme Scholarship studying Renaissance art and architecture. On her return, she was a postgraduate student at the Slade School of Fine Art in London before moving to Hastings. She recalls: “I had arrived in Hastings in 1967 and was making large scale watercolour and tempera paintings which excluded the human presence. For me the only way to understand the extraordinary world and work of the fishermen, was to do it the slow way by drawing from direct observation out of doors. I did not possess a camera and it would not have occurred to me to use one. The first 18 months of research was spent entirely and exclusively drawing. Later, as I became familiar with the scene, I made paintings and more complete drawings could be developed. It was always important to me that the people I depicted were recognisable.” Yhap is represented in public collections including the Arts Council of Great Britain, the British Council, the Contemporary Art Society, the Government Art Collection, Hastings Museum and Art Gallery, Hove Museum and Art Gallery, New Hall Cambridge, the Nuffield Foundation, Rugby Museum, South East Arts Collection, Tate, Unilever, University College London and the Walker Art Gallery in Liverpool. * My Vital Life: Laetitia Yhap at 80 at the Hastings Museum & Art Gallery. The Covid-19 pandemic necessitated a digital version of the exhibition and the artist’s gallery tour can be viewed on the website. However, now selected watercolour paintings and drawings will be on view in Museum’s Walkway Gallery until 2 January 2022.
Tom Hammick (b.1963) Moonlight (3rd Sea Interlude), 2018 Edition variable reduction woodcut, E.V 11/15 70 x 53 cm Tom Hammick is a British painter and printmaker who gives painting and printmaking equal importance in his practice, with each process feeding the other, both informed by a wide range of source materials distilled through drawing. He prints in London and paints in East Sussex, where he is also Senior Lecturer in Fine Art Painting and Printmaking at the University of Brighton. “With a visionary understanding of the printmaking medium and a beautiful Technicolored palette, he weaves together references to opera, poetry, cinema, architecture, myth and memory,” writes Nerissa Tayson, curator at Glyndebourne Opera House where Hammick has been associate artist since 2019. Hammick has exhibited widely in the UK as well as in the USA, France, Canada, Singapore and Ireland. His awards include the V&A Prize at the International Print Biennale, Newcastle, UK in 2016. His prints are held by many institutions, including the British Museum (Prints and Drawings Collection); Victoria and Albert Museum (Prints Collections); Yale Centre for British Art, USA; the Chinese Academy of Fine Art; the Bibliothèque nationale de France, Paris; the Library of Congress Print Collection, USA.
Tom Hammick (b.1963) Sunday Morning (2nd Sea Interlude), 2018 Edition variable reduction woodcut, E.V 11/15 70 x 53 cm Tom Hammick is a British painter and printmaker who gives painting and printmaking equal importance in his practice, with each process feeding the other, both informed by a wide range of source materials distilled through drawing. He prints in London and paints in East Sussex, where he is also Senior Lecturer in Fine Art Painting and Printmaking at the University of Brighton. “With a visionary understanding of the printmaking medium and a beautiful Technicolored palette, he weaves together references to opera, poetry, cinema, architecture, myth and memory,” writes Nerissa Tayson, curator at Glyndebourne Opera House where Hammick has been associate artist since 2019. Hammick has exhibited widely in the UK as well as in the USA, France, Canada, Singapore and Ireland. His awards include the V&A Prize at the International Print Biennale, Newcastle, UK in 2016. His prints are held by many institutions, including the British Museum (Prints and Drawings Collection); Victoria and Albert Museum (Prints Collections); Yale Centre for British Art, USA; the Chinese Academy of Fine Art; the Bibliothèque nationale de France, Paris; the Library of Congress Print Collection, USA.
Chinese Interest - small black and white photographs of China - Kobe, Shanghai, and to include images of Chinese Soldier, Opium Smoker, Coolie with wheelbarrow, a Chinese wedding, Chinese street chair, Chinese actors, Chinese tortures (photo of drawing) etc and 9 coloured images of Geisha and Chinese women, all photos measure 10cms x 6cms.(26 in all) Not in an albumCondition ReportPlease see additional images
A RARE REVERSE-GLASS PAINTING OF 'SAPPHO'Circa 1810Expertly painted depicting the ancient Greek poetess in profile gazing up to the left, her hair blown by the wind, clad in a loose flowing toga, a band around her left arm, framed. Overall 47.5cm (18 3/4in) wide x 60cm (23 3/4in) long.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價約1810年 繪希臘詩人沙芙像玻璃鏡畫Published and Illustrated: Roger Keverne Ltd., Winter Exhibition, London, 2011, no.117.展覽著錄：Roger Keverne Ltd.，《冬季展覽》，倫敦，2011年，編號117For this subject, see T.Audric, Chinese reverse glass painting 1720–1820: An artistic meeting between China and the West, Bern, Berlin, Brussels, New York and Oxford, 2020, p.213, no.346.The picture is taken from a painting by Richard Westall (1765-1836), entitled Portrait of the artist's wife as Sappho. Westall was an English painter and illustrator and the drawing-master of the young Queen Victoria. See also a reverse glass painting of 'Venus and Cupid', copying in China an original drawing by Richard Westall, illustrated by S.Jenyns, Chinese Art: The Minor Arts II, London, 1965, pp.154-155.For further information on this lot please visit Bonhams.com
CHINESE SCHOOL19th centuryInk on paper, a set of fourteen each precisely painted with tradesmen engaged in various professions including joinery and playing music, framed and glazed.27.2cm (10 3/4in) x 28cm (11in). (14).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價十九世紀 木作主題等外銷畫 一組十四幅 紙本水墨 鏡框裝裱For a similar drawing 'Lacquering Furniture', see C.Clunas, Chinese Export Watercolours, London, 1984, fig.10. See also Shijian Huang and W.Sargent, Customs and Conditions of Chinese City Streets in 19th Century ― 360 Professions in China, Salem MA, 1999, p.258.For further information on this lot please visit Bonhams.com
A RARE GOLD LACQUER KOBAKO WITH SHICHIFUKUJINJapan, 19th century, Edo period (1615-1868)The rectangular kobako (small box) decorated on the cover in iro-e takamaki-e and hiramaki-e, as well as kirikane flakes, depicting the seven lucky gods (from left to right: Bishamonten, Daikoku, Jurojin, Benten, Ebisu, Daikoku, and Hotei) drawing strings, all against a rich fundame ground. The inside of dense nashiji.SIZE 8.2 x 7 x 2.1 cmCondition: Generally, in very good condition with minor expected surface wear, particularly to the edges.Provenance: Ex-collection Claudio Perino, a collector with a keen interest in Japanese, Chinese and Far Eastern cultures. His collection consists of over 2000 works of art, partly loaned to the Museum of Oriental Arts (MAO) in Turin, Italy and to the Museo delle Culture (MUSEC) in Lugano, Switzerland. An exhibition of Kakemono scroll paintings was on view in the MUSEC until end of April 2021.
A SMALL GOLD-SPLASHED BRONZE HALBERD-HANDLED INCENSE BURNER, YILUXuande six-character mark, 17th/18th centuryThe vessel of archaistic form rising from a short foot to a flaring rim, cast with a pair of stylised chilong handles, decorated to the exterior with irregular-sized gold splashes, the base cast with an apocryphal Xuande six-character mark. 12cm (4 6/8in) wide.Footnotes:十七/十八世紀 銅灑金雙戟耳彝爐「大明宣德年製」楷書款Provenance: an important European private collection來源：歐洲重要私人收藏The form of the present incense burner may have been based on a prototype dating to the Ming dynasty. A line drawing of a gold-splashed incense burner, displaying a form nearly identical to the present example, is included in the 'Illustrated Catalogue of of the Ritual Vessels of the Xuande Period' Xuande Yiqi Tupu. The work purports to be the wording of an Imperial decree of 1428 ordering bronzes for the palace. Many scholars, however, have argued that the this work may have been published at a later stage than the Ming dynasty; see R.Kerr, Later Chinese Bronzes, London, 1990, p.18.A related gold-splashed bronze halberd-handled incense burner, 17th/18th century, was sold at Sotheby's London, 5 November 2008, lot 15.此式銅灑金雙戟耳彝爐於《宣德彝器圖譜》可見一例，原型或取自宋代瓷器經典器型魚耳爐；然而就《宣德彝器圖譜》一書的成書時間，學界亦有爭議，參見R.Kerr著，《Later Chinese Bronzes》，倫敦，1990年，頁18。參考一件十七至十八世紀銅灑金雙戟耳彝爐，售於倫敦蘇富比，2008年11月5日，拍品編號15。For further information on this lot please visit Bonhams.com
A RARE HUANGHUALI SQUARE-CORNER CABINET, FANGJIAOGUI17th/18th centuryOf rectangular form, the doors with single floating panels of standard miter, mortise and tenon construction enclosed within a frame, the top and sides similarly constructed, the interior with one shelf above a pair of drawers, all above a beaded front apron carved with intertwining scrolling designs, the side aprons similarly decorated, with metal hinges, shaped lockplate, pin and pulls. 123cm (48 1/2in) high x 77cm (30 2/8in) wide x 44cm (17 2/8in) deep.Footnotes:十七/十八世紀 黃花梨方角櫃Provenance: an important private European collection來源：歐洲重要私人收藏The present cabinet is notable for its restrained design, minimalist decoration, elegant proportion and extravagant use of beautifully-grained huanghuali. Constructed entirely from high-quality huanghuali wood, chosen for its rich golden-honey tones, the wide flat surface emphasises the natural beauty of the densely-grained wood.The simple austere lines of these cabinets created a sense of solidity and strength resulting from a slim profile combined with the strong horizontal lines of the top and bottom members. The circular door pivots form an elegant contrast to the square members. In addition, the cabinet has no superfluous ornamentation, except the beaded edge along the plain apron and spandrels towards the feet and the polished baitong mounts. This way, the eye is drawn to the beauty and subtlety of the natural wood which conveys a graceful and soft feel. The functional metal hinges, lock plate and pulls enhance the richness of the wood. These important decorative elements were carefully sized and spaced to complement the proportion of the cabinet. The lockplates are persimmon-shaped, while the pulls are shaped as double fish, subtly intimating auspicious wishes for abundance and wealth.During the Ming and Qing periods, furniture was probably selected from books of designs at the cabinetmaker's workshop and made to the proportions required. This would have allowed certain unique personal preferences in stylistic choices, such as the higher beaded oval feet in the present lot, which lend it its 'unusual distinction'. Subtle variations give individual character to different tapered cabinets.The fact that the panel forming the horizontal top of the present cabinet is also constructed from huanghuali makes it is unlikely that the cabinet had an associated hat chest (additional storage chests holding additional items of clothing). This cabinet was probably made for a scholar's studio, where it would have held painting and calligraphy, implements or treasured artifacts. The lavish use of huanghuali to construct all the inner members, such as shelves and drawer lines, demonstrates an exceptional level of craftsmanship and attention to details. For a detailed discussion about the use of cabinets in China, see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley and London, 2001, pp.241-267.Square-corner cabinets with flush-panel doors but constructed without hat chests are rare. A similar cabinet without a hat chest is depicted in an 18th century handscroll depicting 'The Qianlong Emperor's Southern Inspection Tour', dated to 1770, in The Metropolitan Museum of Art, New York, acc.no.1988.350a-d. See also a line drawing of a similarly-shaped cabinet, 17th/18th century, illustrated by Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, vol.2, 1990, Hong Kong, p.152, D24. A related huanghuali square-corner cabinet, 17th/18th century, was sold at Christie's New York, 22-23 March 2012, lot 1726.「一封書」式方角櫃，方方正正，櫃體光素，只在三面牙條上浮雕卷草紋。櫃門平鑲，兩門之間立閂桿，安葵形面葉。櫃內抽屜架安有兩個抽屜，將內部空間分隔為兩層，下無櫃膛。整體線條利練，設計簡約，盡顯木材自然紋理，乃明清傢俱的永恆經典。明清時期，家具大多依照工匠圖樣、按約定尺寸進行定制。傳世的方角櫃尺寸多樣，本例頂面也使用黃花梨木製成，表明製作時沒有與之相配的頂櫃，且尺寸適中，非常適合置於文人書齋內儲物，兼器物陳設。屜板等櫃內構件也以黃花梨木製成，毫不吝惜木料，原主人的審美品位和日用標準可見一斑。關於方角櫃用途的詳細陳述，參考S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁241-267。無頂櫃的「一封書」式方角櫃傳世不多。現藏於紐約大都會博物館（館藏編號1988.350a-d）、由宮廷畫家徐揚於1770年所作之《乾隆南巡圖》中，繪有一隻形制相似的無頂櫃方角櫃。另參一幅方角櫃線稿，收錄於王世襄著，《明式家具珍賞》，卷二，香港，1990年，頁152，編號D24。一例十七至十八世紀黃花梨方角櫃，售於紐約佳士得，2012年3月22-23日，拍品編號1726，可為參考。... This lot is subject to the following lot symbols: TP YTP Lot 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 EU, see clause 13.For further information on this lot please visit Bonhams.com
A RARE GOLD-SPLASHED BRONZE OVAL INCENSE BURNERXuande six-character mark, 18th centuryThe vessel of elliptical form with gently-flaring sides rising from four ruyi feet, the greenish-brown patina with numerous irregular gold splashes in varying sizes, the base with an apocryphal Xuande six-character mark. 21.5cm (8 1/2in) wide.Footnotes:十八世紀 銅灑金洗式爐「大明宣德年製」楷書款Provenance: an important European private collection來源：歐洲重要私人收藏Notable for its elegant and restrained form, the present vessel takes the form of a vessel type known as 'narcissus bowl', shuixian pen, which may have served as a incense burner as well as a floral bowl, probably as an elegant accessory on a scholar's desk. The elliptical form of narcissus basins appears to have originated in the ceramic production of the Northern Song dynasty (960-1127). See for example the exquisite Ruyao-glazed 'narcissus basins' dating to the 11th and 12th century and standing on four ruyi feet, in the National Palace Museum, Taipei, illustrated by Lin Baiting, Special Exhibition of Ju Ware from the Northern Song Dynasty, Taipei, 2006, no.7.The origin of gold-splash decoration remains a source of speculation. The decoration, noted on the present example, may have been based on a Ming dynasty practice of decorating bronzes. This is suggested by a line drawing of a gold-splashed incense burner in the 'Illustrated Catalogue of of the Ritual Vessels of the Xuande Period' Xuande Yiqi Tupu, which purports to be the wording of an Imperial decree of 1428 ordering bronzes for the Palace, and which illustrates these vessels. Many scholars, however, have argued that the this work may have been published at a later stage than the Ming dynasty; see R.Kerr, Later Chinese Bronzes, London, 1990, p.18.An oval 'narcissus bowl' bronze incense burner, 16th-17th century, featuring a similar elliptical form as the present lot, is illustrated by S.Moss, The Second Bronze Age. Later Chinese Metalwork, London, 1991, no.43.爐型橢圓洗式，敞口淺腹，腹壁斜直內收，下底出一周圓弧棱線，承四隻如意云足。通體灑金，於古樸中見富麗。爐底中央減地陽文「大明宣德年製」六字楷書款。明宣德時期依據古籍典錄及宋瓷形制鑄造銅爐，洗式爐即成經典形制之一，明末清初之際仿鑄尤盛，頗受文人雅士的喜愛。此種器型原型可參考台北國立故宮博物院館藏北宋汝窯青瓷水仙盆，釉面純淨無紋，且同樣接雲頭型四足，本品造型與之如出一轍；見林柏亭編著，《大觀 北宋汝窯特展圖錄》，台北，2006年，編號7。比較一例十六至十七世紀銅洗式爐，形似本例，收錄於S.Moss著，《The Second Bronze Age. Later Chinese Metalwork》，倫敦，1991年，編號43。For further information on this lot please visit Bonhams.com
A GOLD-SPLASHED BRONZE TRIPOD INCENSE BURNER, DINGXuande seal mark, 17th/18th centuryOf globular shape supported on three short curling legs, and set with two bail handles rising from the rim, the base cast with a Xuande six-character mark, with irregular splashes of gold on the olive-brown patina. 18.5cm (7 2/8in) wide.Footnotes:十七/十八世紀 銅灑金三足鼎式爐「宣德」篆書款Provenance: an important European private collection來源：歐洲重要私人收藏The form of the present incense burner is based on the archaic bronze food ritual vessel, ding, produced during the Shang dynasty. As such, it reflects the Qing emperors' fascination with antiquity, and their call for craftsman to take inspiration from earlier forms and designs.The 'gold-splashed' decoration was achieved by 'fire-gilding', a technique involving the application of gold in the form of a mercury/gold amalgam. Subsequently the vessel was heated to drive off the mercury, so that the small amount of gold was left adhering to the base metal. The process could then be repeated several times to build up thicker layers of gold. Indeed, a line drawing of a gold-splashed incense burner in the 'Illustrated Catalogue of the Ritual Vessels of the Xuande Period' Xuande Yiqi Tupu, which purports to be the wording of an Imperial decree of 1428 ordering bronzes for the Palace, and which illustrates these vessels, would seem to indicate that the practice of applying gold splashes on bronzes may have been used since the 15th century. Many scholars, however, have argued that the this work may have been published at a later stage than the Ming dynasty; see R.Kerr, Later Chinese Bronzes, London, 1990, p.18.Compare with a related gold-splashed globular tripod incense burner, 18th century, with a two-character Xuande seal mark, which was sold at Sotheby's Hong Kong, 8 October 2019, lot 3650.爐斂口，口沿上施一對沖耳，圓腹，下接三矮足，仿商周銅器獸蹄足之意。通體灑金，線條流暢，古雅大方。爐底正中鏨刻「宣德」篆書款。爐型仿商周重要青銅禮器鼎，是清朝自上而下鑑古仿古風尚的實例體現。本品所用的灑金工藝起源尚不明晰，或始於明代；《宣德彝器圖譜》繪有一件灑金銅爐，可資證明。 《宣德彝器圖譜》據傳編撰於1428年，然而也有學者認為其成書時間或晚於明代。參見R.Kerr著，《Later Chinese Bronzes》，倫敦，1990年，頁18。參考一件與本例相關的十八世紀銅灑金橋耳三足爐，同施「宣德」篆書仿款，售於香港蘇富比，2019年10月8日，拍品編號3650。For further information on this lot please visit Bonhams.com
A RARE PALE GREEN AND RUSSET JADE 'MYTHICAL BIRD' SCROLL WEIGHTTianji Wenbao incised four-character mark, 18th centuryThe domed weight finely carved as a mythical bird with a single crest and pointed beak, on a circular base with its wings outstretched as if ready for flight, the slightly-flared wings flanking a bulbous body, the long tail feathers elegantly curled in various directions, all meticulously incised with well-defined feathers suggesting vivid movement, the base incised with a four-character 'Tianji Wenbao' mark within a dense ground of C-scrolls, the smoothly-polished stone of pale-green tone with beige and russet inclusions. 6.1cm (2 3/8in) diam. Footnotes:十八世紀 朱雀玉鎮「天雞文寶」刻款Provenance: an important European private collection來源：歐洲重要私人收藏The present lot is an outstanding example inspired by an earlier design dating to the Han dynasty. This rhythmically-carved bird is remarkable for its intricate relief decoration in various depths, displaying exceptional technique in carving the naturalistic and three-dimensional rendering of the jade bird. During the Han dynasty, weights of similar shape to the present example were made of precious materials such as jade or gilt-bronze and likely made for use by high-ranking members of society. In this context, these weights were usually produced in sets of four, each in the shape of a human figure or a mythical animal or bird representing one of the four Directions of the Universe. The Red Bird depicted on the present lot represented South and would have been used in conjunction with the White Tiger symbolising West, the Green Dragon of the East and the Black Tortoise of the North. Sitting at the centre of a cosmic diagram signified being the pivot and recipient of all the forces of the universe, symbolic of the Chinese emperors. The present lot is closely related to a line drawing of a bronze weight in the shape of a mythical bird, Han dynasty, published in the 'Catalogue of Ancient Ritual Bronzes' Xiqing Gujian Xiqing gujian, vol.38, p.46. This collection of drawings served as a source of inspiration for the production of contemporary objects, underscoring the emperor's wish to reinstate what he believed to be the intrinsic qualities of simplicity, sincerity and happy exuberance found in the ancient past; see Chang Li-Tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.49-50. The inscription incised on the underside of the present lot, Tianji Wenbao, reflects the 18th century trend of paying homage to the historical past, as it literally translates as 'Mythical Bird Cultural Treasure'. A gilt-bronze weight similarly shaped as a mythical bird curling above a circular base is in the National Palace Museum, Taipei, acc.no. 000333N. Compare with a related exceptionally rare jade mythical-bird scroll weight, Han dynasty, illustrated by T.Fok, The Splendour of Jade: The Songzhutang Collection of Jade, Hong Kong, 2011, pl.74, which was later sold at Bonhams Hong Kong, 30 May 2017, lot 54.青玉圓雕一朱雀鳥呈振翅待飛姿勢，留皮巧雕出雀鳥頭部及羽翼。雀鳥眼眶以陰刻方式表現，鳥喙短銳而渾圓有力，頭上有一撮羽冠向後垂在頸上。羽翼微張，以陰線勾勒出波摺層次。兩側浮雕腿足，憨態可掬。底部陰刻流動雲紋，中央刻「天雞文寶」篆書款。本例形制源於漢朝席鎮。桌椅普遍使用之前，人們席地而坐，室內所設床榻也需鋪席。席鎮遂用於席的四隅以避免起身落座時折卷席角。皇室貴冑常用材料貴重的銅鎮、玉鎮，且造型豐富，以人物和動物形最為多見，通常以一組四件使用。此朱雀玉鎮應為一組四件中的一件。朱雀是中國傳統文化中的「四靈」之一，和青龍、白虎、玄武共同表示四方，即左青龍（東）、右白虎（西）、前朱雀（南）、後玄武（北）。能以四像神獸形的席鎮置於四隅，寓意著席鎮主人位於東南西北四方的中央，暗示著使用者舉足輕重的地位。宋代以後，席鎮原始的功能逐漸消失，文人常取獸形鎮以為鎮紙之用。此玉鎮之造型與乾隆時期《西清古鑑》卷三十八「書鎮」中一漢鳩鎮的線描圖相似。《西清古鑑》是乾隆十四年下旨編制收錄清代宮廷所藏古代青銅器的大型譜錄。乾隆皇帝好古敏求，崇尚慕古之風，認為古物樸素、精純、高雅、有意涵，曾交《考古圖》、《西清古鑑》等予玉工作為製作新製玉器時造型、紋飾的藍本。詳見張麗端著，《宮廷之雅：清代仿古及畫意玉器特展圖錄》，台北，1997年，頁49-50。本玉鎮之原型有兩例可資參考，台北國立故宮博物ƀ... For further information on this lot please visit Bonhams.com
A GOLD-SPLASHED BRONZE INCENSE BURNER, GUIXuande six-character mark, 17th/18th centuryThe vessel of bombé form supported on a short spreading foot, cast with a pair of loop handles, the bronze patinated to a warm chocolate tone liberally decorated with irregular gold splashes, the base cast with a Xuande six-character mark. 19cm (7 1/2in) wide.Footnotes:十七/十八世紀 銅灑金蚰龍耳簋式爐「大明宣德年製」楷書款Provenance: an important European private collection來源：歐洲重要私人收藏Elegantly decorated with irregular spots and flakes of gold, seemingly emerging from the alloy at different angles, the present vessel is notable for its subtle and pleasing overall appearance.The origin of gold splashes on bronze is unclear. A possible moment of inspiration for the present vessel may have been the Ming dynasty. This is suggested by a line drawing of a gold-splashed incense burner in the 'Illustrated Catalogue of of the Ritual Vessels of the Xuande Period' Xuande Yiqi Tupu. The work purports to be the wording of an Imperial decree of 1428 ordering bronzes for the palace. Many scholars, however, have argued that the this work may have been published at a later stage than the Ming dynasty; see R.Kerr, Later Chinese Bronzes, London, 1990, p.18.Compare with a similar gold-splashed bronze incense burner, Xuande six-character mark, 17th-18th century, illustrated by S.Moss, The Second Bronze Age. Later Chinee Metalwork, London, 1991, no.56.See also a gold-splashed bronze incense burner censer, Xuande six-character mark, 17th century, of similar size and shape to the present lot, which was sold at Christie's London, 5 November 2019, lot 82.侈口，束頸，圓鼓腹下垂，圈足外撇。爐身兩側置雙蚰耳，起自頸部，收於腹部。通體灑金，參差錯落，妙得神韻。爐底中央鑄減地陽文「大明宣德年製」六字楷書款。本品所用的灑金工藝或創於明代，較傳統的鎏金工藝工序繁複許多，但起源尚不明晰。《宣德彝器圖譜》繪有一件灑金銅爐，可資證明。《宣德彝器圖譜》據傳編撰於1428年，然而也有學者認為其成書時間或晚於明代。參見R.Kerr著，《Later Chinese Bronzes》，倫敦，1990年，頁18。參考一件十七至十八世紀銅灑金簋式爐，「大明宣德年製」款，收錄於S.Moss，《The Second Bronze Age. Later Chinee Metalwork》，1991年，編號56。另有一件十七世紀銅灑金蚰龍耳簋式爐，形制大小皆似本例，且同樣鑄有宣德仿款，售於倫敦佳士得，2019年11月5日，拍品編號82，可資比對。For further information on this lot please visit Bonhams.com
![SHEPARD, Ernest HowardChinese courtroom scene with prisoners at the bar, pen and ink drawing [possibly for Punch Magazine], s](https://cdn.globalauctionplatform.com/730d9589-246e-4a32-b1d9-ad0f009d6a82/7dc2f977-0f07-4570-b542-ad1200b642ba/468x382.jpg)
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