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Lot 1029
A VERY GOOD CHINESE ALTAR TABLE OR SIDE TABLE, 19TH CENTURY, POSSIBLY ZITAN OF HUANGHALI, with a plain rectangular top above a frieze carved with leaves and flowers, the corners carved with stylized birds heads, on curving legs with carved feet, overall size 170cm long, 70cm wide, 89cm high.
Lot 395
A large late 18th or early 19th century Chinese hardwood (possibly Zitan) 'Orchid Pavillion' brush pot, bitong, Qing dynasty, carved in high relief with a continuous scene from the Lanting Xu (Spring Purification Ceremonty) with a multitude of scholars in various pursuits, 21 cm high to/w an antique Persian Islamic copper coffee pot, dallah, 29 cm high (A/) (2) The brush pot has a large split down the side and partially into the base, some small loses and areas of wear, the coffee pot handle is detached, some dents/bruises and wear
Lot 20
antique Chinese Qing period temple decoration with four panels in cloisonné and with a swastika in gilded metal with finely detailed decor - in a frame in special (and more expensive as gold) Chinese Zitan wood || Antieke Chinese Qing - tempeldecoratie met vier panelen in cloisonné en met een swastika in gedoreerd metaal met fijn uitgewerkt decor - in een kader in de speciale Chinese houtsoort, nl Zitan (duurder als goud)- 60 x 60
Lot 424
An intricately carved Chinese Zitan type wood box, octagonal with dragons and mythical beasts to the top, flowers/fruits to the sides, carved seal mark to base, 24 x 14 x 10cm.In good condition. WE TAKE GREAT CARE in the accuracy of our condition reports and may record damage and restoration if obvious. The information is provided in good faith along with detailed photographs where requested and is for guidance only. However, this does not imply that there may not be further condition issues associated with the lot and we DO NOT provide any guarantee to the buyer.WE STRONGLY ADVISE BIDDERS TO EXAMINE PERSONALLY ANY LOT THEY ARE BEFORE THE AUCTION THEY ARE INTERESTED IN
Lot 93
Pinselbecher. Zitan-Holz. 19./frühes 20. Jh.Zylindrisch mit profiliertem Ring um den Fuß und verdicktem Rand an der Mündung. In Gravur Gelehrter in einer strohgedeckten Hütte, umgeben von Bäumen und einem Zaum, eine Steinbrücke führt auf die Hütte zu. Pflock im Boden fehlt.H 16 cmDieses Objekt wurde unter Verwendung von Materialien hergestellt, für die beim Export in Ländern außerhalb der EU eine Genehmigung nach CITES erforderlich ist. Wir machen darauf aufmerksam, dass eine Genehmigung im Regelfall nicht erteilt wird.
Lot 488
A Chinese white glaze 'Lotus and dragon' water dropper, 17th/18th century, shaped as a lotus pod with a small chilong dragon clinging on the top, fitted zitan wood stand, 9.5cm longProvenance: Property of a Gentleman from South Africa, originally purchased from Stephan Welz & Co in association with Sotheby's, 25 & 26 November 2002, Lot 120清十七/十八世紀 白釉螭龍蓮花形硯滴拍品來源：南非私人收藏，2002年11月年購自南非蘇富比，拍品編號120號 Condition Report: overall crazing to glaze as typical with soft paste porcelainpin prick firing blister to dragons back restoration to the head of the dragonCondition Report Disclaimer
Lot 8
A Chinese zitan carved wall pocket, Qianlong, of flattened baluster form, carved to the body in archaic style in relief with 'C' scrolls and the centre later inlaid with a pocket clock, 16.4cm high清乾隆 紫檀螭龍紋壁瓶 Condition Report: one foot with a small chip of 1cm longwear and scratches to the surface commensurate with ageCondition Report Disclaimer
Lot 7
A large Chinese zitan waisted stand, 18th century, the whole raised on five elegantly curved cabriole legs terminating in scroll-form feet, with finely beaded outer edge further carved on the sides with scrolling ruyi pattern, above a pierced gallery and supported by a pierced waist carved with floral scroll and ruyi heads, 15.5cm diameter and 8cm high清乾隆 紫檀鏤雕如意雲頭紋座 Condition Report: wood with cracks commensurate with agefour feet broken and restuckthe top edge with one chipped area of 2.5cm long and another area chipped and gluedone fringe of 2.5cm broken and missingCondition Report Disclaimer
Lot 96
A CHINESE CELADON JADE PHEASANT WITH A ZITAN STANDQIANLONG 1736-95Sitting with its body flattened and tail curved to one side, it holds a fruiting peach branch in its beak, the feathers and feet well-defined, the stand carved with cloud scrolls above a border of stylised ruyi-heads and scrolls, 13cm. (2)Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s.清乾隆 青玉雕錦雞擺件及紫檀底座來源：英國西約克郡私人收藏，購於1970-80年代。
Lot 42
A CHINESE SOAPSTONE INLAID BLACK LACQUER CABINET, GUANPIXIANGKANGXI 1662-1722The rectangular hinged lid lifting to reveal a shallow tray above a pair of doors, with various drawers to the inside, the exterior inlaid with mother of pearl and soapstone, the front with a metal lock plate and decorated with butterflies amidst blossoming floral branches, the top with a landscape scene with figures on sampans and bridges, the sides and the base decorated with precious objects and the interior drawers with the sanduo (Three Abundances), all reserved on a lustrous dark brown lacquer ground, 33.2cm x 33cm x 24.7cm. Provenance: from an English private collection, Sussex.Small cabinets of this type, called guanpixiang or official boxes, were used both as dressing cases to store toiletries and as desks for stationery, writing implements and seals. Their construction with multiple drawers and trays resembles a cabinet rather than a box, and they were more often made in huanghuali or zitan. This piece is unusual in its materials and belongs to a small group of lacquer objects inlaid with hardstones and mother of pearl, a technique originally attributed to the Ming master carver Zhou Zhu, active in Yangzhou during the reign of the Jiajing emperor (1522-66). Compare with two table screens in the Palace Museum, Beijing, illustrated in Classics of the Forbidden City: Imperial Furniture of the Ming and Qing Dynasties, figs.312 and 313.清康熙 黑漆嵌寶山水博古花鳥紋官皮箱來源：英國薩塞克斯郡私人收藏。
Lot 105
A 19th/20th-century Chinese zitan wood opium pipe with a white jade mouthpiece, paktong saddle and bronze bowl bearing an inscription, regarding the suppression of a rebellion in the South (1911?) and the abundance of military resources. 55 cm long.A private estateWhite and verdigris deposits in the bottom of the copper bowl now filling the pin-size hole, but light can still pass through (see images). The bowl is not filled with a white deposit. One jade end with chips, metalware slightly worn commensurate with age.
Lot 7
A rare Chinese Zitan wood libation cup, Qing Dynasty, 17th/18th century, of typical form, the magnolia flower cup of deep oval form and carved in high relief and undercut around the sides and base with gnarled branches of blossoming magnolia and prunus flowers, 7.5cm high, 10.5cm wide For a similar example refer: Christies 26th June, 2014, lot 59 New York Private Collection. Imperial Zitan: Available was only to the master craftsmen employed in the Imperial Palace Workshop. Historically, zitan was primarily grown in southern India and southeast Asia, with a very small quantity known from the southern provinces of present-day Guangxi, Guangdong and Jiangxi in China. It was appreciated for its jade-like silky texture, fine and dense grain, and deep lustre, making it the favoured timber of the Qing court with no expense spared in acquiring it. From Imperial records we know that during Qianlong’s reign in particular, the Palace Workshop used over 290,000 kgs of zitan, most of which had to be imported from overseas due to its almost complete extinction in China. The wood’s long growth period, limited availability and high demand primarily from the Imperial court, led to its excessive felling and eventual disappearance by the early 18th century. The libation cup was made both for ornate display, often with a stand, but primarily as a communal drinking vessel during important ceremony or for consumption of 'health potions'. They have been part of popular culture in China for over 1000 years and the designs are often seen in bronze, rhinoceros horn or exotic woods such as Zitan.
Lot 5
~ A Chinese Celadon Jade Inscribed “Luohan” Boulder, Qianlong, carved with Ańgaja in a grotto, seated cross-legged in loose flowing robes, his left hand holding a sutra and walking stick, the right counting prayer beads, flanked by the Imperial eulogy and seal marks 20cm highWith original receipt from Trollope & Sons (London) Ltd, West Halkin Street, London dated 25 November 1955 for £85, as well as a transcription of the eulogy The inscription can be translated as “Wearing a hundred-patch robe and leaning on a proper bamboo staff, his Vedic ritual texts in a bookcase, he stares at his akshamalika straight across his chest. What he has remembered is not nothing, although there are no words for it.”The iconography of this depiction of Ańgaja is derived from the portrait series of the sixteen Luohans painted in 891 by the Tang dynasty painter-poet-monk, Guanxiu for the Shengyinsi or 'Temple of Sage Reason'; the temple was later destroyed during the Taiping Rebellion. In this series the artist depicted the enlightened disciples with grotesque bodies, hunched backs, bushy eyebrows, and pronounced foreheads, as they had allegedly appeared to him in a dream.In 1757, the Qianlong Emperor visited the Shengyin Temple during his Southern inspection tour to study these images of the Luohan as an act of religious devotion. He recorded that, having seen the masterpieces, he was inspired to personally write a eulogy comprising two colophons for each painting. The Emperor believed the paintings to be the same set that had been recorded in the Xuanhe Huapu [The Xuande catalogue of paintings], the inventory of the Song dynasty emperor Huizong.Subsequently, Qianlong commanded the palace painting master, Ding Guanpeng (act.1708-ca.1771) to copy the paintings and to include new inscriptions of the eulogies. Ding’s copies are now in the collection of the National Palace Museum, Taipei and were widely copied in various media.In 1764, the abbot at Shengyin Temple, Master Mingshui, instructed local stone engravers to copy Guanxiu’s paintings and the Emperor’s colophons and seals. The sixteen engraved stone panels were installed on the sixteen sides of the Miaoxiang Pagoda in Hangzhou. Almost immediately rubbings of the panels were being produced. Knowing the Emperor’s fondness for them, in 1778, the military governor of Shandong province, Guotai (d.ca.1782), presented the Qianlong Emperor with a magnificent zitan folding screen set with black lacquer panels inlaid with white jade in imitation of the rubbings.A similar jade boulder, depicting the second Luohan, Kanakavasta, was recorded in the collection of the Wou Lien-Pai Museum as published in Rose Kerr et al., Chinese Antiquities from the Wou Kiuan Collection, Surrey, 2011, pl. 177 (fig. 2).Another example depicting Kanaka is in the Metropolitan Museum of Art, New York, accession number 02.18.640 and a further example as Cudapanthaka is in the National Palace Museum, Taipei.A sixteen-fold screen with inlaid jade plaques portraying the sixteen luohans, including a depiction of Angaja derived from the same source as the present jade, dated to the forty-second year of the Qianlong reign (1777) is in the Palace Museum, Beijing, exhibited at the Hong Kong Museum of Art (22 June 2012 - 14 October 2012), and illustrated in A Lofty Retreat from the Red Dust: The Secret Garden of Emperor Qianlong, Hong Kong, 2012, pp.216-233, no.53.A Qianlong Imperial jade screen with the same image of Ańgaja and inscribed with the same script and seals as the present examples was offered by Bonhams Hong Kong, 24 November 2012, lot 307 and Christie’s Hong Kong, 29 November 2022, lot 3049.Please note that there will be no internet bidding on this lot. All bidders on lots 1-10 will be required to provide identification and a deposit of £1,000. Registration for commission and telephone bidding on these lots will close on Wednesday 13th March at 12 noon. To register please email enquiry@tennants-ltd.co.uk A natural internal small crack towards the top section of the staff. Sutra with tiny corner flakes. Other minimal small imperfections to the stone, none detrimental. Slight wear to the gilt inscrpitions.
Lot 94
A CHICKEN BONE JADE ‘DOUBLE FISH’ MARRIAGE BOWL, 17TH-18TH CENTURY 十七至十八世紀雞骨白雙魚玉洗Please note this Lot is to be sold at No Reserve. 本拍品不設底價China. The flared sides supported on four short feet and rising to an everted bracket-lobed rim, the interior finely carved in relief to depict two confronting carps with lotus sprigs in their mouths. The opaque stone of a creamy ivory tone with dark veins and patches.Provenance: From an old Swiss private collection and thence by descent to the last owner.Condition: Good condition with minor old wear. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time. Microscopic nicks here and there. The rim with a minor chip and associated old fill.Weight: 224.9 g (excl. stand)Dimensions: Length 15.3 cmWith a finely carved and open worked Zitan stand dating from the same period. (2)Marriage bowls are so named because of their auspicious imagery symbolizing a long and happy marriage with abundant offspring to carry on the family line, and thus were often presented as betrothal or wedding gifts. In this case, the imagery is provided by the pair of fish and the lotus flowers as well as the ruyi form.Chicken bone is a term for a rare and highly coveted nephrite jade of an opaque creamy beige color, often with extensive dark veining, which was particularly valued between the later Ming and early Qing dynasties. It is also sometimes said to be ‘burnt jade’ which has an opaque chalky appearance, usually with minute cracks all over the surface. It is known that nephrite - when heated to about 1000 degrees Celsius in a dry atmosphere - breaks down into diopside, enstatite (a magnesium silicate) and some quartz. In an experiment in the Freer Gallery Laboratory, samples of blue-green and white nephrite were submitted to temperatures up to 1025 degrees Celsius and both altered to an opaque chalky beige color with no change in the shape of the piece or the decoration of the surface. The chief mineral which resulted was diopside, and several nephrite jades in the Freer which appear to have been burnt also give a diopside x-ray diffraction pattern. Jadeite when heated in a similar manner behaves quite differently: it fuses to a glassy material, the surface smoothens out, and if the object is small enough it bends out of shape. See Elisabeth West, Jade: Its Character and Occurrence, The Bulletin of the University Museum of Pennsylvania, Volume 5, Issue 2, Winter 1963, page 5.The Qianlong Emperor lauded jades, among many reasons, for the durability that this specific stone offers against the ravages of time and fire, unlike most others. The specific chicken bone color pattern of the present bowl may have been produced either by nature, or by deliberately heating the nephrite in a workshop, or by accidental exposure to fire. The collection of the Palace Museum in Beijing, for example, contains numerous chicken bone jades that were burnt in fires which erupted at the palace over the centuries.Auction result comparison: Type: Closely related Auction: Christie’s London, 13 May 2016, lot 513Price: GBP 86,500 or approx. EUR 124,000 converted and adjusted for inflation at the time of writing Description: A ‘chicken bone’ jade relief-carved bowl, 17th-18th centuryExpert remark: Compare the related relief carving and closely related chicken bone color pattern of the jade. Note the smaller size (12.7 cm).
Lot 28
A BLACK DUAN ‘PINE TREE’ INKSTONE, QING DYNASTY 清代松紋端硯Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 18th-19th century. The oval stone intricately carved in the naturalistic shape of a gnarly pine tree next to volcanic stone encircling the central ink palette gently sloping into the ink pool beneath an undercut pine branch.Provenance: From a notable private collection in Bavaria, Germany. Condition: Excellent condition with some signs of wear, shallow surface scratches, ink residue, minor nicks here and there.Weight: 2,482 g Dimensions: Length 25.2 cm With a fitted zitan stand. (2) Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 24 November 2012, lot 626 Price: HKD 112,500 or approx. EUR 17,500 converted and adjusted for inflation at the time of writing Description: A duan ‘three friends of winter’ inkstone with wood box and cover, late Qing dynasty Expert remark: Compare the related form with a naturalistic design encircling the ink palette and pool. Note the size (29 cm). 清代松紋端硯中國，十八至十九世紀。橢圓形端石，硯璞雕刻成一棵蒼松形，旁邊是山石，中央為硯堂。 來源：德國巴伐利亞私人收藏。 品相：狀況良好，有一些磨損、表面淺劃痕、墨水殘留、刻痕。 重量：2,482 克 尺寸：長25.2 厘米 紫檀底座 (2) 拍賣結果比較： 形制：相近 拍賣：香港邦翰斯，2012年11月24日，lot 626 價格：HKD 112,500（相當於今日EUR 17,500） 描述：清晚期端石刻三友圖硯 專家評論：比較相近的外形，以及圍繞墨水調色板和硯池的自然風格設計。請注意尺寸(29 厘米)。
Lot 333
An unusual Chinese gold-fleck zitan meditation stool, chandengLate Qing dynastyOf plain box-form, the rectangular top with 'floating' panel on square corner supports with continuous beaded inside edge, later feet, 52cm high x 57.5cm x 42cm清晚期 紫檀禪凳cf. Ellsworth, Robert Hatfield, Chinese Furniture, Hardwood Examples of the Ming and Early Ch'ing Dynasties, Plate 14.Condition Report: Minor surface wear and an area of staining to the top surface. Slight cracking to the underside of the stretcher commensurate with age. There is reddish colour residue of paint/lacquer to the edges.
Lot 249
A CARVED AMBER MOUNTAIN SHAPED FINIAL遼代 帶木座山形琥珀爐頂China, Liao dynasty.Of naturalistic form, inspired from paintings from the Song Dynasty, in deep red colour asymmetrically carved with deep fissures and jutting boulders, supported on a carved Zitan standH: 7 cm Weight: 72.6gProvenance: Irish private collection.出处： 愛爾蘭私人收藏NOTEThe use of amber in China dates back to the Sanxingdui culture over three thousand years ago, while in Europe, it can be traced back to ten thousand years ago. Amber has a non-crystalline structure and weighs just slightly more than pure water. It is regarded as the solidified crystallization of history. The Chinese name for amber is 琥珀 (hǔpò), or 虎魄 (hǔpò), meaning the soul of a tiger, and it is also known as dragon's blood in folk culture.
Lot 286
A FINELY CARVED ZITAN 'DRAGON' SEAL BOX AND COVER紫檀雲龍紋印璽盒China.of square form, the box constructed with a low double lotus stand, the cover and four sides well carved with a five-clawed dragon soaring sinuously against dense cloud scrolls, each mythical beast rendered ferocious and superbly detailed with a scaly body.Size: 13 x 9.7 x 9.7cm
Lot 116
A ZITAN FIGURE OF A DEER HOLDING LINGZHI, 18TH CENTURY 十八世紀紫檀雕鹿銜靈芝China. Superbly carved in a recumbent posture with the hind legs drawn in and the front legs bent with the hooves placed together, the muscular body of the stag is well detailed and further accentuated by the characteristic natural 'crabs claw' marks of the wood, the face with neatly incised round eyes and funnel-shaped ears, the animal grasping a large, naturally carved lingzhi sprig in its mouth.Provenance: English trade.Condition: Fair condition with old wear, expected age cracks to the wood, some with associated losses and old fills, minute losses to the antler tips, all more or less as expected from a zitan figure with an age of 300 years or more. Elegant, naturally grown patina with a decent, lustrous shine overall.Weight: 255.9 gDimensions: Length 12 cmExpert's note: In ancient Chinese mythology, deer were considered to live a thousand years and believed to be the only animals capable of finding lingzhi, and so as in the present lot, are often portrayed holding the sacred fungus in their mouth. The deer is also a foremost Daoist emblem of longevity and the inclusion of lingzhi in the depiction is generally regarded as adding further to the symbolism. Thus, Shoulao and Magu, the God and Goddess of Longevity, are often accompanied by deer. Finally, deer are also a symbol of wealth since the Chinese word for deer, lu, is a homonym for the salary of an official.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 3 April 2017, lot 3047 Price: HKD 875,000 or approx. EUR 113,000 converted and adjusted for inflation at the time of writingDescription: An extremely rare imperial zitan figure of a bear, Qing dynasty, Qianlong periodExpert remark: Note the larger size (33.9 cm) and the superb condition. Compare the manifold similarities exhibited by the carving style and technique.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.十八世紀紫檀雕鹿銜靈芝中國。圓雕而成一隻祥鹿，前腿彎曲，後腿收緊，口銜靈芝，昂首回眸做觀望狀，雙角飛揚，呈跪臥之姿。木料天然“蟹爪”紋進一步突出鹿的身形健壯。靈芝回曲起伏、圓潤飽滿。 來源：英國古玩交易。 品相：磨損，預期的木材老化裂縫，一些相應的缺損和舊的修補，鹿角尖端的輕缺損，與300年或以上的紫檀雕像預期的一樣。自然包漿，光滑瑩潤。 重量：255.9克 尺寸：長12厘米 專家注釋：在中國古代神話中，鹿象徵著長壽，經常被描繪成嘴裡叼著靈芝，表達了仙風道骨，且長命百歲，萬壽無疆之祝福。而此鹿俯臥於地，又取“福祿“之意。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2017年4月3日，lot 3047 價格：HKD 875,000（相當於今日EUR 113,000） 描述：清乾隆罕見御製紫檀雕熊 專家評論：請注意較大的尺寸 (33.9厘米) 和極佳的品相。比較雕刻風格和技術等多方面的相似性。
Lot 284
Sehr seltener Pinselbecher aus Zitan mit EinlagenChina, späte Ming-DynastieH. 19,2 cmPassig geschwungener Korpus, verziert mit blühenden Pfingstrosen und Prunus, eingelegt mit Perlmutt, gefärbtem Horn und Koralle, Stein und anderen Materialien, mit poetischer Inschrift, vier Siegelmarken: wumen, shen yiru, kehong und xueju (Sun Kehong 1553 - 1611), darunter ein dünnes Band von Mäander am Rand in Metalleinlage. Gewicht: 1,351 kg.Geheimrat Herrmann Dobrikow (Peking, gest. 1928), verkauft von einem Familienmitglied über China Bohlken, Sylt, am 16. Juli 1987 an eine Berliner Privatsammlung (Rechnung erhalten) Sun Kehong (孫克弘 1533-1611), zi Yunzhi (允執), hao Xueju (雪居), stammte aus Songjiang (Teil des heutigen Shanghai) und war der Sohn des Ministers für Riten, Sun Cheng'en (孫承恩 1481-1561). Zu seinen Lebzeiten war Sun Kehong als Maler, Kalligraph und Büchersammler hoch angesehen. Seine Fähigkeiten als Hersteller von Gelehrtenartikeln aus Holz, die besonders für seine Drahtkalligraphie bekannt sind, werden von Wu Lüzhen (吳履震, tätig um 1650) in 五茸志逸隨筆 Wurong shiyi suibi (Notizen aus der Aufzeichnung der Wunder von Wurong) beschrieben: 孫雪居以紫檀仿古製 刻三雅杯銀絲填嵌漢篆字, was mit "Sun Xueju benutzte zitan, um altes Kunsthandwerk nachzuahmen, und schnitzte einst eine 'Drei-Eleganz-Tasse' mit in Silberdraht eingelegten Han zhuan-Zeichen." übersetzt werden kann. Vergleiche eine quadratischen Pinselbecher in der Sammlung des Palastmuseums in Peking, die mit sehr ähnlichen blühenden Pflaumenzweigen und Silberdraht-Siegelschrift-Kalligraphie mit einem eingeschriebenen Gedicht eingelegt ist, gefolgt von der Signatur des Künstlers Xueju 雪居 (Besitzer der Schneewohnung), abgebildet in Zhongguo meishu fenlei quanji: Zhongguo zhu, mu, ya, jiao qi quanji (Kompendium der chinesischen Kunst: Chinesische Bambus-, Holz-, Elfenbein- und Hornschnitzerei), Bd. 3, Peking, 2009, S. 223, Nr. 180, mit einer sehr kurzen Biografie von Sun Kehong. Man vergleiche auch den zitan-bedeckten Becher und den Zitan-sechskantigen Becher im Palastmuseum in Peking, beide mit sehr ähnlichen Silberdraht-Einlagen, Kalligraphien und mit verschiedenen Namen von Sun Kehong signiert, abgebildet in Gugong diaoke zhencui (The Palace Museum Collection of Elite Carvings), Peking, 2002, S. 98-99, Nr. 63 und 64, beschrieben als späte Ming-Dynastie. Dieser Pinselbecher ist von besonders hoher Qualität, da die geschnitzte Einlage von höchster Qualität ist und die passig geschwungene Form ungewöhnlich und ziemlich schwer in dieser Form zu schnitzen ist. Technisch gesehen wäre es ziemlich schwierig, die verschiedenen Winkel der einzelnen Lappen zu überbrücken, aber dies ist mit großem Erfolg gelungen - Einige Verluste von Einlegearbeiten, kleinere alte Reparaturen, leicht abgeplatzt
Lot 1069
A CHINESE ZITAN TREASURE CHEST QING DYNASTYThe rectangular body with a large panel to the front which reveals a complex arrangements of drawers and compartments, some of the door fronts with paper labels describing their former contents, and with pull handles in baitong; the whole with a shaped carrying handle to the top, 35cm x 45cm x 32cm.PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.Provenance: from the collection of Phillip Allen (1938-2022).
Lot 1068
A CHINESE ZITAN SMALL RECTANGULAR CABINET QING DYNASTYThe rectangular body carved with six panels of chrysanthemum and other flowers, and a pair of doors to the front opening to reveal an arrangement of eight drawers, the top with a metal carrying handle, 36cm x 37cm x 21.5cm.LEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.Provenance: from the collection of Phillip Allen (1938-2022).
Lot 1070
A LARGE CHINESE IMPERIAL ZITAN PANEL 18TH/19TH CENTURYApplied with elaborately carved trees, rocks, and a pagoda, with a metal suspension bracket, the reverse painted with sprays of fruiting branches on a black lacquer ground, 95cm x 121cm; raised on an associated wood stand. (2)PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.Provenance: from the collection of Phillip Allen (1938-2022).Cf. Screens in the Palace Museum Collection, Classics of the Forbidden City Screens, nos.175-195, for other Chinese Imperial screens related to the present lot.
Lot 133
A GOOD CHINESE ZITAN INCENSE TOOL VASE QING DYNASTYElegantly carved with a slightly tapering body with the cross-section of a five-petalled mallow flower, with the top as a series of overlapping petals, raised on five panel feet which extend down from the petals, the wood with an attractive grain, 12cm.Cf. Christie’s New York, 17th September 2010, for a closely related larger example but with six petals, from the collection of Philip Wood.清 紫檀香插
Lot 1006
An unusual Chinese gold-fleck zitan meditation stool, chandengLate Qing dynastyOf plain box-form, the rectangular top with 'floating' panel on square corner supports with continuous beaded inside edge, later feet52cm high x 57.5cm x 42cm清晚期 紫檀禪凳Cf. Ellsworth, Robert Hatfield, Chinese Furniture, Hardwood Examples of the Ming and Early Ch'ing Dynasties, Plate 14.
Lot 264
A Chinese zitan 'double mythical beast' sectional pricket candle stickRepublic periodThe base finely carved as a mythical beast with its horned cub, both with enamelled eyes, set on the back with an archaistic pricket candle stick set on a shaft of archaistic stylised birds surmounted by a bowl of lotus lappets.26.5cm wide.民國 紫檀雕瑞獸燭臺
Lot 45
A Chinese zitan 'prunus and magnolia' cupQing dynasty, 17th/18th century Finely carved and pierced as a prunus flower head supported by gnarled reticulated tendrils and flanked with blossoming prunus and magnolias.10cm wide.清 十七/十八世紀 紫檀雕梅花玉紋蘭盃Blooming through ice to herald the spring, the plum blossom is one of the most beloved flowers in Chinese art, symbolising the winter, but also inner beauty and humble display in adverse condition. It is often depicted on its own, or part of other important groups of flowers or rebuses, such as ‘the four gentlemen’, ‘the three friends of winter’, or ‘prunus on ice crackle’. Growing on gnarled old branches, looking fresh and pure, plum blossoms can also symbolise vigour in old age.A traditional symbol of feminine beauty, magnolia is also thought to have medicinal qualities, as the bark from its tree was traditionally used as a sleeping aid. Like prunus, magnolia is also considered a precocious flower as it blooms before putting leaves out.
Lot 505
A group of Chinese zitan, huali and hardwood stands and one reticulated coverQing dynasty, 18th/19th century - Republic periodIncluding a silver-inlaid zitan stand in three sections with reticulated 'bats and clouds' top, 18th/19th century; a large hongmu 'elephant head' tripod stand for a tripod vessel, 18th/19h century; a reticulated stand carved as bamboo and lingzhi issuing from craggy rockwork, 19th century; and a square domed cover with leaves and scrolling designs.43.5cm long - 6cm wide (20).A Distinguished English Private Collection. (Lots 475-517)清十八/十九 - 民國 紫檀、花梨雕底座及蓋一組英國顯赫私人收藏（475 - 517號拍品）。Condition Report: The zitan stand has come detached in three parts. The tripod stand with three fine airlines. Most with small losses and nibbling to extremities; a few with some fine cracking.
Lot 273
A Chinese zitan wood box and cover,Qing dynasty (1644-1911), each side finely carved with phoenixes, the hinged cover carved with a dragon amongst clouds,48.6cm wide28.5cm deep24.5cm high清 紫檀龙凤呈祥纹盖盒Condition ReportThe brass work with losses and some pins missing. Splits and cracks to corners, some parts missing, some with old repairs.Small chips and knocks to edges. The top and the back panels with a large crack. Lifting to moulding on back corner, lid stay missing.
Lot 101
CARVED ZITAN CABINET QING DYNASTY, 18TH CENTURY 清 紫檀雕西洋花卉紋櫃 of rectangular form with rounded front corners, in between two pairs of drawers are two-panel doors with metal mounts, masterfully carved in relief in European Rococo style with acanthus and foliate trails, the sides further with suspended eternity knots, all supported on bracket corner feet linked by shaped aprons Dimensions:48.3cm wide x 48cm high x 24.7cm deep Provenance:Provenance: Formerly in a private French collection Note: Note: Made from dark and fine-grained zitan, this cabinet is not of typical Chinese form, further with elaborately carved design of scrolling acanthus leaves on all panels. It draws from European decorative arts, thus displaying the cultural and artistic exchange between China and Europe in the Qing dynasty. For related designs on Chinese furniture, compare to a rare pair of zitan Taishi chairs, Qianlong period, sold at Sotheby's Hong Kong, 9 October 2020, lot 113; Also see an important imperial zitan armchair, Yongzheng to Qianlong period, sold at Christie's New York, 24 Sep 2021, lot 1010. A carved zitan cabinet dated to the Qing dynasty 19th century, with similar composition of shape, form, and size but different decoration to this lot, was sold at the same sale as the above, lot 1020.
Lot 315
'WU MING': AN EXTREMELY RARE AND IMPORTANT LACQUERED AND ZITAN GUQIN Late Ming Dynasty The flat elongated body with two waisted sections on both sides, lacquered black, the surface slightly ice-cracked and worn due to age, the forehead inlaid with a peach-shaped jade plaque of a duck, one edge with thirteen mother-of-pearl-inlaid studs (hui), seven strings threaded through tasselled wooden pegs (qinzhen) running over the top and tied to either of the two button-like wood pegs (yanzu) on the back, with two rectangular openings, the large one termed 'dragon pool' (longchi) and the smaller 'phoenix pond' (fengzhao), the bridge and 'dragon's gums' in zitan, the underside bearing several seals and calligraphic inscriptions, Japanese wood box and cover with inscription by R.H.van Gulik. 121cm (47 1/2in) long. (3). FootnotesFor further information on this lot please visit Bonhams.com
Lot 317
A RARE 'CRANE-CRY AUTUMN MOON' STYLE LACQUERED 'HUNDRED-PATCH' GUQINMing DynastySuperbly constructed with the top section made of patches of wutong wood cut hexagonally imitating Buddhist patchwork vestments, the lower section of zimu, the flat elongated body with waisted bulbous central section, the top with thirteen inlaid mother-of-pearl studs (hui), seven strings threaded through tasseled wood pegs (qinzhen) running over the top and tied to either of the two button-like 'goose-feet' (yanzu) on the back, with two rectangular openings, the large one termed 'dragon pool' (longchi), with a seal, and the smaller 'phoenix pond' (fengzhao), all covered in mottled red and black lacquer, metal case and packets of strings. 122.5cm (48 1/4in) long. (3).Footnotes:明 鶴鳴秋月式百衲琴Provenance: Cecilia Lindqvist (1932-2021), Stockholm, acquired in Beijing in 1962Published and Illustrated: C.Lindqvist, Qin, Beijing, 2017, p.33來源：林西莉（1932-2021），斯德哥爾摩，在1962年獲得於北京著錄：林西莉，《古琴》，北京，2017年，第33頁Cecilia Lindqvist was a famous Swedish sinologist and musician of the guqin. She was born in Lund, Sweden, in 1932, and had long held a fascination with China and its ancient history. She first visited China when she was 28 with letters of recommendation including one from the King of Sweden. It was there that she learnt to play the guqin in 'Beijing Guqin Research Association' (北京古琴研究會) under the tutelage of Wang Di. She wrote in the preface to her book Qin:In the early spring of 1961 I saw a Chinese qin at close quarters for the first time. It was lying in front of me on a wooden table in a bare classroom at the University of Peking. Seven strings of tightly twisted silk stretched over a sound box made of black lacquered wood. After a certain amount of difficulty I had managed to get hold of a Chinese student who had promised to try to teach me the basics of playing the qin, and we were due to have our first lesson. He had brought his instrument with him. It dated from the Ming dynasty (1368-1644), and had been passed down through his family since that time.When I touched one of the strings, the tone that was released made the whole room vibrate. It was as clear as silver, but remarkably it also had a kind of metallic dullness, as if the instrument were made not of wood, but of bronze. During the years which followed it was precisely the tone of the instrument that captivated me the most, from the finest bell-like tones or fanyin, 'the floating sounds' as they are called in Chinese – delicate as the sound of the tiny temple bells right on the edge of the roof timbers when the wind gently stirs them – to the vibrating depths of the thick bass strings.The present lot was given to her by the 'Beijing Guqin Research Association' as a gift, which was of great significance to her career as a musician and sinologist. In her own words, 'this qin, and the people that I met in the Beijing Guqin Research Association are the important reasons why I write this book (Qin)'. She included the present lot in her monograph on qin as an example of the 'hundred-patch' qin (百衲琴) that is made of many hexagonal wutong wood sections and requires a high level of adhesive technique to enable an impeccable sound. See Cecilia Lindqvist, Qin, Beijing, 2017, pp.30-33. Apart from the rare 'hundred-patch' construction, its rare shape is known as 'Crane-cry Autumn Moon' (鶴鳴秋月), as it was said to resemble a crane with its wings tucked and standing upright. Compare with a related 'crane-cry Autumn Moon' style guqin, Ming dynasty, in the Hunan Provincial Museum, cited in 'Hunan sheng bowuguan guancang guqin zhi kaobian yu yanjiu (zai xu), Hunan sheng bowuguan guankan, 4, 2007, pp.424-428. See a 'Confucius-style' huanghuali and zitan 'hundred-patch' guqin, Ming dynasty, which was sold at Bonhams Hong Kong, 1 December 2020, lot 13.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 314
A FINE AND RARE HARDSTONE EMBELLISHED 'ELEPHANT AND TRIBUTE BEARERS' DOUBLE SIDED TABLE SCREENMid-Qing DynastyOne side attractively inlaid with shaped plaques of mother-of-pearl, variegated shell, red lacquer and hardstones, the reverse with an inlaid mother-of-pearl fourteen-character poem by Du Fu and three auspicious seals, all on lustrous dark brown lacquer grounds and mounted as a zitan four-legged rectangular table screen.44.5cm (17 7/8in) high x 38.5cm (15 1/8in) wideFootnotes:Provenance: from the collection of Edward Gordon Lowder (1862-1942) and Catherine Lucretia Dunster (1865-1940), thence by descent.Edward Gordon Lowder, served with the Imperial Maritime Customs, later known as the Chinese Maritime Customs. The archives of his first son Hugh Gordon Lowder are held at SOAS library.清中期 嵌百寶白象進寶圖硯屏《香稻啄餘鸚鵡粒，碧梧棲老鳳凰枝》《仙蠡》《怡情》《山水怡情》款This screen is a fine and exceptionally large example of a group of related table screens and boxes from the Qing court collection, currently retained in the collection of the Palace Museum in Beijing. A closely related box decorated with an elephant bearing a vase but surrounded by just two foreigners was included in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties (II), Hong Kong, 2002, no.232 rather than five in the present work. Elephants have long been a popular theme at the Qing court and the white elephant has strong Buddhist associations. The Buddha's mother, Queen Maya is said to have been visited by a white elephant following years of not being able to bear a child and Buddha is said to have taken the form of a white elephant for his final incarnation. The presence of the vase (ping 瓶) on the elephant's (xiang 象) head forms a rebus for the phrase taiping youxiang (太平有象), meaning 'Where there is peace, there is an omen (or elephant)'.The inscription on the reverse of the screen is a section of the poem by Du Fu, Stirred By Autumn, no. 8 and may be translated:Even the leftover rice husk on the parrot's beak smells as fragrantThe branch of the jade green Wutong tree provides home to the PhoenixSee a related inlaid brown lacquer table screen, Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties (II) , Hong Kong, 2002, p.200, no.174.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
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