of Chinese Classical Furniture, Archaic Bronzes and Japanese Art

New Bond Street, London | 13 May 2021

of Classical Chinese Furniture, Archaic Bronzes and Japanese Art

New Bond Street, London | 13 May 2021 at 10.30am

HIGHLIGHTS PREVIEW VIEWING Hong Kong New Bond Street, London 30 March - 2 April Friday 7 May 9am - 4.30pm Saturday 8 May 11am - 5pm Suite 2001, One Pacific Place 88 Queensway, Admiralty Sunday 9 May 11am - 5pm Hong Kong Monday 10 May 9am - 7.30pm Tuesday 11 May 9am - 4.30pm Wednesday 12 May 9am - 4.30pm of Chinese Classical Furniture, Archaic Bronzes and Japanese Art

New Bond Street, London | Thursday 13 May, 2021 at 10.30am

BONHAMS GLOBAL HEAD, BIDS Please see back of catalogue for important notice to bidders 101 New Bond Street CHINESE CERAMICS - Bid online/APP AND WORKS OF ART London W1S 1SR Register to bid online by visiting Asaph Hyman To submit a claim for refund of VAT, www.bonhams.com/26625 bonhams.com HMRC require lots to be exported ENQUIRIES from the UK within strict deadlines. SALE NUMBER Bid through the For lots on which Import VAT has Colin Sheaf app. Download now 26625 been charged (marked in the +44 (0) 20 7468 8237 for android and iOS Lots 1 - 88 [email protected] catalogue with a * or Ω) lots must be exported within 30 days of - Bid by telephone/absentee Bonhams’ receipt of payment and CATALOGUE: £30 Asaph Hyman We require a completed Bidder within 3 months of the sale date. For +44 (0) 20 7468 5888 Registration Form returned by [email protected] all other lots export must take place VIEWING email to [email protected]. within 3 months of the sale date. Friday 7 May, 9am - 4.30pm Benedetta Mottino Saturday 8 May, 11am - 5pm The form can be found at the back +44 (0) 20 7468 8236 of every catalogue and on our Sunday 9 May, 11am - 5pm [email protected] Monday 10 May, 9am - 7.30pm website at www.bonhams.com Tuesday 11 May, 9am - 4.30pm Edward Luper Please note we cannot guarantee Wednesday 12 May, 9am - 4.30pm +44 (0) 20 7468 5887 bids within 24 hours of the sale. [email protected] IMPORTANT NOTICE Bidding by telephone will only be ABOUT COVID Xiaoye Gu accepted on a lot with a lower Bonhams continues to hold +44 (0) 20 7468 8369 estimate in excess of £1,000. [email protected] viewings and sales in accordance to the government guidelines in - Bid in person Suzi Yang each region. If local restrictions You can pre-register online at +44 (0) 20 7468 8248 Bonhams.com or obtain a paddle prevent our salerooms from [email protected] opening, the sales will either be at our Registration Desk. wholly online or livestreamed from We would like to thank - New Bidders the auction house. Bids will be Natalia Brusa for the You must provide proof of identity accepted online, on the Bonhams design of the catalogue. when submitting bids. A copy of a app, on the telephone and as government- issued photo absentee bids. For up to date identification (driving licence or information and if you have any passport) showing your full name questions regarding an upcoming and date of birth, and, if not shown sale please contact Client Services on the ID document, proof of your on: +44 (0)20 7447 7447 or current address (utility bill or bank [email protected] statement).

For company account or other entities, please contact us in relation to the documents you will need to provide.

Failure to do this may result in your bids not being processed.

For all other enquiries, contact our Client Services department on: +44 (0) 207 447 7447 or [email protected] Bonhams 1793 Limited Registered No. 4326560 Registered Office: Montpelier Galleries Montpelier Street, London SW7 1HH

+44 (0) 20 7393 3900 +44 (0) 20 7393 3905 fax International Chinese Ceramics and Works of Art team

Global Asaph Hyman Global Head, Chinese Art

Colin Sheaf Deputy Chairman

Dessa Goddard US Head, Asian Art

Michael Hughes New York

Asia Europe Xibo Wang Hong Kong

Keason Tang Hong Kong

Spring Lee Hong Kong

Benedetta Mottino London, New Bond Street

Edward Luper London, New Bond Street

Xiaoye Gu London, New Bond Street

Suzi Yang London, New Bond Street

Rachel Hyman London, Montpelier Street

Rosangela Assennato London, Montpelier Street

Kelsey Chang London, Montpelier Street

Aude Louis Carves Paris USA Bruce MacLaren New York

Ming Hua New York

Daniel Herskee San Francisco

Australia Ling Shang San Francisco

Rachel Du Los Angeles

Yvett Klein Sydney

Asia Representatives Bobbie Hu Taipei

Jie Wang Shanghai

Vivian Zhang Beijing

Bernadette Rankine Singapore Sale Information

BIDS POST BREXIT NOTICE FOR BUYERS COLLECTION & The following symbol is used +44 (0) 20 7447 7447 EU BUYERS SHIPPING STORAGE AFTER SALE to denote that VAT is due on To bid via the internet please visit PURCHASED LOTS OUTSIDE LOTS MARKED TP the hammer price and buyer’s www.bonhams.com THE UK premium All sold lots marked TP will PAYMENTS Please note that as of 1 January be removed to Bonhams Oxford † VAT 20% on hammer price Buyers 2021 for Margin Scheme and Warehouse, Banbury Rd, Kidlington and buyer’s premium +44 (0) 20 7447 7447 Imported Lots VAT on the Buyer’s OX5 1JH from 9am Friday 14 May Premium will be refunded by 2021 and will be available for * VAT on imported items at a Sellers Bonhams on valid proof of export of Collection from 12pm Monday 17 preferential rate of 5% on hammer Payment of sale proceeds your Lot from the UK within 90 days May 2021 and then every working price and the prevailing rate on +44 (0) 20 7447 7447 of full payment of your invoice. day between 9am-4.30pm buyer’s premium

VALUATIONS, What else has changed since Please note that Bonhams will be Y These lots are subject to CITES TAXATION & HERITAGE 1 January 2021 for EU Buyers? closed Monday 31 May 2021 for regulations, please read the +44 (0) 20 7468 8340 If you buy a Lot in this sale and the Public Holiday information at the back of +44 (0) 20 7468 5860 fax intend to ship the Lot outside the the catalogue. [email protected] UK, you will need to pay local Import Collections are by appointment only Tax when you bring your Lot into the & a booking email or phone call IMPORTANT NOTICES CATALOGUE SUBSCRIPTIONS country of destination. are required in advance to ensure To obtain any Bonhams lots are ready at time of collection, IVORY catalogue or to take out What do the Star (*) and Omega (Ω) photographic id will be required at The United States Government an annual subscription: symbols mean? If you buy in this time of collection & if a third party is has banned the import of ivory Subscriptions Department sale you will pay import VAT of 5% collecting written authorisation from into the USA. Lots containing +44 (0) 1666 502 200 (* symbol) or 20% (Ω symbol) on the successful buyer is required in ivory are indicated by the symbol +44 (0) 1666 505 107 fax the Hammer Price. advance. Photographic id of the Ф printed beside the lot number [email protected] As of 1 January 2021, for EU third party will be requested at in this catalogue. buyers shipping purchased Lots the time of collection. SHIPPING outside the UK, this tax will be Please note since March 2016 For information and estimates refunded by Bonhams on valid To arrange a collection time please China has imposed a ban on the on domestic and international proof of export of your Lot from email: [email protected] import of ivory. shipping as well as export the UK within 30 days of full or telephone +44 (0) 1865 853 640 licenses please contact Alban payment of your invoice. Shipping on +44 (0) 1582 493 099 All other sold lots will remain in the [email protected] collections room at Bonhams New Bond Street without charges until Please note that Alban Shipping will 5.30pm Monday 24 May 2021. be closed Monday 31 May 2021 for Lots not collected by this time the Public Holiday will be returned to the department storage charges may apply.

12 | BONHAMS Transcending time. Attaining the highest levels of aesthetics and refinement. Respecting and admiring the accomplishments of ancient times. Living.

The H Collection was formed over several decades by a connoisseur passionate about art from a young age, travelling to China early on. By immersing himself in the culture, through study of scholarship and stimulating conversations with leading authorities and important collectors in the field, having the opportunity to view and handle important works, he expanded his knowledge and refined his collector’s eye. The collector’s taste was also influenced by fin-de-siècle Japonisme and the European tradition of beautifully combining Chinese and Japanese works of art.

It is a collection created to live with and to enjoy every day. Consciously and subconsciously. To be able to pick up a 3,000 years old bronze ritual vessel in one’s hands and admire the advanced technology, the power and mystery of ancient times, the craftmanship and beautiful surface and texture added by time. To use a 450-years old day-bed for everyday use, as was meant to be. To enjoy times of leisure seated by a magnificent games table in one’s living room. To be surrounded by exceptional Chinese furniture, which in their graceful lines encompass true complexity, imbued with their culture and purpose, displaying exceptional craftsmanship transcending time to modern living, enhancing space and light, both physically and spiritually.

It would have been the collector’s wish that as he had experienced living with these objects, having had the privilege to be a link in an ancient chain of collectors, so will the next generation of collectors benefit today and in days to come.

超越時空，遵循最高美學標準，致敬古代文明成就，凝練成生活。

是次歐洲私人珍藏藏品皆由藏家經年累月用心挑選。藏家早年造訪中 國，傾心於並長期沉浸於東方文化，通過與業內頂尖機構和藏家不斷交 流、以及持續性的觀賞並親自上手重要器物，打磨了眼光與品味；加之 深受十九世紀末風靡歐洲的「日本主義」風潮影響，將中國及日本藝術 品完美結合，形成了一套獨特的審美體系。

我們相信，古董器物不僅可置於架上遠觀，更應融於日常生活情景，供 人親近把玩——比如親手觸碰一件盛載三千年文明史的青銅禮器，感 受工藝之精湛、遠古之神秘、與歲月之痕跡；再比如使用一張四個多世 紀前的工匠精心打造的黃花梨榻、抑或在起居室的棋桌旁與親朋好友 盡享休閒時光，一如其製作之初。置身於中國古典家具陳設之中，將古 代手工的精工細作融入現代生活，方能體會洗練線條之下的精密考究， 領悟器物的製作初衷和文化內涵，點亮居家環境，從感官到心靈。

藏家曾有幸在這些家具器物的陪伴下生活；現如今，也希望後世藏家亦 能如他般幸運，通過這些拍品親身感知古典東方文化之美。

THE H COLLECTION | 13 Obsessions: The Late Ming Literati Passion for Collecting

Dr. Edward Luper

Despite the many political and economic problems that This late Ming craze for obsession was closely linked to a afflicted the government of the late Ming period (roughly valorisation of qing (情), variously translated as ‘passion’, ‘love’, 1550 to 1644), it was an ebullient time of intellectual ferment ‘emotion’, ‘feelings’ etc. In the English language, there is the and cultural flowering before the dynasty’s catastrophic traditional dichotomy of one who is ruled by the heart (i.e. collapse. A sense of joy and stylishness permeated emotional, irrational, impulsive etc), or ruled by the head (logical, its culture: it was a time of religious and philosophical rational, sane etc.) However, the heart (xin 心) in the Chinese eclecticism that saw the flourishing of reformist schools classical tradition, was understood as the site both of mental of Buddhism and wide-scale philanthropy, along with and emotional processes: thinking and feeling were not distinct. the expansion of education for women; penetrating investigations of the concept of individualism and a broad- According to the hugely influential teachings of Wang Yangming based examination of the grounds for moral action; bold (1472-1529), Wang Gen (1483-1541) and the Taizhou school, experiments in ink painting; the creation of several of China’s knowledge of the good was innate, we simply had to listen most celebrated operatic dramas and most powerful novels; carefully to the inner voice that would direct us to moral action. the codification of aesthetics and taste; and a flourishing art Wang Gen, originally a salt merchant not a Confucian scholar, market with collectors who indulged fully and obsessively had a vision and took this teaching one step further and argued in their passions. Indeed, by the 16th century, collecting that since knowledge of the good was innate, everyone had and obsession had become a sine qua non, something a the potential to be a sage. It did not matter if they were rich or gentleman could not afford to do without. poor, aristocrat or commoner, man or woman, scholar or not. These teachings would have far reaching cultural implications I) Obsession: The Cult of ‘Passion’ as scholars focused on issues of the self and authenticity. To be in touch with the ‘heart-mind’, was to be in touch with an The concept of obsession (pi 癖) had penetrated deeply authentic voice guiding one to correct moral action. In other all aspects of literati life in the late Ming period. Zhang words, what the heart desired, was good. Dai (1597-1689) wrote that ‘one cannot befriend a man without obsessions for he lacks deep emotion; nor can Obsession – apart from being excessive and single- one befriend a man without faults, for he lacks sensitivity.’1 minded - was particularly associated with collecting and He was not alone. Yuan Hongdao (1568-1610) wrote that ‘I connoisseurship. Although, eleventh century intellectuals such have observed that in this world, all those whose words are as Su Dongpo (1037-1101) and Mi Fu (1051-1107) had already insipid and whose appearance is detestable are men without argued that obsessions – such as for collecting rocks, books, obsessions.’2 In the preface to the 16th century Brief History or ancient bronzes - were valuable as an outlet for personal of Obsession and Lunacy (Pidian xiaoshi) it is written that fulfilment; by the 16th century, obsession and collecting as ‘everyone has a predilection; this gets called obsession. a vehicle for self-expression became the dominant mode. The signs of obsession resemble folly and madness…the The traditional understanding of the function of poetry, that gentleman worries only about having no obsession.’3 it ‘speaks of what is intently on the mind’, had long spread to other arts such as painting, music and calligraphy; now this was extended to cover virtually any activity.

14 | BONHAMS ‘Without an obsession, no one is exceptional’.

- Yuan Hongdao (1568-1610)

The most frequent obsessions were collecting antiques, II) Furniture: Urbane Hermits of the Scholar’s Studio books, painting, epigraphy, calligraphy, rocks, musical instruments, plants, animals, furniture, games, tea, and The most well-known manual of taste was the Treatise on wine. Scholars with a strong penchant for games, for Superfluous Things (Zhang wu zhi) written by Wen Zhenheng example, would have commissioned the creation of specific (1585-1645). In chapter six, he discusses furniture, particularly games tables, such as Lot 66. Games, especially weiqi or tables and couches: encirclement chess, were even considered one of the four arts of the scholar, along with painting, calligraphy, and When the men of old made tables and couches, playing the guqin or zither. although the length and width were not standardised, they were invariably antique, elegant and delightful when Scholars had also long treasured and obsessively collected placed in a studio or room. There was no way in which archaic bronzes too such as Lots 15, 7, and 21 as material they were not convenient, whether for sitting up, lying symbols of the Sage Confucius, and righteous King Wen down or reclining. In moments of pleasant relaxation of Zhou. Indeed, collecting bronzes grew together with the they would spread out classic or historical texts, ‘search for evidence’ (kaozheng 考證) movement beginning in examine works of calligraphy or painting, display ancient the early 17th century. This movement originated in a renewed bronze vessels, dine or take a nap, as the furniture was scholarly interest in ancient texts and inscriptions on archaic suitable for all these things.5 bronzes, as dissatisfied literati questioned the received textual tradition of Song dynasty (960-1279) neo-Confucianism and By Wen’s time, huanghuali day-beds such as Lot 11 were seen sought a different approach to understanding their ancient as exceedingly elegant and desirable. Wen also highlights the heritage, leading to a greater fascination for ancient bronzes, central importance of the scholar’s studio not as a place of particularly with inscriptions. Obsession did indeed have its mundane or tedious work, but as a place to retreat and indulge intellectual benefits. in one’s passions. The rise of elegantly furnished scholar’s studios went hand in hand with the rise of becoming a ‘hermit’. Not everyone was truly obsessed however, and some needed a little guidance to keep up with the times. What Eremitism as an ideal had deep roots in Chinese culture. to be obsessed about; how to appreciate an object? What When Confucius found that a ruler was not willing to take his things to look for? Craig Clunas has noted that there was advice or teachings, he could withdraw from that state’s court ‘an explosion of publishing interest in the fields of what and wander to another. During the Spring and Autumn period might loosely be called luxury consumption, encompassing (771-476 BCE), there were many states to choose from. Under not just high-status and high-value works like painting and a unified empire like the Ming, however, where could a scholar calligraphy and early bronzes.’4 Furniture too was a major withdraw to? In the late Ming period, eremitism no longer interest of Ming literati and books were published detailing meant simply escaping from the world, it became a means of what to buy. mentally transforming one’s immediate surroundings. One no longer had to go to the mountains surviving by eating ferns like Boyi or Shuqi in the early Zhou dynasty. One could be a ‘hermit’ simply by retreating to the scholar’s studio even in the middle of a crowded city.

THE H COLLECTION | 15 Qiu Ying (1494-1552), ‘Appreciating Antiquities in the Ming, Wanli edition, Collected Illustrations Bamboo Garden’ of the Three Realms, Utensils, vol.12 仇英(1494-1552), 竹院品古 明萬曆刻本《三才圖會．器用．十二卷》

There were so many city-dwelling ‘hermits’ in the late Ming, Objects that went atop the furniture in a scholar’s studio were the term became meaningless. the official Xue Gang (b. also extremely important, such as brushpots. Brushpots, as 1561) even complained about how everyone began calling the name suggests, held the scholar’s most important tool: themselves a mountain hermit and the trend had got out his brush. Brushpots such as Lot 64, with fine ‘eye figures’ of control: ‘Nowadays those debauchees with no rank in caused by natural knots in the wood were highly prized, as Chang’an, regardless of their talent, all refer to themselves were those made of the rare zitan wood such as Lot 10. Zitan, as mountain hermits. The people, moreover, have no clue, which is an extremely close-grained wood, comes from an so they follow the custom’.6 Xue was referring to those that evergreen tree in tropical regions such as the remote Hainan advocated ‘taking eremitage in women.’7 However, not all island, Indonesia, and India. Its rarity, however, was not just scholars were so debauched; the literatus potter Hao Shijiu, due to the distances involved in sourcing it; the tree itself is was described as ‘taking eremitage in the potter’s wheel’ for extremely slow growing. A 300-year-old tree might be only ten example. Other scholars took delight in elegantly furnished meters tall and have a diameter of less than 30 centimetres.8 studios within which to appreciate painting, calligraphy and The Ming empire – far from being cut off from the world – was the qin. closely connected to international trade.

Furniture in the Ming period became increasingly refined in III) Incense Burners: ‘Illumination through the nose’ style and construction. Manufacturers carved their pieces more delicately and made panels and arms curve to fit the contours Along with rare exotic woods imported from South-east Asia to of the body, such as can be seen in horse-shoe-back chairs make this furniture, incense was also highly sought after. Mao (Lots 52 and 32). Joinery improved, such that tenons or pins Xiang (1611-1693) and his courtesan Dong Xiaowan (1624-1651) inserted to hold pieces together were no longer exposed to favoured one incense from as far as Cambodia, called ‘Ripe view. Most striking, though, was a shift to hardwood cut to Yellow’. 9 Incense was used to ‘smoke robes’ that might have a thinness that cheaper woods could not tolerate. Fan Lian been too fine to simply wash, but the appreciation of incense (b.1540), a cultural arbiter of the early Wanli era, registers this was an art in and of itself, worthy of obsession. Naturally, incense trend in his 1593 book, Notes on What I’ve Seen on the Delta burners and stands too (such as Lots 19, 9, 20 and 35) were an (Yunjian jumu chao). The taste for fine hardwood came in during important part of the paraphernalia. Wen Zhenheng (1585-1645) his own lifetime, because such furniture ‘was not to be seen discussed incense burners in chapter seven: when I was young’. Back then, ‘people made do with square lacquer tables of gingko wood, but now the wealthy crave The bronze ding and yi vessels of the Three Ages and of the thin hardwood furniture made in Suzhou.’ The effect was the Qin and Han dynasties and those ceramic vessels escalation, driving buyers and makers to move to ever more of Guan ware, Ge ware, Ding ware, Longquan ware or expensive woods such as huanghuali, zitan, cherry and ebony, Xuande ware are objects of connoisseurship and are even for everyday items such as beds and cupboards. Chairs not convenient for daily use. The most suitable are the such as Lots 24, 14, and 37 were a particular accomplishment rather larger bronze incense burners dating from the of Ming furniture makers. Xuande reign (1426-1435), and those cast by the Jiang family in the Song dynasty are also acceptable.10

16 | BONHAMS Du Jin (1465-1509), ‘Enjoying Antiquities’ 杜堇 (1465-1509), 玩古圖

Following the rules of taste set down by Wen, the refined and Conclusion cultivated Mao Xiang used only ‘Xuande’ incense burners. In his memoir of his lover, Reminiscences of the Plum Shadows Arguably, these eccentric scholars of the late Ming can show Convent, he writes a detailed section devoted to their shared us the importance of having passion in our activities; be it love of incense. Here we can catch a glimpse of how a late collecting rocks, flowers, or furniture, or even playing board Ming literatus enjoyed such fragrances and incense burners: games or raising crickets! Four centuries ago, these pieces of furniture commissioned by scholars, who could not possibly She often sat with me quietly in the incense chamber, have conceived of their future environment, have transcended carefully savouring and adjudicating on famous time and space. Yet the fact that they have the power to incense…on cold nights, we let down the draperies strike a chord with people from different societies and on four sides, piled colourful, finely woven blankets, traditions is the ultimate proof of the power of Ming aesthetics and lit two or three tall red candles. We set forth low transcending to today’s collecting passion. tables of different heights and arrayed on them Xuande censers of various sizes, mixing and matching them. 1 J.Zeitlin, Historian of the Strange: Pu Songling and the Chinese Classical The censers were always hot from earlier use, and their Tale, p.69. 2 colour was like liquid gold and grain-coloured jade. We Ibid 3 Ibid. carefully poked and moved an inch of ember, on top of 4 C.Clunas, Superfluous Things: Material Culture and Social Status in Early which we put fine sand and then the chosen incense Modern China, p.13. for steaming. The night was half gone, and the aroma 5 Ibid., p.42. became intense and concentrated. Neither burned nor 6 J.P.Park, Art by the Book: Painting Manuals and the Leisure Life in Late Ming spent, it was dense, powerful, and pervasive. It was China, pp. 22-24. pure and supreme…This is meditation and attainment of 7 Anonymous, Tan Meiren (On Feminine Beauty), collected by Wei Yong in illumination through the nose…11 Zhenzhongmi. 8 Sam Marsh, Brushpots: A Collectors View. p.54. 9 Incense and fragrance become vehicles for Mao Xiang’s Mao Xiang, Yu Huai, Plum Shadows and Plank Bridge: Two Memoirs About depth of feeling, nostalgia, and longing for his favourite Courtesans, p.36. 10 C.Clunas, Superfluous Things: Material Culture and Social Status in Early concubine. Here too, one can get a sense of the elegance Modern China, p.43. and stylishness of a late Ming scholar’s studio. 11 Mao Xiang, Yu Huai, Plum Shadows and Plank Bridge: Two Memoirs About Courtesans, p p.36 -37.

THE H COLLECTION | 17 雅癖：晚明文人收藏熱

劉華博士

晚 明（ 約 1550年至1644年）朝廷飽受政治和經濟問題的內憂外患，但這 最 常見 的 癖 嗜 是 收 藏 古玩、書 籍、繪 畫、碑 文、書法、奇石、樂 器、花 草、 卻是在明朝在走向覆滅前的最後一抹餘暉——思想迸發，文化繁榮。一 異獸、家具、遊戲、茗茶和美酒。對遊戲情有獨鍾的文人會委託匠人為 股遊逸、風雅之氣滲透到文化的方方面面中：這是一個宗教和哲學折衷 其打造專門的棋桌，例如拍品編號66。遊 戲 尤 其 是 圍 棋，與 繪 畫、書 法、 主義的時代，見證了佛教改革的興起和社會福祉的提升，甚至女性教育 奏 琴 （ 古 琴 或 古 箏 ） 合 稱 “ 文 人 四 藝 ”。 也得到開拓；個體意識覺醒，探索個人價值，並重新審視以往的世俗規 範；水墨畫的大膽創新；誕生了數部中國歷史上最著名的戲劇和最有影 文人墨客一直以來珍視並痴迷於收藏古代青銅器，拍品編號7、15和21 響力的小說；營構了美學體系和品味格局；藝術品市場蓬勃發展，收藏家 便是典型，視其為聖賢孔子和一代明君周文王的物質象徵。青銅器的收 們對其所好之物趨之若鶩。誠然到了十六世紀，收藏和癖嗜已然成為了 藏熱誠然與十七世紀初萌芽的“考證”運動密不可分。這一運動源於學 文 人 所 必 備，甚 至 乃 其 立 身 之 本。 術界對古代文本和古代青銅器銘文重燃的關注，文人出於對宋代（960- 1279年）新儒學文本教條的反叛，另闢蹊徑來理解其古代的文化遺產， I) 癖：戀“情”之風 從爾引發了收藏研究古代青銅器尤其是銘文的熱潮。這種癖嗜確實帶來 晚明的士大夫生活與“癖”的概念變得須臾難離。張岱（1597-1689年） 了學 術上的進步。 曾 寫 道：“人 無 癖 不 可 與 交，以 其 無 深 情 也；人 無 疵 不 可 與 交，以 其 無 真 氣 也。”1 這樣的觀念並非一家之言。袁宏道（1568-1610年 ） 寫 道 ：“ 余 但並非每個人都真正了解癖嗜，有些人需要一些指導才能得以跟上時代 觀世上語言無味，面目可憎之人，皆無‘癖’之人耳”2。正如十六世紀的 的腳步——嗜好什麼？如何欣賞？收藏什麼？柯律格（Craig Clunas）指 《癖顛小史》序所言，“人皆有所好，此謂癖也，癖效愚、效癲，君子患其 出，“尚可稱之為奢侈品消費相關的書籍的出版呈爆發性增長，所涉及 無 癖 也 。“ 3 的領域不僅限於繪畫、書法和古代青銅器等高層級、高價值的作品和器 物。”4 家具也是明代文人的一大志趣所在。大量細緻講述收藏之道的 晚明這種追逐癖嗜的狂熱與“情”的滋生密切相關，在英語中對應不同 書 籍 出 版 面 市。 的 詞 彙 — — “ 嗜 好 ”、“ 愛 ”、“ 情 感 ”、“ 感 受 ” 等 等 。 英 語 文 化 中 有 一 種 傳 統 的 二 元 論，即 主 心（ 即 感 性、非 理 性、衝 動 等 ）或 主 腦（ 邏 輯 性、理 II) 家具：大隱隱於市——文房雅室 性、理智等）。但是，在中國古典傳統中，心臟被認為是同時主導精神和 最著名的文雅品味的風標是文震亨（1585-1645年 ）彙 編 的《 長 物 誌 》。 情感活動的：思考和感受並沒有明顯的界限。 在卷六中，他討論了家具，尤其是桌案和几榻：

王 陽 明（ 1472-1529年 ）、 王 艮（ 1483-1541年）開宗創立的泰州學派傳道 古人制几榻，雖長短廣狹不齊，置之齋室，必古雅可愛，又坐臥依 授業，影響深遠，他們認為良知與生俱來，我們只需要仔細地聆聽自己 憑，無不便適。燕衎之暇，以之展經史，閱書畫，陳鼎彝，羅餚核， 內心的聲音，自然爾然能走上正道。王艮本是鹽商，並非正統儒家學者， 施 枕 簟，何 施 不 可。 5 但他眼界不凡並在這一理論的基礎上更進一步。他指出，既然人的良知 是天生的，那麼眾人無論貧富、貴賤、男女、學識高低，皆有成為聖人的 在 文 氏 的 時 代，黃 花 梨 榻 被 認 為 是 風 雅 之物，備 受 推 崇，拍品編號11就 潛力。當文人們開始關注自我本體和本真性問題之時，這些學說的文化 是這種品味的代表。文公還強調了文房的精神，並非作為一個平凡爾乏 意義則不言爾明。 “心靈”相通，知之真切篤實處即是行。換句話說， 味的書房，爾是一個讓人們盡情享受自己的嗜好的空間。追求佈置考究 “ 理 ”全 在 人“ 心 ”。 的文房雅室的潮流反映出了當時 “出世”理念的盛行。

雖有無度和執念之義，但癖嗜的概念尤其與收藏和鑑賞息息相關。雖然 理想化的“隱逸”早已深深植入到了中國傳統文化之中。當孔子發現國 蘇 東 坡（ 1037-1101年 ）和 米 芾（ 1051-1107年 ）等 知 識 分 子 早 在 十 一 世 紀 君不願採納他的建議或教導時，他可以另擇明君。春秋時期（公元前 就已闡述過收藏奇石、書籍和金石等對於抒發個人成就感的意義。但到 771-476年）呈諸國鼎立之勢，孔子尚可擇賢主爾侍。但身處一統天下的 了十六世紀，癖嗜和收藏已成為了自我表達的主導方式。傳統上對詩歌 大明王朝中，士大夫們又能歸隱何處呢？在晚明，隱逸不再僅僅意味著 功用性的訴求“寄情於詩”的思想早已滲透到繪畫、音樂和書法等其它 歸隱山林，爾是一種心有所屬則處處皆為淨土的觀念。他們不必效仿周 各個藝術領域。在這個時代，這種理念已擴展到幾乎涵蓋所有的活動。 朝之初的伯夷和叔齊隱居在荒山野嶺中以蕨菜為食，身處鬧市仍可闢一 方 文 房 雅 室，自 得 澹 泊 恬 靜。

18 | BONHAMS “人情必有所寄，然後能樂”

— 袁 宏 道（ 1568-1610年）

晚明有太多隱於朝堂鬧市的文人墨客以“隱士”自居，讓這個詞失去了原 三代、秦、漢鼎彝，及官、哥、定窯、龍泉、宣窯，皆以備賞鑑，非日用所 本 的 意 義。官 員 薛 岡（ 生 於 1561年）甚至詬病這種蔚然成風的人人以“ 宜。 惟 宣（ 即 宣 德，1426-1435年）銅彝爐稍大者，最為適用；宋姜鑄亦 山人（即隱士的雅稱）”自居的現象：“今日遊客動號山人以為無位者之 可。 10 通稱，爾加不佞益非不佞，所願當矣“ 6。薛批判的是那些“以쪐 者”7 之 人。然爾，並非所有文人都如此輕佻，如文人、制瓷名家昊十九則被描述 风流名士冒襄視文氏制定的審美價值系統為圭臬，他獨愛用“宣德”香 為“ 陶轮间”。其他文人則精心佈置自己的文房，在其中鑑賞書畫、欣 爐。在這本獻給愛人的回憶錄《影梅庵憶語》中，他用一個章節詳細描 賞琴 樂。 述了他們焚香的共同嗜好。我們可以從中得見一位明代文人如何享受這 種 焚 香 妙 賞 之 樂： 明代的家具在風格和構造上日趨精巧。能工巧匠們的雕刻工藝日臻精 細，製作出了有弧度的面板和扶手以更好地貼合人體的輪廓，正如拍品 姬，每與余靜坐香閣，細品名香⋯⋯寒夜小室，玉幃四垂，毾重 編號32、52的圈椅。細木工的技術得到精進，得以將用於固定結構的榫 疊，燒 二 尺 許 繹 蠟 二 三 枝，陳 設 參 差，堂 幾 錯 列，大小 數 宣 爐，宿 和銷隱匿起來。不過，最令人驚嘆的是名貴的硬木可以被切割達到的薄 火常熱，色如液金粟玉。細撥活灰一寸，灰上隔砂選香蒸之，歷半 度是廉價木材所無法比擬的。萬曆初年的范濂（生於1540年 ）是 一 位 文 夜，一 香 凝 然，不 焦 不 竭，鬱 勃 氤 氳，純 是 糖 結。熱 香 間 有 梅 英 半 化評論家，他在1593年出版的《雲間據目鈔》一書中記錄了這一風潮。欣 舒，荷鵝梨蜜脾之氣，靜參鼻觀⋯⋯ 11 賞珍貴硬木的風尚是在他的時代出現並流行起來的，因為這種家具“余 少年曾不一見”。當時“民間止用銀杏金漆方桌⋯⋯用細木數件，亦從吳 焚香氤氳寄託了冒襄對自己摯愛的亡妾的感情、追思和懷念。從中人們 門購之”這種影響力日盛，驅使收藏家和工匠們轉向黃花梨、紫檀、櫻桃 能夠體會到明代文人的文房雅室中清麗雅致的品味。 木和烏木等更名貴的木材，甚至用於床和櫥櫃等日常物件的製作。拍品 編號14、24和37的 椅 子 彰 顯了明 代 家 具 這一卓 越 成 就。 結語 誠然，這些晚明文人的詭態美學向我們展現了嗜好之於我們生活的非凡 文人對置於文房家具之上的器物也異常看重，筆筒便是一個很好的例 意義：無論是收藏奇石、花草或家具，還是對弈甚至鬥蟋蟀！四個世紀 子。顧名思義，筆筒中擺放了文人最重要的工具：毛筆。拍品編號64筒 前的文人士大夫雖然無法想像未來環境的劇變，但他們委託訂製的家 身上天然的木結成為了一個點睛之筆，提升了這件器物的欣賞價值；拍 具卻經歷了時間和空間的淬礪煥發出無窮的魅力，引起了來自五湖四海 品編號10由稀有的紫檀木所製，亦有類似的特點。紫檀是一種密度極高 的人們的共鳴。今天的收藏界依舊承襲著不朽的明代美學，這便是絕佳 的木材，來自熱帶地區（多來自遙遠的海南島、印度尼西亞和印度等地） 的佐 證。 的常綠喬木。但是其稀缺性不僅是由於跨越千山萬水進行採購的不易， 也因為這種樹木本身生長非常緩慢。一棵有三百歲樹齡的樹可能只有十 1 蔡 九 迪（ J.Zeitlin），《異史氏:蒲松齡與中國文言小說》， 第69頁 2 來米高，直徑不過三十厘米 8。明朝尚未閉關鎖國，在當時的國際貿易中 同上 3 同上 相當活躍。 4 柯 律 格（ C. Clunas），《長物：早期現代中國的物質文化與社會地位》，第 13頁 5 同 上，第 42頁 III) 香爐：“鼻觀” 6  J.P.Park, Art by the Book: Painting Manuals and the Leisure Life in Late 除了採用從東南亞進口的異國珍稀木材來製造家具之外，文人墨客對焚 Ming China, 第22-24頁 7 佚名，《談美人》收錄於衛泳輯刻的《枕中秘》 香 也 情 有 獨 鍾。冒 襄（ 1611-1693年）和他的侍妾董小宛（1624-1651年）  8  墨 一 閑（ Sam Marsh），《筆筒淵鑒》 ，第54頁 鍾愛一種來自真臘（柬埔寨）的香，名為“黃熟”9。焚香曾被用來“熏 9  冒 襄，余 懷，Plum Shadows and Plank Bridge: Two Memoirs About 制長袍”來處理一些難以水洗的名貴衣物，但焚香本身就是一門藝術， Courtesans, 第36頁 值得細細品味。自然地，香爐和香架也成為了文人生活中的一種重要 10 柯 律 格 ，《 長 物 ： 早 期 現 代 中 國 的 物 質 文 化 與 社 會 地 位 》， 第 43頁 11 器 物，拍品編號9、19、20和35展 現 了 這 種 高 雅 的 品 味。文 震 亨（ 1585- 冒 襄 ， 余 懷 ，《 <影梅庵憶語>和<板橋雜記>： 兩 部 名 姝 回 憶 錄 》， 第 36-37頁 1645年 ）在 卷 七 中 討 論 了 香 爐：

THE H COLLECTION | 19 The H Collection: The Exceptional and Rare in Classical Huanghuali Furniture

Zhang Zhihui

This spring, on May 13th, Bonhams London will auction The H between firm and flexible. The lower shelf board is flush with Collection – a European private collection of Chinese Classical the frame, creating a ‘plain’ look, and the frame and legs are furniture, archaic bronze ritual vessels and Japanese art, large enough to match the shoulder and tenon, with bamboo presenting more than 30 pieces of Chinese Ming and Qing dowels added under the line of each shoulder and tenon to dynasty furniture. The collection is mainly made up of furniture strengthen the inside of the shoulder. This combination with which although is not especially large in quantity, it is of rare tongue-and-groove construction is a common craft technique and remarkable quality. Some pieces of furniture can be seen used in furniture of the Jiangnan area. in early studies of furniture or have passed through the hands of important dealers. The best lots are made of the finest Under the frame of the lower board is the arched support, material and craftsmanship and are classic examples of the which gives an effect of ethereality and lightness. One of the best of Ming dynasty furniture. These pieces of furniture reflect tables also has the inscription ‘Bottom right’ (di you) on it, the special favour of European collectors for this old Chinese which clearly is an indicator of location. Based on the size, it art, but it also shows how the simple and timeless aesthetic of could have been used beside a kang bed, displaying books Ming furniture can transcend time and borders. In the following and antiques, or may have been used as a temporary desk, or essay I select a few examples of this collection for appreciation. could have been placed randomly in a room on the floor with objects placed on it. Among early publications of research into Ming furniture, Gustav Ecke’s Chinese Domestic Furniture (1944) is well This pair of tables once belonged to the French collector known. Four years after this book, however, another important Jean-Pierre Dubosc (1903-1988), son-in-law of the famous monograph on Ming furniture was published by American antique dealer C.T. Loo (1880-1957). In the 1930s and 1940s scholar George Kates, namely Chinese Household Furniture he was stationed in the French embassy in China, where (1948). There are not many people who know this book today he promoted Ming and Qing literati painting by organising but compared to Ecke’s Chinese Domestic Furniture which exhibitions and selling works to Western museums. originally published only 200 copies, Chinese Household Furniture has been printed repeatedly in many editions, Another important piece of furniture in the collection exerting a wide influence in the Western world, especially mentioned in published material in the field is Lot 11, the between the 1950s and 1990s when it played an important huanghuali rectangular day-bed, circa 1550-1600, which role in the promotion of ancient Chinese furniture, especially was published by Sarah Handler in ‘Outstanding Pieces in Ming furniture. Many a collector and antique dealer learnt Private Rooms: Chinese Classical Furniture in New American about the excellence of Chinese furniture through this book. Collections’, (Orientations, January 1993, Hong Kong), and This book contains 112 examples of Ming and Qing dynasty later included in her monograph ‘Ming Furniture in the Light of furniture, all from foreign collectors who lived and worked in Chinese Architecture’ (Berkeley, USA, 2005, p.101). The day- Beijing at that time. Through these examples we can also get bed was purchased from Ming Dynasty Furniture Co., Ltd., in a glimpse of Chinese furniture through the eyes of Westerners 1991 by David S. Utterberg (1947-2020) and Nayda Utterberg, in the 1930s and 1940s. The book only duplicated some of of Seattle, USA. Day-beds made of rare hardwoods such the examples shown in Ecke’s Chinese Domestic Furniture, as huanghuali and zitan have always been the ultimate goal so for this reason it is even more significant. It is a pity that for collectors of antique Chinese furniture. Firstly, beds such more than half a century later, in the vicissitudes of life, half four-poster beds (jiazichuang) and Luohan beds are rare. of the furniture in the book disappeared without a trace. For Secondly, they can be used for sleeping and sitting, and this reason, every time I see this book, I find it a gratifying and are not just limited to the bedroom, but can also be place important example of early research into furniture. in a scholar’s studio. Thirdly, the construction of this type of furniture is outstanding. This type of bed’s construction The rare pair of huanghuali side-tables with shelf (Lot 5) is very simple, known by experts as a ‘false flush side’ (jia forming part of The H Collection is included as no.49 in Kates’ simianping) structure. That is, the four flat sides of the top Chinese Household Furniture (showing one of the pair; fig.1). Its frame slightly extend over the legs by a few millimetres. This shape is extremely rare, with a height of only 54cm and lower type of construction is common on tables and occasionally shelves. No other hardwood examples of the same style have seen on benches, particularly on those made of fine wood been seen yet. Although the shape seems quite practical, when furniture from Zhejiang, Jiangsu and Fujian. However, it is we look at it more closely, this pair of short rectangular tables rarely seen on beds. With a length of 213cm, a width of show the classic charm of Ming furniture. The angular flush- 63cm and a height of 54cm, it is of elegant proportions, sided (simianping) construction together with the arc-curved but made with solid materials. The structure is strong and braces joining the legs to the shelves create an elegant contrast straight exuding an aura of stability. The slight bend of the

20 | BONHAMS humpback stretchers is arranged at the far ends, like a pause backgammon pieces. This type of ‘chess’ table integrates (calligraphic term: dun bi) of a long brushstroke that reinforces the functions of Go, Chess, and Backgammon popular in the stroke. The horse-hoof feet are also dignified and steady, ancient China. It was used by the literati in their recreational echoing the overall shape. The present lot can be said to be a time. It is of very high quality. The games table is in very good representative masterpiece of Ming dynasty furniture. condition. It is made into a waisted square table with inverted horse hoof legs. The waist is made of one piece of wood. The huanghuali low-back continuous yokeback armchair, 17th The middle of each side has a drawer that can accommodate century, (Lot 24) is also another important piece of furniture. ‘chess’ pieces and counters as well as cards. What makes It came from Grave Wu Bruce, an important antique furniture the table even more special however, is that the legs are not collector and dealer in Hong Kong, and later belonged to joined by long stretchers, but by a cloud-pattern support the Museum of Classical Chinese Furniture in Renaissance, made with two C-shapes, embellished with further C-scrolls. California. It went to auction along with the museum’s other The lines are smooth and elegant, and the shape is ethereal. furniture at Christie’s New York, 19 September 1996, lot 36. This type of support is rarely seen. The decorative effect is The shape of the chair is similar to one huanghuali high- greater than the structural purpose, but it gives a sense of armed ‘southern official’s hat’ chair, in a set of four, included in balance and stability. Wang Shixiang’s An Appreciation of Ming Furniture, no.49, in the Summer Palace (fig.2). At first glance, there are not many There are also two huanghuali ‘official’s hat’ chairs with differences, but after looking at it more carefully, the present similar shapes but different sizes and interests. They were lot has some special details worth noting. Firstly, the use of sold by two important antique furniture dealers. The two the material exudes wealth: the curved ‘goose-neck’ rails and chairs are of four-head style with flat ends, and the seat front legs are made of one piece of wood, and the armrests surface is similar in length and width, but Lot 37 is 115 cm are all carved from larger materials into soft arcs. Obviously, high. Lot 37, a huanghuali yokeback armchair, 17th century, at the time of production they were not limited by the cost is from Grace Wu Bruce in Hong Kong. It is a medium-to- of the materials. The design, including the double stretchers large chair and its tall and straight nature exudes an aura of on the sides of the legs also prove this point. Secondly, the gravity. The interesting thing to note is that the crest-rail is present lot exhibits some characteristics of early furniture. rather thick and elegantly flowing like water, the central part The design of double stretchers is more common in early is slightly hollowed to more comfortable rest the head and lacquered wooden chairs from the north, but extremely rare the two ends are raised high. This is what some experts call in huanghuali chairs. The influence of northern lacquered the ‘bull-head’ style. The other ‘official’s hat’ chair (Lot 50) furniture is also reflected in the decoration of the back rest. is 110.5cm high. This huanghuali yokeback armchair, 17th The upper part of the back rest is pierced to make a ruyi-head century, was handled by the British dealer Nicholas Grindley. cloud, but the outline of the cloud changes to form curling It is the regular size for a chair of this type. It has a thick and leaves and a bud. The abstract ruyi-head cloud transforming solid appearance but with gentle and soothing curves. For into a real flower bud encapsulates the vitality and freedom example, the backrest, the upper part of the hind legs, the of the present lot which reveals the influence of northern armrests, the goose neck, and the supports are all curved, lacquered furniture. Similarly, the lower part of the back rest and the whole piece is dignified. These two chairs show that is also carved into a leaf-like shape. The uncarved burlwood Ming furniture even though under the same standards of central panel is also magnificent and forms a striking construction can result in subtle differences. contrast with the upper and lower carved sections. These are the various signs that show the excellence of this chair. Finally, I will introduce a pair of huanghuali rectangular waisted The influence of lacquered wood furniture decoration and corner-leg stools, 17th/18th century (Lot 49). This pair was modelling features seems to imply that it was made earlier originally sold by Lai’s antiques, an important early antique than similar examples. dealer in Hong Kong. They are each 60cm long, 59cm wide and 52cm high. The use of the materials is generous and Huanghuali chess tables of the Ming and Qing dynasties solid. The edge of the ice plate on the surface is very narrow are also extremely rare, and those that exist can be counted and the waist quite deep, a typical elegant feature of Ming on one’s fingers. Lot 66, a huanghuali square games table, dynasty furniture. Although the surface of the apron appears 18th century, was originally from Hei Hung-Lu, an important plain, the outer edge is slightly rounded. The feet are of antique dealer in Hong Kong. The warm and honey-like wood square section the horse-hoof feet maintain a dignified form. used to make the square table with movable tabletop is The humpback stretchers too, at the ends where they join itself exquisite. When one opens the tabletop, one can see a with the legs, curve, and thicken again slightly increasing the rectangular recess, framed with delicate boxwood, forming elegance of the piece. The piece can be described a stroke of an elegant contrast with the maroon huanghuali on the genius, standing out from other square stools. outer edge. The boxwood frame has two circular apertures to store the games pieces. There is a folding double- In conclusion, The H Collection is remarkable in the rarity and sided ‘chess’ board in the centre of the tabletop, for both quality of the Ming and early Qing dynasty furniture forming the encirclement ‘chess’ (weiqi) or go, and also ‘elephant’ chess. collection and stands as a testament to the timeless elegance The folded ‘chess’-board can be removed further to reveal a of Ming furniture and the discerning eye of the collector. backgammon board with drawers on both sides for placing

THE H COLLECTION | 21 斫秀 —— 古典黃花梨家具之珍罕

今春5月13日，倫敦邦瀚斯拍賣“ ‘斫秀鑄禮’——歐洲私人收藏中國 邊框平齊，依然營造“平素”的觀感，而邊框與腿足以大格肩榫相合，並 古典家具、青銅器暨日本藝術”專場，呈現三十餘件中國明清家具，以明 在每處格肩榫卯線下方加施竹銷釘，以加固格肩內榫舌與腿足的結合， 式黃花梨家具為主，數量雖不算眾，卻也略具規模，且可圈可點，不乏一 這是江南地區家具常用的工藝手法。屜板邊框下方又設弓背斜角牙，空 些流傳有序的經典器物，或見諸早期家具研究書籍，或為資深重要古董 靈通透。其中一件矮几上有銘文“地右”，顯然是標明二幾陳設位置。此 商過手；亦有一些造型上好的佳品，工料皆佳，為明式家具之經典。這些 外 也 不 排 除 其 他 組 件 ， 以 “ 天 ”“ 地 ”“ 玄 ”“ 黃 ” 等 千 字 文 方 式 標 識 。 從 家具從側面反映了歐洲收藏家對中國古代藝術品的青睞，也可見明式家 其體量來看，在古代或是陳設炕上兩頭，既可陳設古董、書籍，又可臨時 具簡約雋永的造型語言，能夠跨越時空和地域，彰顯卓越的品味。不妨 充書桌之用，也有可能是室內隨意擺放，擱置物品的地桌。此對矮几為 擇選數件，與諸君同賞。 法 國 收 藏 家 杜 伯 秋（ Jean-Pierre Dubosc ，1903-1988）舊 藏，其 為 古 董 商盧芹齋的小女婿，二十世紀三四十年代就職於法國大使館，致力於明 在早期明式家具的研究、傳播中，重要的圖書出版，眾所周知的當屬 清文人畫的研究與收藏，並協助西方博物館收藏中國書畫。 德 人 古 斯 塔 夫 ·艾 克（ Gustav Ecké）《 中 國 花 梨 家 具 圖 考 》 ( Chinese Domestic Furniture, 1944年）。然在此書四年後，還有一本重要的明 本場另一件見諸早期著錄的重器為黃花梨羅鍋棖榻（拍品編號11）， 式家具專著出版，即美國人喬治·凱茨（George Kates）的《 中 國 家 具 》 由S.Handler發表於Outstanding Pieces in Private Rooms: Chinese （Chinese household furniture，1948年 ）（ 圖 1）。 此 書 今 知 者 不 多 ， 但 Classical Furniture in New American Collections，（ Orientations，1993 相比刊行僅200本的《中國花梨家具圖考》，《中國家具》屢次加印，版 年1月刊，香港），其後又收入其專著Ming Furniture in the Light 本 眾 多，在 西 方 世 界 的 影 響 力 更 為 廣 泛，尤 其 在 20世紀五十年代至九十 of Chinese Architecture，（ 美 國 伯 克 利 ， 2005年，頁 101）。 該 榻 年代間，在推廣中國古代家具尤其是明式家具方面發揮了重要作用，很 原為美國明代家具有限公司所有，1991年被美國西雅圖David S. 多收藏家、古董商通過這本書了解到中國家具之優秀。此書收錄明清家 Utterberg（1947-2020）及 Nayda Utterberg伉 儷 購 藏。黃 花 梨、紫 檀 等 具凡112例，皆來自當時在京工作、暫住的外國收藏家群體，通過這些家 高檔硬木所製的榻，一直是古代家具收藏家孜孜追逐的目標。一則在臥 具我們也可窺見20世紀三四十年代在西方人眼中的中國家具。書中家 具中，其存世量遠少於架子床和羅漢床。二則榻可坐臥兩用，不限於臥 具，只有部分和《中國花梨家具圖考》重複，故其意義更加重大。可惜的 室，亦是上好的文人書房用具。三則所見這類榻的造型皆出類拔萃。此榻 是，半個多世紀以後，人世滄桑，書中泰半家具都不知所終，也因此，每 造型甚簡，為行家所謂的“假四面平”結體，即在四面平的基礎上，面框 有所見，都令人欣喜，足稱早期家具研究之重要例證。邦瀚斯本場拍賣， 微微噴出幾毫米，這種結體在條桌中尤為多見，偶見於春凳，是浙江、江 所呈現的黃花梨帶屜板四面平式矮長方幾成對（拍品編號5），收錄為該 蘇、福建一帶細木家具經典的造型，但這種樣式的榻極為少見。其長213 書件49。其 造 型 罕 見，高 僅 54厘米，且帶有屜板，暫未見相同樣式的其他 厘 米，寬 63厘米，高54厘米，是比例秀巧的一張小榻，但用料茁實，結體 硬木實例。雖然造型顯得頗為實用，但是矮長方幾的細節依然顯示出明 以硬朗挺拔的風貌示人，氣場頗足。羅鍋棖的彎折安排在兩端，輪廓微 式家具之經典風韻，其幾面採用四面平結體，下方牙板以大料挖成流暢 妙，宛若長直線型棖子的“頓筆”，增其厚重。馬蹄亦是端莊穩健，與整 的弧度與腿足相接，與整體方正造型形成剛柔變化。下方屜板面心板與 體造型呼應。此例堪稱一件具有代表性的明式家具精品。

22 | BONHAMS 圖1, 喬治·凱茨《中國家具》，49號 圖2, 王世襄《明式家具珍賞》49號，藏於頤和園 Fig.1, George Kates, Chinese Household Furniture, no.49. Fig.2, Wang Shixiang, An Appreciation of Ming Furniture, no.49, in the Summer Palace

黃花梨攢靠背南官帽椅（拍品編號24）是 一 件 重 要 的、流 傳 有 序 的 實 例， 而是在牙板和腿足間設斜雲氣紋角牙，作兩個反向C字形相連狀，且內 其為香港重要古家具收藏家、古董商佳木堂經手，後為美國加州原中國 緣起線，外緣倒圓，並陰刻勾雲紋點綴，線條婉轉流暢，造型空靈。所見 古典家具博物館所藏，1996年隨博物館所有家具在紐約佳士得釋出。此 此類角牙，應用並不多，此處裝飾作用大於結構作用，但視覺上卻給人 椅造型與一類黃花梨高扶手南官帽椅相近，諸如收錄於王世襄《明式家 力學補充之感，取得整體均衡、穩定的效果。 具 珍 賞 》之 件 49，為一套四件，藏於頤和園（圖2）。 初 看 大 同 小 異 ， 仔 細 品鑑，則此次所呈現的南官帽椅有諸多特殊的細節值得注意。首先，用材 本場呈現的還有兩件造型比較接近，但尺寸和意趣迥異的黃花梨四出 充裕，彎曲的鵝脖與前腿為一木做成，搭腦和扶手均由大料挖斫為柔婉 頭官帽椅，且分別由兩個重要的家具古董商售出。兩椅皆為末端平切的 的弧線，顯然在製作時並不受材料成本的限制。包括腿足側面雙梯子棖 四 出 頭 樣 式，座 面 長 寬 亦 近，但 其 一 高115厘米（拍品編號37），出自香港 的設計，亦顯出此點。其次，有早期家具特徵，前述腿足間雙梯子棖的設 嘉木堂，屬於中大型椅具，體現出挺拔清癯的意趣。靠背板用料厚實，紋 計，多見於北作早期漆木製椅具，在黃花梨椅具中極為少見，相信是來自 如流水，搭腦則斫挖出寬扁的枕部，兩端高高揚起，為家具行所謂的“牛 於較早的漆木家具造型傳統。同樣體現這一特徵的是靠背上開光和亮腳 頭 式 ”。 另 一 件 官 帽 椅 高 110.5厘 米（ 拍 品 編 號 50），為英國行家尼古拉斯 牙板處的裝飾，其上方開光作如意云頭狀，但如意輪廓自下方往上變化 （Nicholas Grindley）經手，屬四出頭椅的常規尺寸，其外觀敦厚，搭腦 為兩邊分開的捲葉紋，並吐出一個草芽，與如意頭尖芒形成呼應，將一般 的曲線柔和舒緩，餘處如靠背板、後腿上部、扶手、鵝脖、聯幫棍皆更加 所見抽象的如意云頭轉化為較為具象的草葉，展現出勃勃生機，充滿自由 柔婉，整體以端莊含蓄示人。此二椅顯示了明式家具在同樣制式下，因製 浪漫之氣息，透露出受到北方漆木家具裝飾的影響。同樣，亮腳牙板亦雕 作流派的差異，形成不同的面目。 琢為捲葉狀與之呼應。靠背中間落膛安裝光素的癭木，花紋絢麗卻不施 雕琢，與上下方裝飾形成動靜對比。其座面下秀麗的刀牙板造型與整體 最後再介紹一對由香港早期重要古董商黎氏古玩售出的黃花梨羅鍋棖 和諧比例，亦耐觀看。種種跡象，可見此椅的卓越不群，其漆木家具裝飾 方 凳（ 拍 品 編 號 49）， 長 60厘 米，寬 59厘 米，高 52厘 米，樸 中見 奇，用 料 和造型特徵的借鑒，似乎暗示了製作的年代比同類要更早一些。 闊綽，敦厚堅實。其面框冰盤沿做的甚為窄秀，斂入較多，翻出大碗口 線，與牙板一木連做的束腰打窪，並上下翻邊，兩處細節已經顯現這是 棋桌是明清黃花梨家具中少見的品種，歷來所見屈指可數。本次專場所 廣作明式家具特徵。牙板闊厚，看面起素混面，外緣微抹圓。肩部圓潤膨 呈現的黃花梨活面棋桌，為香港重要的古董商黑洪祿先生過手（拍品編 起，方腿足，外側兩個看面皆倒圓為素混面，形成圓渾效果，並與牙板柔 號66）。其選料精湛，以溫潤如蜜的黃花梨順紋料製成方桌式，上附活蓋 和交圈，馬蹄腿保持著敦厚端莊的造型特徵。其羅鍋棖看面素混面，兩 面。掀開桌面，則見以細膩黃楊木製成的子框一周，與外緣褐紅色黃花 端與腿足齊頭碰相交，別發機杼的是在近兩端處將本該挖去的材料餘下 梨形成深淺變化，黃楊木兩處對角開孔設倉，為容納圍棋子之用。桌面 一段，形成斜向挑起的造型，使得整體造型活潑靈動，可謂神來之筆，從 正中設折疊式雙面棋盤，分別為圍棋、象棋盤。取下折疊棋盤，露出雙陸 一 眾 方 凳 中脫 穎 而 出。 棋盤，兩邊有屜，為放置雙陸棋子之用。這種棋桌集合中國古代流行的 圍棋、象棋、雙陸棋桌功能，是文人士大夫消遣時光所用，品級甚高。棋 簡言之，本次“ ‘斫秀鑄禮’——歐洲私人收藏中國古典家具、青銅器暨 桌造型亦佳，做成有束腰內翻馬蹄腿方桌樣，束腰與牙板一木連做，各 日本藝術”專場釋出的明清家具品質卓越，殊為珍罕，充分體現了明式 面中部開暗抽屜，可容納棋牌。別發機杼的是此桌不設霸王棖或單棖， 家具之永恆典雅和藏家的卓絕品味。

THE H COLLECTION | 23

1 A VERY RARE ARCHAIC BRONZE RITUAL WINE VESSEL, GU Late Shang Dynasty The tall vessel crisply cast with a flared mouth and pedestal foot, the central section decorated in relief with a band enclosing two taotie masks between narrow bowstring borders and two narrow bands of circles, the upper band below a further bowstring band, the foot cast with a pictogram within a shaped cartouche, the smooth mottled- green patina with scattered cuprite encrustations. 25.7cm (10in) high.

£60,000 - 80,000 CNY540,000 - 720,000

商晚期 青銅饕餮紋觚

The inscription reads 亞獏父丁 ‘Yamo fuding [made as sacrifice to] ancestor Fuding of Yamo family’

Provenance: Liang Shangchun (active 1930-1940s) Arthur M. Sackler (1913-1987), New York Stephen Junkunc III (d.1978), Illinois Christie’s New York, 21 September 1995, lot 294 An important European private collection

Published and Illustrated: Liang Shangchun, Yanku jijin tulu (Illustrated Catalogue of Archaic Bronzes in Yanku Collection), Beijing, 1944, fig.1.51 R.W.Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Cambridge, 1987, p.303, fig.49.12 Arthur M. Sackler (1913-1987) The Institute of Archaeology, CASS, Yinzhou jinwen jicheng 亞瑟 M.賽克勒（1913-1987年） (A Compendium of the Shang and Zhou Bronze Inscriptions), Beijing, 1984-94, no.7231 T.Wang and Y.Liu, A Selection of Early Chinese Bronzes with Inscriptions from Sotheby’s and Christie’s Sales, Shanghai, 2007, p.234 Z.F. Wu, Shangzhou qingtong ji mingwen ji tuxiang jicheng (Corpus of Inscriptions and Images of Bronzes from the Shang & Zhou Dynasties, Shanghai, 2016, vol.24, p.131, pl.13217

來源： 梁上椿舊藏 紐約亞瑟•M.賽克勒（1913-1987年）舊藏 伊利諾伊州史蒂芬•瓊肯三世（1978年逝）舊藏 紐約佳士得，1995年9月21日，拍品編號294 歐洲重要私人收藏

出版著錄： 梁上椿，《巖窟吉金圖錄》，北京，1944年，圖版1.51 R.W.Bagley，《Shang Ritual Bronzes in the Arthur M. Sackler Collections》，英國劍橋，1987年，頁303，圖版49.12 中國社會科學院考古研究所，《殷周金文集成》，北京，1984-94 Stephen Juncunk III (d.1978) 年，編號7231 史蒂芬 瓊肯三世（1978年逝） 汪濤，劉雨，《流散歐美殷周有銘青銅器集錄》，上海，2007年， 頁234 吳鎮烽，《商周青銅器銘文暨圖像集成》，上海，2016年，卷24， 頁131，圖版13217

For details of the charges payable in addition to the final Hammer Price of each Lot 26 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

Remarkable for its tall, elegant shape and complex high-relief decoration with leiwen spirals, this gu is an outstanding example of the late Shang dynasty.

Gu vessels were used as sacrificial wine receptacles and were among the most important objects used in State rituals during the late Shang dynasty. Although reference to the name gu is frequently found in early ritual texts, it became associated with the present vessel type in the catalogues of antiquities produced by Song dynasty scholars (960- 1279). The shape appears to have originated in pottery production of the Neolithic period, which came in various sizes and shapes. The bronze version, however, probably emerged in the Erligang period (c.1510-1460 BC) and became popular during the Yinxu period (1250- 1192 BC), when it became an important component of ritual vessels.

While gu vessels produced during the early phases of the Shang dynasty were short and stout, decorated with simple taotie designs merely suggested by eyes amidst linear decoration, the refinement of shape and ornamentation took place towards the later phases of the Shang dynasty, as bronze-casting technique gained in skill and experience. By the time that the Shang capital moved from Zhengzhou to Anyang in Henan Province, gu vessels depicted more detailed taotie designs, which were often complemented with new animal shapes.

While retaining some early features of the Erligang phase of the Shang dynasty, notably the sturdy trumpet-shaped body, the finely-detailed and lively taotie masks depicted with bulging eyes on the frieze convey a distinctive sculptural appearance and point to a casting finesse more typical of the later phases of the Shang dynasty.

A number of comparable examples of gu vessels dating to the late Shang period have been excavated in Henan, Shanxi, Hubei and Anhui Provinces. Compare with a related bronze gu vessel, 13th-11th century, displaying a similarly-shaped body and taotie decoration on the frieze, illustrated by Wang Tao, Chinese Bronzes from the Meiyintang Collection, London, 2009, p.39, no.13. See also another archaic bronze gu vessel, Late Shang Dynasty, from the collection of Mr and Mrs Kress, Finland, illustrated by P.K.M.Kwok, Dialogue with the Ancients. 100 Bronzes of the Shang, Zhou, and Han Dynasties. The Shen Zhai Collection, Singapore, 2018, pp.222-223, no.42C.

another bronze gu vessel, 13th century BC, illustrated by R.Bagley, Lot 1 illustrated by R.W.Bagley, Shang Ritual Shang Ritual Bronzes in the Arthur M. Sackler Collections, Washington Bronzes in the Arthur M. Sackler Collections, DC, 1987, pp.258-9, no.40. Cambridge, 1987, p.303, fig.49.12 R.W.Bagley，《Shang Ritual Bronzes in the A related bronze gu vessel, late Shang dynasty, was sold at Christie’s Arthur M. Sackler Collections》，英國劍 New York, 20 September 2010, lot 1472. 橋，1987年，頁303，圖版49.12 觚，為盛酒之禮器，是商周宗廟祭祀的代表器之一。此種器型始見於 新石器時代陶器，商早期二里崗上層出土了現存最早的青銅觚，至 商晚期逐漸盛行，殷墟有大量出土。商早期的青銅觚矮而寬，紋飾簡 單，之後器型不斷變細加高，頸部腹部逐漸收束，兩者直徑趨於一 致，裝飾紋樣也益發繁複。

本器侈口，長頸，中腹微鼓，圈足外撇，足底直緣。腹飾獸面紋， 獸眼鼓脹凸出，上下飾連珠紋帶，是商晚期的典型器物。

類似商晚期的例子於河南、山西、湖北和安徽等地多有出土。對比一 件公元前十三至十一世紀青銅觚，器型及紋飾與本例相似，收錄於汪 濤著，《玫茵堂藏中國銅器》，倫敦，2009年，頁39，編號13； 以及芬蘭Kress伉儷收藏一例商晚期青銅觚，收錄於P.K.M.Kwok著， 《Dialogue with the Ancients. 100 Bronzes of the Shang, Zhou, and Han Dynasties. The Shen Zhai Collection》，新加坡，2018年， 頁222-223，編號42C。另可參考一件公元前十三世紀青銅觚，收 錄於R.Bagley著，《Shang Ritual Bronzes in the Arthur M. Sackler Collections》，華盛頓，1987年，頁258-259，編號40。

一件商晚期青銅觚，售於紐約佳士得，2010年9月20日，拍品編號 1472，可為比對。

28 | BONHAMS

2 A RARE AND LARGE SANCAI-GLAZED POTTERY FIGURE OF A MALE ATTENDANT Tang Dynasty The figure gracefully modelled standing on a low trapezoidal base, his hands joined at the chest holding a pair of green and amber-glazed slippers with upturned pointed toes, wearing a long and voluminous pale-green-glazed robe enriched with a central amber streak and secured by a loose belt over wide trousers, the unglazed round face with well-articulated features picked out in black and red pigments over white slip, the hair gathered in a double-bun topknot secured with a black kerchief. 45cm (17 6/8in) high.

£20,000 - 30,000 CNY180,000 - 270,000 Sakamoto Goro (1923-2016) 唐 三彩侍俑 坂本五郎（1923-2016年）

Provenance: Sakamoto Goro (1923-2016), Tokyo Sotheby’s New York, 13 September 2016, lot 9 An important European private collection

Exhibited: Kaikan Tokubetsu Shuppin Seihin Senshu (Special Opening Exhibition - Anthology of Selected Masterpieces), Kyushu National Museum, Fukuoka, 2005, no.41.

來源： 日本東京，坂本五郎（1923-2016年）舊藏 紐約蘇富比，2016年9月13日，拍品編號9 歐洲重要私人收藏

展覽： 「開館特展 —— 精品選集」，九州國立博物館，福岡，2005年， 編號41

Pottery figures of attendants such as the present example 俑頭戴樸頭，面容飽滿，無須無釉。身著圓領袍，捧鞋端立，頸下施 complemented a large array of accessories manufactured for 黃綠釉。 internment in burials belonging to high-ranking members of Tang society. A miniature universe was thus created for the afterlife of the 形如本例的陶侍俑，應為陪葬高級貴族之用。古人認為祖先雖死猶 occupant through depictions of the earthly and heavenly realms. 在，只要恭謹對待，先祖便能福蔭後代。因此，墓葬常常是生者世 Receiving halls, garden settings and private quarters were painted 界的微型投射，其中可見現實生活中的各類必需品和生活場景。古 on the walls and complemented with images of official gatherings, 人相信陶俑等像生之物有復生之靈，各類物品也能夠像在現實生活 attendants, entertainers, horses, camels and daily utensils. On the 中一樣運作。參見J.Rawson著，〈The power of images: the model vaulted ceiling, a heavenly environment was suggested by multiple universe of the First Emperor and its legacy〉，收錄於《Historical floral combinations, scrolling clouds, star maps and mythical animals Research》，第75期，2002年，頁123-154；以及《Changes in the symbolising the Four Directions. representation of life and the afterlife as illustrated by the content of tombs of the T’ang and Song period》，收錄於《Arts of the Sung Images in China were believed to ‘become alive’; in other words, and Yuan》，紐約，1996年，頁23-43。 to function just like their physical counterpart, so they could perpetuate their benign effects to their viewers. For this reason, the 參考一例唐代藍釉陶俑，收錄於N.Wood著，《Chinese Glazes: Their overall arrangements presented for the afterlife illuminate the social Origin, Chemistry and Recreation》，倫敦，1999年，頁237。另可參 and ideological context of the society which constructed it. See 見《Ausstellung Chinesischer Kunst》，柏林，1929年，編號333。 J.Rawson,’The power of images: the model universe of the First 另有一例唐三彩男俑，售於紐約佳士得，2015年3月16日，拍品編號 Emperor and its legacy’, in Historical Research, no.75, 2002, pp.123- 3227，可為參考。 154. See also ibid., ‘Changes in the representation of life and the afterlife as illustrated by the content of tombs of the T’ang and Song period’, Arts of the Sung and Yuan, New York, 1996, pp.23-43.

A related blue-glazed pottery figure of an attendant, Tang dynasty, displaying physical features and in a posture similar to the present example, is illustrated by N.Wood, Chinese Glazes: Their Origin, Chemistry and Recreation, London, 1999, p.237. Another example is illustrated in Ausstellung Chinesischer Kunst, Berlin, 1929, no.333.

A related glazed pottery figure of a male attendant, Tang dynasty, was sold at Christie’s New York, 16 March 2015, lot 3227.

For details of the charges payable in addition to the final Hammer Price of each Lot 30 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 31 3Y A RARE HUANGHUALI MEDICINE CHEST WITH DRAWERS, YAOXIANG Late Ming Dynasty Of rectangular form, constructed with a removable panel door at the front fitted with a baitong circular lock plate and side lock, above a reticulated baitong door pull suspended from a chrysanthemum- shaped plate, all within baitong ruyi plates, the sides set with a pair of rectangular handles suspended from rhombus-shaped plates above a metal fitting with an opening to allow threading through a string for carriage, the edges reinforced with baitong strips, the interior with six drawers, each fitted with a pair of metal pulls. 36cm (14 1/8in) high x 42cm (16 1/2in) wide x 26cm (10 2/8in) deep.

£50,000 - 80,000 CNY450,000 - 720,000

明晚期 黃花梨插門式六屜箱

Provenance: Sotheby’s Hong Kong, 5 October 2016, lot 3008 An important European private collection

來源： 香港蘇富比，2016年10月5日，拍品編號3008 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 32 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 33 Constructed from highly-figured huanghuali wood, the present lot is a 箱插門式，正面可裝卸的面板攢邊框鑲兩拼面心，正中上方鑲白銅圓 rare example of a medicine chest, yaoxiang. The term refers to small 形面葉及鎖頭，下以菊花護眼錢掛鉤吊牌，四角包如意形白銅片。兩 boxes with no opening at the top. While such boxes may have been 側面各安長方形白銅環與三枚菱形護眼錢，下方有白銅構件，可供布 intended to store precious herbs, medicines and medical instruments, 帶或繩子穿過方便搬運。立牆包鑲白銅片加固。櫃內設平列的六具抽 they were equally suitable as tabletop chests for storing small items, 屜，臉上皆飾一對菊花瓣護眼和瓶形吊牌。 from documents to writing materials. 形如本例的插門式小箱傳世甚少，或因插門是較早期的做法，後逐漸 The present example features a front panel that can be removed 被兩開門取代。本例形似鏡箱但無頂蓋，無處可支架銅鏡，故歸入藥 to permit access to the six drawers. The door is held in place by 箱一類。通身光素，用材考究，尤為適合置於書齋閨閣，存放筆墨文 tongue-and-grove at the bottom and a brass lock above. According 書乃至首飾珍玩。明末清初文士李漁著《閒情偶寄》，論及抽屜之功 to ‘Random Notes on Times of Leisure’ Xian qing ou ji by Li Yu 用，稱多多益善，「以便分門別類，隨所有而藏之，譬如生藥舖中有 (1610-1680) (a Ming dynasty intellectual and playwright), multi-drawer 所謂『百眼櫥』者」，即如此例。 cabinets were designed for scholars after the design of a pharmacist’s ‘hundred-eye cabinet’. 有關此類小箱之用途，可參考伍嘉恩著，〈Small Portable Treasures〉， 收錄於《Journal of the Classical Chinese Furniture Society》1993年秋 For a discussion about the use of these chests see G.Wu Bruce, ‘Small 季刊，加州，頁60-62。另比較一件十七世紀黃花梨藥箱，王世襄著， Portable Treasures’, Journal of the Classical Chinese Furniture Society, 《明式家具研究》，卷二，香港，1990年，圖版E21。 Autumn 1993, pp.60-62. Compare with a related huanghuali medicine cabinet, 17th century, illustrated by Wang Shixiang, Connoisseurship of Chinese Furniture Ming and Early Qing Dynasties, Hong Kong, 1990, vol.2, pl.E21.

34 | BONHAMS THE H COLLECTION | 35 4 A BLACK-GLAZED ‘RIBBED’ JAR Northern Song/Jin Dynasty The jar of ovoid form rising to a short neck with lipped rim, the body applied with evenly-spaced raised vertical trails of white slip, the shoulders set with a pair of ridged and tapering strap handles, covered overall in a black glaze thinning to a a cream colour on the raised ribs and stopping short of the foot exposing the buff-coloured body. 20.3cm (8in) high.

£15,000 - 20,000 CNY140,000 - 180,000

北宋/金 黑釉棱線紋雙繫罐

Provenance: An American private collection Sotheby’s New York, 13 September 2016, lot 140 An important European private collection

來源： 北美私人舊藏 紐約蘇富比，2016年9月13日，拍品編號140 歐洲重要私人收藏

Notable for its large, wide-mouthed globular body and its lustrous dark 磁州窯系是中國北方最大的民窯體系之一，窯場分佈於河南、河北、 glaze, the present jar is a remarkable example of Cizhou-type wares 山東等省份。 釉瀝線裝飾是磁州窯系的一種獨特產品，製作時採用瀝 produced at numerous kilns in Henan, Hebei and Shandong Provinces 線裝飾工藝，將瀝粉垂直粘貼在未乾的胎體上，形成棱線，再施以黑 in North China during the twelfth century. The attractive ribs were 釉。由於釉料的自然流動，燒製後的器物表面隨棱線起伏而呈現濃淡 meticulously applied in slip onto the surface of the vessel before the 黑白的對比。 application of the glaze, creating a striking contrast between the raised ridge and the convex areas with the darker glaze. 參考哈佛大學薩克勒博物館藏一例近乎相同的北宋至金黑釉棱線 紋雙繫罐，見R.D.Mowry著，《Hare’s Fur, Tortoiseshell and Partridge Dark-glazed, high-fired ceramic vessels were highly regarded as solid, Feathers》，1995年，頁176，編號61。另有兩例可資比對，新奧爾良 practical wares. Their production began during the Tang dynasty (618- 藝術博物館藏一例，與本例相似惟尺寸稍小，見《Heaven and Earth 907) and rapidly spread throughout China. The development of black Seen Within》，新奧爾良，2000年，編號30；另一例藏於倫敦大英 wares during the Northern Song period (960-1127) appears to have 博物館，收錄於J.Wirgin著，《Sung Ceramic Designs》，斯德哥爾 been inspired by contemporaneous plain lacquerware, and different 摩，1970年，圖版53k。 kilns developed their own styles. Ribs made of white slip were first used on ceramics during the Tang dynasty in imitation of lacquer and 坂本五郎舊藏一例北宋至金黑釉棱線紋雙耳罐，售於紐約蘇富比，2015 silver; later they were added to the exterior body of the vessel during 年3月17日，拍品編號6，可資參考。 the tenth and eleventh century and ribbing finally emerged as an important tool of decoration in its own right by the twelfth century.

A nearly-identical black-glazed ribbed jar, Northern Song to Jin period, in the Arthur M.Sackler Museum, Cambridge MA, is illustrated in Hare’s Fur, Tortoiseshell and Partridge Feathers, Cambridge MA, 1995, p.176, no.61.

A similar but slightly smaller black-glazed ribbed jar, Northern Song/ Jin dynasty, in the New Orleans Museum of Art, is illustrated in Heaven and Earth Seen Within, New Orleans, 2000, no.30; another example in the British Museum, London is illustrated by J.Wirgin, Sung Ceramic Designs, Stockholm, 1970, pl.53k.

Compare with a similar ribbed black-glazed jar, Northern Song/Jin dynasty, formerly in the Sakamoto Goro Collection, which was sold at Sotheby’s New York, 17 March 2015, lot 6.

For details of the charges payable in addition to the final Hammer Price of each Lot 36 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 37

5TP Y A RARE PAIR OF HUANGHUALI SIDE-TABLES WITH SHELF, ZHUO 17th century Each of rectangular form, comprising one shelf and a top supported by four upright members, constructed with tongue-and-grooved floating panels and mitred joints, the lower shelf supported by curved braces; one table with a two-character mark Di You meaning ‘bottom right’. 90cm (35 1/2in) wide x 55.5cm (21 6/8in) high x 54cm (21 2/8in) deep. (2).

£80,000 - 120,000 CNY720,000 - 1,100,000

十七世紀 黃花梨带屉板邊桌成對

Provenance: Jean-Pierre Dubosc (1903-1988) An important European private collection

Published and Illustrated (one of the pair): G.N.Kates, Chinese Household Furniture, New York, 1948, no.49.

來源： 法國藏家杜伯秋（1903-1988年）舊藏 歐洲重要私人收藏

出版著錄（其一）： G.N.Kates，《Chinese Household Furniture》，紐約，1948年， 圖版編號49

For details of the charges payable in addition to the final Hammer Price of each Lot 40 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 41 George Kates, Chinese Household Furniture, no.49. George Kates，《Chinese Household Furniture》，編號49

Jean-Pierre Dubosc was a French connoisseur of Chinese art, a 杜伯秋全名尚-皮耶·杜伯秋，自大學時研習亞洲文化，後娶古董商盧 diplomat stationed in China during the 1930s-1940s, and son-in-law 芹齋的小女兒為妻。二十世紀三、四十年代，杜伯秋於北京作為外交 of the renowned Chinese art dealer C. T. Loo. Dubosc promoted Ming 人員就職於法國大使館；後致力於中國明清文人書畫的研究與收藏， and Qing literati painting by organising exhibitions and selling works to 參與策劃了一系列重要展覽，並協助諸多西方博物館機構收集中國書 Western museums. 畫。

Of elegant proportions and form, the present tables would most likely 邊桌主體粽角榫四面平式，桌面攢邊框鑲面心板。方腿直落地面，腿 have been used as side tables in a scholar’s studio to support art 間加設橫棖，棖子裡口打槽裝屜板，形成隔層，以增加使用空間。除 objects of considerable weight, such as a scholar’s rock, an incense 屜板下安花形角牙外，通身光素整潔，樸實無華。其一刻有「地右」 burner or a table screen. 二字，或為方位標記。

The origin of side tables fitted with a shelf is unknown. However, the 此類帶屜板的邊桌傳世不多，原型已不可考。台北國立故宮博物院館 ‘Portrait of Wang Xizhi’, a painting dating to the Song dynasty (960- 藏一幅《宋人人物圖》，畫中士人坐於榻上，注目凝思，榻旁擺放 1279) depicts the central figure seated next to a side table similar to 邊桌數只，皆施四面腿間橫棖，陳設琴棋書畫、趣事雅玩。據學者考 the present example, set with scholarly objects. This painting almost 證，本幅畫作或為東晉王羲之《臨鏡自寫真圖》之宋代摹本，後經宋 certainly inspired an 18th century portrait depicting the Qianlong 徽宗、高宗、清高宗等帝王收藏；清高宗乾隆皇帝很欣賞此類新穎 Emperor appreciating antiquities, depicted in a very similar guise as 別緻的構圖，諭令宮廷畫家共創作了五幅相似之作，將宋人冊頁中的 the Song counterpart, beside a rectangular side table fitted with a shelf 文士換成了他的頭像，現藏於北京故宮博物院之《乾隆皇帝是一是二 displaying an archaic bronze vessel and a table screen; see Chu-Pak 圖軸》是為一例。畫卷中的家具排布雖似《宋人人物圖》之構圖，但 Lau, Classical Chinese Furniture from the Haven Collection, Hong 陳設種類已大不相同，各式香几桌案，雕飾頗繁；惟左側保留一件邊 Kong, 2016, p.208. 桌，腿間加裝屜板，形如本例。上層陳設青銅禮器及嵌玉硯屏，擱板 用來放置書卷，可謂此類邊桌用途的形象展示。見劉柱柏著，《晏如 Giant’s-arm braces, a feature introduced during the Ming dynasty, 居藏明式黃花梨家具》，香港，2016年，頁208。 provided additional support on the underside of the table. Their use eliminated the need for the more commonly seen ‘humpback’ 一對十七世紀中期至十八世紀黃花梨帶屜板長方桌，收錄於見劉柱柏 stretchers. The strength of this joint allows the table to be supported 著，《晏如居藏明式黃花梨家具》，香港，2016年，頁209， 編號49， without stretchers, thereby creating a lighter and more elegant form. 可資比對。 This device may have originated during the Warring States period (475- 221 BC) to fasten bronze fittings; see Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, vol.1, Hong Kong, 1990, pp.121-122.

Compare with a related pair of corner-leg tables with shelf, mid 17th/18th century, illustrated by Chu-Pak Lau, Classical Chinese Furniture from the Haven Collection, Hong Kong, 2016, p.209, no.49.

42 | BONHAMS THE H COLLECTION | 43 (underside)

6 A RARE PALE GREEN AND RUSSET JADE ‘MYTHICAL BIRD’ During the Han dynasty, weights of similar shape to the present SCROLL WEIGHT example were made of precious materials such as jade or gilt-bronze Tianji Wenbao incised four-character mark, 18th century and likely made for use by high-ranking members of society. In this The domed weight finely carved as a mythical bird with a single crest context, these weights were usually produced in sets of four, each in and pointed beak, on a circular base with its wings outstretched as if the shape of a human figure or a mythical animal or bird representing ready for flight, the slightly-flared wings flanking a bulbous body, the one of the four Directions of the Universe. The Red Bird depicted long tail feathers elegantly curled in various directions, all meticulously on the present lot represented South and would have been used in incised with well-defined feathers suggesting vivid movement, the conjunction with the White Tiger symbolising West, the Green Dragon base incised with a four-character ‘Tianji Wenbao’ mark within a dense of the East and the Black Tortoise of the North. Sitting at the centre ground of C-scrolls, the smoothly-polished stone of pale-green tone of a cosmic diagram signified being the pivot and recipient of all the with beige and russet inclusions. forces of the universe, symbolic of the Chinese emperors. 6.1cm (2 3/8in) diam. The present lot is closely related to a line drawing of a bronze weight in £20,000 - 30,000 the shape of a mythical bird, Han dynasty, published in the ‘Catalogue CNY180,000 - 270,000 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 十八世紀 朱雀玉鎮 to reinstate what he believed to be the intrinsic qualities of simplicity, 「天雞文寶」刻款 sincerity and happy exuberance found in the ancient past; see Chang Li-Tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic Provenance: and Pictorial Jades of the Ch’ing Court, Taipei, 1997, pp.49-50. An important European private collection The inscription incised on the underside of the present lot, Tianji 來源： Wenbao, reflects the 18th century trend of paying homage to the 歐洲重要私人收藏 historical past, as it literally translates as ‘Mythical Bird Cultural Treasure’.

The present lot is an outstanding example inspired by an earlier design A gilt-bronze weight similarly shaped as a mythical bird curling above dating to the Han dynasty. This rhythmically-carved bird is remarkable a circular base is in the National Palace Museum, Taipei, acc.no. for its intricate relief decoration in various depths, displaying 000333N. Compare with a related exceptionally rare jade mythical-bird exceptional technique in carving the naturalistic and three-dimensional scroll weight, Han dynasty, illustrated by T.Fok, The Splendour of Jade: rendering of the jade bird. The Songzhutang Collection of Jade, Hong Kong, 2011, pl.74, which was later sold at Bonhams Hong Kong, 30 May 2017, lot 54.

For details of the charges payable in addition to the final Hammer Price of each Lot 44 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 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 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 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 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 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 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 可掬。底部陰刻流動雲紋，中央刻「天雞文寶」篆書款。 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 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 廷之雅：清代仿古及畫意玉器特展圖錄》，台北，1997年，頁49-50。 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 本玉鎮之原型有兩例可資參考，台北國立故宮博物院藏一件漢代銅鎏 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 金朱雀形席鎮，館藏編號000333N；另有一件松竹堂舊藏東漢或以後 件。朱雀是中國傳統文化中的「四靈」之一，和青龍、白虎、玄武共 朱雀玉鎮，收錄於霍滿棠著，《韞玉生輝——松竹堂珍藏玉器》，香 同表示四方，即左青龍（東）、右白虎（西）、前朱雀（南）、後玄 港，2011年，圖版編號74，後於2017年5月30日售於香港邦瀚斯，拍 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 品編號54。 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。

THE H COLLECTION | 45

7 A VERY RARE ARCHAIC BRONZE FOOD VESSEL, YU Late Shang Dynasty, 13th-12th century BC The deep rounded sides crisply cast in high relief with four large taotie masks separated by vertical notched flanges, separating confronted birds on the pedestal foot, the pairs of similar birds below the everted rim divided by small animal masks, all reserved on leiwen bands, with a mottled milky-green patina and some buff earth encrustation, the base cast with two pictograms reading Jiran 己冉. 25.5cm (10in) diam.

£70,000 - 120,000 CNY630,000 - 1,100,000

商晚期 青銅饕餮紋己冉盂

Provenance: Kaikodo, New York, Autumn 2001 A European private collection Christie’s New York, 21 September 2004, lot 153 An important European private collection

Published: Kaikodo Journal, New York, Autumn 2001, no.52, pp.184-185 and 332-335.

來源： 美國紐約古董商懷古堂，2001年秋 歐洲私人舊藏 紐約佳士得，2004年9月21日，拍品編號153 歐洲重要私人收藏

出版著錄： 《懷古堂圖錄》，紐約，2001年秋，編號52，頁184-185及332-335

For details of the charges payable in addition to the final Hammer Price of each Lot 48 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

This vessel has an inscription cast in the interior with two characters 器內鑄「己冉」二字銘文。己應為日名，冉則為族徽文字，表明器主 reading Jiran 己冉, which relates to the powerful clan for which the 所在的族氏。 vessel was produced. 盂為青銅禮器中的盛食器，多見侈口深腹圈足，有獸首耳或附耳，少 The present piece is notable and rare for its exceptionally large size, 量無耳，器形似簋而大。中英文世界對此類器物定名不一，此處沿用 the swelling volume and the crisp decoration of taotie masks beneath 盂的叫法。「盂」字自甲骨文起就以像形造字，形似一手持勺於食物 a band of bovine heads interspersed in relief amidst kui dragons. 容器之上。學者研究認為，盂一般用於存放黍稷等穀物和蔬菜，常與 盛放肉類的鼎搭配使用。 Archaic bronze food vessels, yu are among the most highly prized and technically sophisticated objects manufactured in Bronze Age China. 盂最早出現於商晚期前段，流行於西周，春秋時期尚有所見。此例直 Reserved for use by the most powerful families of the time, they carried 口寬唇無耳，屬商晚期典型器型。深腹，近底內斂，下有高圈足外 offerings of grain and vegetables presented to the ancestors during 撇。頸部與圈足均飾相對變形夔紋，腹部主體紋飾為饕餮紋，怒目圓 the performance of elaborate rituals and were often accompanied 睜，與頸部中心的高浮雕牛首相輔相成。整體紋飾以雷紋填底，多層 in burials by tripod vessels, ding. The role of these elaborate bronze 次的淺浮雕線條勁利，渾然天成。 vessels was fundamental in ensuring the continuity of family lines, as it was believed that ancestors were active participants in the life of their 本例的獨特紋飾，即器身交替出現的饕餮和夔紋飾帶，以及中心的 living offspring, which they could positively influence if provided with 浮雕牛首裝飾，常見於商代晚期高級貴族之用具。商王武丁之寵妻 continuous nourishment. 婦好墓中曾出土一件青銅盂，裝飾風格與本例相似。見蘇芳淑著， 《Shang Ritual Bronzes in the Arthur M. Sackler Collections》，華盛 The extant number of skilfully-made vessels in ancient China testifies 頓，1987年，頁499，圖版96.5。 to a highly-organised bronze casting industry at the time. Hundreds of men were employed in mining, smelting and transporting metal from 一件戴潤齋舊藏商晚期至西周早期青銅盂，售於紐約蘇富比，2011年 mining areas to the capital and the workshops. In addition, the large 3月22日，拍品編號14，可資參考。 quantities of material required and the many stages involved in the casting process depended upon subdividing the tasks among a large number of workmen. No single craftsman contributed to every stage in the production of a particular vessels. Workshops were therefore large in size and specialised mould-makers, casters and finishers were required to make the vessels; see J.Rawson, ‘Bronze Metal Circulation in China’ in Antiquity, vol.91, issue 357, 2017, pp.674-687.

Yu vessels were popular during the late Shang dynasty, particularly during the Yinxu period (circa 13th-11th centuries BC). The physical form of the yu, consisting of a round body rising from a splayed foot, may have derived from a pottery prototype. Unlike the food vessels gui that were prevalent during the succeeding Western Zhou dynasty, yu do not have ring handles. Oracle-bone inscriptions dating to the Shang dynasty depict the yu vessel as a pictograph depicting a food container with a hand holding a spoon, and according to research, this vessel was used specifically for making offering of grains and vegetables, and was often paired with the tripod ding vessels storing cooked meat of various kinds.

Bronze vessels dating to the Shang dynasty were often cast with pictograms, such as the present example. These symbols included birds, weapons or humanoid figures, and usually referred to the names of either the aristocratic owners who commissioned the vessels, or the ancestors to whom the vessel was dedicated.

The three basic designs employed on the present vessel, comprising alternating bands decorated with taotie and kui dragons interspersed with bovine heads, are often found on vessels belonging to the highest-ranking members of society, dating to the later phases of the Shang dynasty. The tomb of Fu Hao (d.circa 1200 BC), favourite consort of the Shang emperor Wu Ding, for example, yielded a bronze yu vessel decorated with similar schemes to the present example, and is illustrated by J.So, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Washington DC, 1987, p.499, fig.96.5.

A related bronze yu vessel, Shang dynasty, formerly in the collection of Dr.A.F. Philips, was sold at Sotheby’s New York, 22 March 2011, lot 14.

50 | BONHAMS

8TP Y A FINE AND RARE HUANGHUALI RECESSED-LEG TABLE, QIAOTOUAN 17th/18th century The table defined by a single plank top panel terminating in everted flanges, fitted to the legs and spandrels using the traditional bridle joint, supported on slightly-flared legs, joined by a recessed panel carved with openwork designs of entwined chilong. 100cm (39 3/8in) wide x 90cm (35 1/2in) high x 36cm (14 1/8in) deep.

£120,000 - 180,000 CNY1,100,000 - 1,600,000

十七/十八世紀 黃花梨翹頭案

Provenance: Grace Wu Bruce, Hong Kong The Feng Wen Tang collection, Hong Kong Christie’s Hong Kong, 3 June 2015, lot 2835 An important European private collection

來源： 香港古董商嘉木堂 香港奉文堂舊藏 香港佳士得，2015年6月3日，拍品編號2835 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 52 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 53 The present table is notable for the attractive grain and rich honey 獨板案面翹頭，連牙條與腿夾頭榫結構，面下直牙，牙條與牙頭一木 colour of its prized huanghuali wood, the intricately-reticulated side 連做，沿口起陽線，花牙頭雕雲雷紋，銜接牙堵成環匝，直腿微微外 panels, and the shaped spandrels which are joined in tongue-grooved 撇，腿間管腳棖下鑲壺門形縧環板，內透雕螭龍紋，底棖下裝平素牙 fashion to the trestle legs, providing additional structural support. 子，香爐式足。

Long narrow rectangular tables with upturned flanges were popular in 案面兩端帶有高起的翹頭，稱之為翹頭案。此類帶托泥、側鑲擋板的 wealthy households during the Ming and Qing dynasty, demonstrating 條案皆屬《長物誌》之「飛角平圓」的「天然几」；常見於明清大戶 the high status of their owners. They are discussed in Wen Zhenheng’s 門第中，無論置於廳堂、兩廂乃至書齋，或陳設珍玩彝器，或書寫作 (1585-1645) influential ‘Treatise on Superfluous Things’ Zhang wu zhi, 畫，或如明文震亨於《長物誌》中所描繪的「置奇石，或時花盆景之 a 17th century guide to refined taste. In this work, Wen mentions that 屬」，用途不一。 such tables were placed against a wall and underneath a painting, holding seasonal flowers, scholar’s rocks or miniature tray-landscapes. 據Sarah Handler所稱，此種兩端高起的矩形桌案的原型最早可追 Although Wen warned against the use of excessive carving, the lively 溯至東周時期的供桌，可見於東周匜上紋飾，參考M.Fong著〈The openwork panels depicting entwined chilong on the present table Origin of Chinese Pictorial Representation of the Human Figure〉， balance the simplicity of the apron and spandrels. 收錄於《Artibus Asiae》，1988年，第49期，頁22，圖4。明以後， 條案大量流行，翹頭的設計既有實用價值，增大了桌案在一室空間內 According to Sarah Handler, the design for this type of rectangular 的存在體量，又呼應了古代傳統，見S.Handler著，〈Side Tables , table derives from altar tables made from as early as the Eastern Zhou a Surface for Treasures and the Gods〉，收錄於《Chinese Furniture: dynasty (771-256 BC). These early tables featured upturned ends and Selected Articles from Orientations, 1984-1999》，香港，1999年， are depicted on archaic bronzes from this period, such as a bronze 頁200-209。 yi vessel dated to the Eastern Zhou period, illustrated by M.Fong, ‘The Origin of Chinese Pictorial Representation of the Human Figure’, 本例擋板精雕細琢，線條旋回流暢，刀法圓熟自如。紐約大都會博 Artibus Asiae, 1988, vol.49, fig.4, p.22. The use of upturned flanges, 物館館藏一件明至清翹頭案，較本例尺寸稍大，同樣雕飾子母螭龍 however, appears to have disappeared prior to the Ming period, when 紋，可資比對；收錄於S.Handler著，《Austere Luminosity of Chinese these long rectangular tables gained popularity. The flanges served Classical Furniture》，柏克萊，2001年，頁237，圖版14.16。另比 as a reference to China’s illustrious past, which enhances the table’s 較清宮舊藏一件明黃花梨翹頭案，見《故宮博物院藏文物珍品大係明 commanding presence within the rooms; see S.Handler, ‘Side Tables, 清家具》，香港，2002年，頁156-157，編號136；以及一件明翹頭 a Surface for Treasures and the Gods’, in Chinese Furniture: Selected 案，見艾克著，《Chinese Domestic Furniture》，拉特蘭、佛蒙特及 Articles from Orientations, 1984-1999, Hong Kong, 1999, pp.200-209. 東京，1962年，圖版82。

The carved designs on this table display bold vigour and freedom. 一件十七至十八世紀黃花梨翹頭案，較本例稍大，售於倫敦蘇富 Compare the combination of interlocking angular scrolls on the shaped 比，2015年11月11日，拍品編號8。 spandrels and the unusual depiction of a male, female and young chilong as seen on a related but larger qiaotouan table, Ming/Qing dynasty, in the Metropolitan Museum of Art, New York, illustrated by S.Handler, The Austere Luminosity of Chinese Classical Furniture, Los Angeles and London, 2001, p.237, fig.14:16. See also a related huanghuali table, Ming dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum. Furniture of the Ming and Qing Dynasties, Hong Kong, 2002, pp.156- 157, no.136. A further example, Ming dynasty, is illustrated by G.Ecke, Chinese Domestic Furniture, Rutland, Vermont and Tokyo, 1962, pl.82.

A related but larger huanghuali recessed-leg table, qiaotouan, 17th/18th century, was sold at Sotheby’s London, 11 November 2015, lot 8.

54 | BONHAMS THE H COLLECTION | 55 9 A RARE GOLD-SPLASHED BRONZE ELEPHANT-HEAD- Heavily cast with a rounded body rising from a short spreading foot HANDLED INCENSE BURNER, GUI and finely decorated with irregular spots and flakes of gold, the present Gu Shi mark, 17th/18th century vessel is notable for its subtle elegance and pleasing overall appearance. The vessel heavily cast with an inverted bell-shaped body decorated with a bowstring band around the mid-section, flanked by a pair of Compare with a related but larger bronze incense burner cast on the elephant-head handles, the burner of olive-brown colour with splashes base with a three-character Xuande mark, 17th/18th century, which of gold, the recessed base cast with a two-character inscription Gu was sold at Sotheby’s Hong Kong, 3 October 2018, lot 3675. See also Shi translating as ‘Archaic Style’. two bronze incense burners with elephant-shaped handles, Xuande 15cm (5 7/8in) wide. marks, 17th/18th century, illustrated in Kumamoto City Museum, Special Exhibition of Carved Ivory and Bronze Incense Burners in £12,000 - 15,000 the Collection of the National Museum of History, Kumamoto, 1997, CNY110,000 - 140,000 nos.217 and 218.

簋式爐形，口平而微侈，筒形腹，高束脛，直立圈足。肩頸部出雙象 十七/十八世紀 銅灑金象耳簋式爐 耳，象鼻與爐身相連。通體灑金，參差錯落。爐底鑄「古式」二字篆 「古式」篆書款 書款。象耳爐之器型，取「太平有象」之意，寓意吉祥。

Provenance: 比較一件與本例相關但尺寸稍大的十七至十八世紀銅象耳簋式爐， Christie’s Hong Kong, 6 April 2015, lot 153 「宣德年製」仿款，售於香港蘇富比，2018年10月3日，拍品編號 An important European private collection 3675。另有兩例十七至十八世紀銅象耳爐，皆鑄有宣德仿款，收錄

於熊本市立博物館，《Special exhibition of carved ivory and bronze 來源： incense burners in the collection of the National Museum of History》， 香港佳士得，2015年4月6日，拍品編號153 熊本，1997年，編號217與218。 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 56 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 10 A FINE LARGE ZITAN LOTUS-SHAPED This well-proportioned brushpot is a fine and 紫檀為材，雕挖呈六瓣式。敞口，平沿，口 BRUSHPOT, BITONG rare example of a scholar’s classic object. It 沿起寬棱，倭角線由口沿向下延伸至底部隨 18th century served the essential function of holding the 弧形凸出，各瓣中心向下延續為六腳支承。 The vessel deftly carved with barbed sides brushes that allowed a scholar to engage in divided into twelve bracket lobes, supported the art of calligraphy and landscape and still- 紫檀自古就是中國最為名貴的木材。本器六 on a foot of corresponding lobes rising from life painting. In addition to playing a functional 方六棱，餘則光素無紋，惟以本然之紋理與 five ruyi feet, the lustrous precious wood role, the brushpot fulfilled the aesthetic taste 渾厚之包漿為飾，簡潔素雅，協調規整，上 patinated to a deep brown tone. of the literati because of its organic material 下相應，婉轉相因。置於文人案頭，朝夕相 19cm (7 1/2in) diam. which helped a scholar to reconnect with 伴，摩挲觀賞，是以澄懷觀道，以達悠遊隱 the natural world. Escaping to nature was 逸自然。 £16,000 - 20,000 a central theme of the literatus scholar as CNY140,000 - 180,000 this provided him with an escape from the 一例十七至十八世紀紫檀葵瓣式嵌銀筆筒， mundane world of current affairs to an ideal 造型與本例相似，見伍嘉恩著，《木趣居： environment where he could reaffirm his 家具中的嘉具》，北京，2017年，頁442。 十八世紀 紫檀葵瓣式筆筒 identity as poet, philosopher and calligrapher. 另有一例十八至十九世紀紫檀葵瓣式筆筒， Provenance: Zitan (‘purple sandalwood’), alongside 售於紐約蘇富比，2016年3月15日，拍品編號 Nicholas Grindley, no.1004.18 (label) huanghuali was the finest type of wood at the 24，可資比對。 Wilson collection, no.C94 (label) time, and is the most dense and slow-growing Christie’s New York, 17 March 2016, The of hardwoods used to create objects for the Ian and Susan Wilson Collection of Scholar’s scholar’s desk. Therefore, zitan brushpot of Objects, lot 1164 such impressive size as the present lot are An important European private collection particularly rare. A related zitan lobed brushpot, 17th/18th century, is illustrated by G.Wu Bruce, 來源： The Best of the Best. The MQJ Collection of 倫敦古董商Nicholas Grindley，編號1004.18 Ming Furniture, Hong Kong, 2017, p.442. （標籤） 威爾遜伉儷舊藏，藏品編號C94（標籤） Compare with a similar zitan lobed brushpot, 紐約佳士得，2016年3月17日，拍品編號1164 18th/19th century, which was sold at 歐洲重要私人收藏 Sotheby’s New York, 15 March 2016, lot 24.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 57

11TP Y AN IMPORTANT AND EXCEEDINGLY RARE HUANGHUALI RECTANGULAR DAY-BED, TA Circa 1550-1600 The well-proportioned bed with a moulded frame of standard miter, mortise and tenon construction enclosing a soft-mat platform with five bowed stretchers underneath, above square-section corner legs ending in inward-turning hoof feet and joined by humpback stretchers. 213cm (83 7/8in) long x 63cm (24 7/8in) deep x 54cm high (21 2/in).

£700,000 - 1,000,000 CNY6,320,000 - 9,030,000

約1550-1600年 黃花梨榻

Provenance: Ming Furniture Ltd., New York, 1991 David S. Utterberg (1947-2020) and Nayda Utterberg, Seattle Sotheby’s New York, 16 March 2016, lot 227 An important European private collection

Published and Illustrated: S.Handler, ‘Outstanding Pieces in Private Rooms: Chinese Classical Furniture in New American Collections’, Orientations, January 1993, fig.4. S.Handler, Ming Furniture in the Light of Chinese Architecture, Berkeley, 2005, p.101.

來源： 1991年，前藏家購自紐約古董商明代家具有限公司 美國西雅圖David S. Utterberg（1947-2020）及Nayda Utterberg 伉儷舊藏 紐約蘇富比，2016年3月16日，拍品編號227 歐洲重要私人收藏

出版著錄： S.Handler，〈Outstanding Pieces in Private Rooms: Chinese Classical Furniture in New American Collections〉，《Orientations》，1993年1 月刊，香港，編號4 S.Handler，《Ming Furniture in the Light of Chinese Architecture》， 美國伯克利，2005年，頁101

For details of the charges payable in addition to the final Hammer Price of each Lot 60 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

Classical and elegant in its linearity and simplicity, the present daybed dating to around this period, show the most significant figures seated is an exceptionally early and rare example fashioned from a single on raised platforms; see for example Wang Zengxin, ‘Liaoyangshi huanghuali plank of unusually large size. Bangtaizi er hao bihua mu (Wall painting in tomb no.2, Bangtaizi, Liaoyang)’, Kaogu, 1, 1960, p.22. Due to its simple design and light weight, the raised platform was used since the earliest historical phases of Chinese history. It was a highly By the Ming dynasty, platforms supported on four legs (as opposed to versatile piece of furniture, elevated above the draughts and dampness the more typical box-like construction of earlier periods) became highly of the floor, and thus easily suited for both indoor and outdoor popular and were constructed in various sizes. Platforms supported purposes. Platforms could be large enough to accommodate a group on four legs could be larger and heavier structures which were no of people of just the right size for one, such as the present example. longer easily moved. At this time, platforms were often referred to as Unencumbered by railings, canopies and having to stay in one place, ‘Single-Sleeps’ Dushui, which the Ming connoisseur Wen Zhenheng platforms (unlike couchbeds, canopy beds or even kang tables) are mentioned in his ‘Treatise on Superflous Things’ Zhang Wu Zhi. See probably the very best and most classical examples of the elemental Wen Zhenheng, Treatise on Superfluous Things, Nanjing, 1984, p.241. form of Chinese furniture. Although Chinese beds such as the present example have been The oldest platforms in China appear to date to the Anyang period referred to as ‘day-beds’ in the West, they were used for both daytime of the Shang dynasty (13th-11th BC). They were made in marble sitting and night-time sleeping. Paintings and woodblock prints dating and bronze and supported precious bronze ritual vessels. By the to the Ming dynasty often depict scholars or court ladies sitting on Han dynasty, platforms indicated social status and served as seats their daybeds in garden settings or along riverbanks. See for example, for dignitaries. Numerous depictions of banquet scenes, in burials ‘Reclining on An Incense Fumigator’ by Chen Hongshou (1599-1652),

62 | BONHAMS in the Shanghai Museum. Here, a lovesick court lady is depicted sitting See a related huanghuali single-bed, Ming dynasty, late 16th/early 17th on a platform with slender horse-hoof feet, appearing to converse with century, displaying a waisted frame and lacking the side stretchers, a parrot looking down from his elegant metal pedestal. In addition, illustrated by G.Ecke, Chinese Domestic Furniture, London, 1962, a woodblock illustration by Ding Yunpeng (1547-c.1621) depicts a pl.19.15. Two other examples are illustrated by S.Handler, Austere scholar joyfully ensconced with his book and scroll on a large platform. Luminosity of Chinese Classical Furniture, Berkeley and Los Angeles, Leaning on a semi-circular armrest, he appears to be waiting for the 2001, p.116 and by R.H.Ellsworth, Chinese Furniture: Hardwood refreshments being carried by his attendant. Finally, ‘Waves on the Examples of the Ming and Early Ch’ing Dynasties, New York, 1971, Bank’, a handscroll by Shen Zhou (1427-1509) shows a contemplative no.38, p.146. Finally, a pottery miniature figure of a platform exhibiting scholar seated on a platform in front of a large single-panel screen a similar frame to the present example, in the Shanghai Museum, before the open door of his country retreat overlooking a small stream; Shanghai, was unearthed from the Ming dynasty tomb of Pan Yuan see S.Handler, Austere Luminosity of Chinese Classical Furniture, Zheng (1589), illustrated by Wang Shixiang, Connoisseurship of Berkeley, 2001, p.117, fig.8.15, p.118, fig.8.18 and p.121, fig.8.22. Chinese Furniture, Hong Kong, 1990, vol.1, pl.1.3a.

The patrons of Ming furniture makers preferred simple lines and Furniture made of exceptionally large single-planks of huanghuali structural simplicity to elaborate carving and sumptuous decoration. In wood would have been extremely rare and expensive to make at addition, at the time, the strength rather than the grain of the wood, was the time, and is still highly expensive today. See, for example, a considered the most important feature of platforms, so they were often magnificent and very rare massive huanghuali plank-top pedestal constructed with the wood obtained from the centre of the tree, which table, 17th/18th century, which was sold at Christie’s New York, was less prone to warping if it had been aged and cured for a long time. 22 March 2013, lot 1323.

THE H COLLECTION | 63 (underside)

榻為四面平式，羅鍋棖，有馬蹄，榻面鑲籐編軟屜，以五根硬木穿帶 支承，結構簡練，工藝精巧。明式的榻，現存者多為有束腰式，如本 例無束腰且以方材製作者，殊為罕有。

床無圍曰「榻」。由於設計簡練、質量輕便，此類坐臥用具在中國家 具史上很早就佔據了一席之地。略高於地面的高度為使用者隔絕了地 面的陰冷潮濕，也因此更具普適性，無論是臥室書齋還是亭台軒榭， 皆可安放。除少量寬者可供多人休憩外，大多如同本例，只宜供一人 睡臥。有別於羅漢床、架子床和炕，榻之上不設任何圍子、立柱、頂 棚等裝置，可謂明韻簡約之風的最佳示例。

榻作為家具陳設起源極早，殷商時期以石材和青銅製成，用來放置青 銅禮器。至漢代時，已成為像徵使用者地位尊貴的坐具；此時期出土 的墓葬中，有許多宴會場景都描繪了席間最重要的人物坐於榻上。見 王增新著，〈遼陽市棒台子二號壁畫墓〉，《考古》1960年01期， 頁22。

Qian Gu (1508-1572), ‘Playing Weiqi in the Bamboo Pavilion’, 直至明朝，先前帶托泥的台座式榻體已極為少見，四足著地支撐的榻 1566, detail of a hanging scroll, Liaoning Provincial Museum 開始流行。王世襄先生在《明式傢俱研究》中提及，「榻一般較窄， 錢轂（1508-1572年），《竹亭對棋圖》（局部），一五六六年 除個別寬者外，匠師們或稱之曰『獨睡』，言其只宜供一人睡臥。文 作，藏於遼寧省博物館 震亨《長物誌》中有『獨眠床』之稱，可見此名亦有來歷。」 亦見文 震亨著，《長物誌》，南京，1984年，頁241。

明代的書畫及木刻版畫中也常有描繪文人或仕女在庭園內溪林邊休憩 於臥榻之上的情景。上海博物館館藏明代畫家陳洪綬作《斜倚薰籠 圖》軸，可見一婦人懷抱細竹篾條編制成的熏籠，擁被斜倚於榻上；

64 | BONHAMS Lot 11 illustrated by S.Handler, Ming Furniture in the Light of Chinese Architecture, Berkeley, 2005, p.101. 本拍品收錄於S.Handler著，《Ming Furniture in the Light of Chinese Architecture》，伯克萊，2005年，頁101

榻身四面平、馬蹄足，簡練優美。另一幅明代畫家丁雲鵬所作木刻版 畫中，則刻畫了一位文人倚坐在書齋內寬大的臥榻之上，身旁擺滿書 卷，等待他的侍從奉上茶點。蘇州博物館藏明沈周《岸波圖卷》也描 繪了波委雲集的水岸邊草堂內，一逸士合手獨坐於榻上，望向密林山 川的情景。見S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，伯克利與洛杉磯，2001年，頁117，圖8.15、頁118，圖 8.18、及頁121，圖8.22。

相較於繁複的雕刻和華麗的裝飾，明代家具更多見明快的線條和簡約 的結構。此外，出於的實用的考量，人們認為選擇製作榻的材料最重 要的要素應該是木材的強度，而非紋理，因此通常選取樹木中心的部 分製作榻體，這樣即便經年累月也不易變形。

參考一具與本例相關的明十六世紀晚期至十七世紀早期黃花梨榻，但 有束腰且無邊棖，收錄於艾克著，《Chinese Domestic Furniture》， 倫敦，1962年，圖版19.15。另有兩例可見S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，伯克利與洛杉磯，2001 年，頁116，及安思遠著，《Chinese Furniture: Hardwood Examples of the Ming and Early Ch’ing Dynasties》，紐約，1971年，編號38， 頁146。以及上海博物館館藏之明潘允徵墓出土一件微型榻，形制可 為參考，見王世襄著，《明式家具研究》，香港，1990年，卷一， 圖版1.3a。

形如本例尺寸巨大的黃花梨家具，以整木大料製成，殊為珍罕，無論 在當時還是現今市場上都極為少見。紐約佳士得曾於2013年3月22日 售出一件十七至十八世紀黃花梨架几案，拍品編號1323，可供參考。

Chen Hongshou (1599-1652), ‘Reclining on An Incense Fumigator’ 陳洪綬（1599-1652年），《斜倚薰籠圖》

THE H COLLECTION | 65 12 A LARGE LONGQUAN CELADON-GLAZED RIBBED DISH Compare with a related Longquan celadon-glazed dish, Yuan to Ming 15th century dynasty, in the British Museum, London, decorated with an impressed The shallow rounded sides rising from a short foot to an everted rim lotus medallion and incised rib well, illustrated by J.Harrison-Hall, with raised edge, the interior press-moulded with a central floral spray Ming Ceramics, London, 2001, p.484, no.16:56. A related Longquan encircled by lobes in the well, covered overall in a vibrant sea-green celadon-glazed carved ‘lotus’ dish, 15th century, was sold at Christie’s glaze except the base which has a ring burnt orange in the firing. Hong Kong, 20 November 2011, lot 3022. 38cm (15in) diam. 參考倫敦大英博物館藏一例相關的元至明龍泉窯青釉盤，內壁中心 £4,000 - 6,000 同樣模印蓮花紋飾，見J.Harrison-Hall著，《Ming Ceramics》，倫 CNY36,000 - 54,000 敦，2001年，頁484，編號16: 56。另見一件十五世紀龍泉窯暗刻蓮紋 盤，售於香港佳士得，2011年11月20日，拍品編號3022，可資參考。 十五世紀 龍泉窯青釉模印花卉紋盤

Provenance: An important European private collection

來源： 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 66 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 13 A LONGQUAN CELADON-GLAZED Intricately decorated with moulded designs Compare with a related Longquan celadon- BARREL-SHAPED GARDEN SEAT, of blossoming peonies, the present stool glazed barrel-shaped garden seat illustrated ZUODUN represents functionality in an auspicious by A.Du Boulay, Christie’s Pictorial History of 15th/16th century fashion. Its form probably derived from Song Chinese Ceramics, New Jersey, 1984, p.100, The sides boldly moulded with designs of dynasty cane stools, which were constructed no.2. a flowering peony plant growing from leafy by bending lengths of cane into oval shape scrolling stems, set between rows of raised lines and fastening them together. The original 此類瓷製坐墩沿襲宋制，既保留有來自藤墩 applied with florets and further bands of foliate form eventually evolved into a barrel shape 的開光，又有來自鼓腔釘蒙皮革的鼓釘裝 meander, the slightly-domed top moulded with during the Ming dynasty; see Wang Shixiang, 飾。見王世襄著，《明式家具研究》，卷 trellis pattern in imitation of a cane seat, covered Connoisseurship of Chinese Furniture, vol.1, 一，香港，1990年，頁34-35。主體以牡丹 overall in a rich sage-green glaze. Hong Kong, 1990, p.34-35. 為飾，開光內兩枝相交，層層綻放，雍容華 40cm (15 6/8in) high. 貴，姿態萬千。再加青瓷釉層豐潤，光澤柔 The profusion of blossoming peonies fugui 和，美不勝收。 £9,000 - 12,000 represents auspicious symbolism relating to CNY81,000 - 110,000 wishes for happiness, wealth and honour. In 比較一例相關的龍泉窯青釉坐墩，收錄於 addition, due to the homophonic nature of A.Du Boulay著，《Christie’s Pictorial History Chinese language, the characters fu and gui of Chinese Ceramics》，新澤西，1984年， 十五/十六世紀 龍泉窰青釉刻開光牡丹圖坐墩 with a different tone can be spoken the same 頁100，編號2。 as, respectively, the words meaning happiness Provenance: and riches. An important European private collection

來源： 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 67

14TP Y A FINE PAIR OF HUANGHUALI YOKEBACK ARMCHAIRS, NANGUANMAOYI 17th century Each with a curved crest rail supported on curved rear posts and s-shaped splats, the arm rails supported on slender, tapering standing stiles terminating in the front posts above the soft-mat seat, above a plain apron of square section, all raised on legs of square section joined by straight stretchers and a plain footrest. 122cm (48in) high x 61.5cm (24 2/8in) wide x 47.5cm (18 5/8in) deep. (2).

£190,000 - 240,000 CNY1,720,000 - 2,170,000

十七世紀 高靠背南官帽椅成對

Provenance: An important European private collection

來源： 歐洲重要私人收藏

Illustration from Jin Ping Mei (Plum in the Golden Vase), 1628-1644 《金瓶梅》插圖版畫，1628-1644年

For details of the charges payable in addition to the final Hammer Price of each Lot 70 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 71 Displaying restrained lines and generous yet balanced statuesque 此對南官帽椅全身光素，彎弧優美，屬於高靠背南官帽椅的標準式。 proportions, and enhanced by the rich lustre of the huanghuali honey- 搭腦中成枕形，素麵三彎靠背板嵌入搭腦下方及椅盤後大邊的槽口。 coloured wood, the present pair of chairs embodies the search for 後腿上截以挖煙袋鍋榫連接搭腦兩端，向下穿過椅盤成為腿足；三彎 simplicity through the beauty and elegance of form, quintessential 弧形的扶手與前腿鵝脖同樣也以挖煙袋鍋榫連接，後端出榫接入後腿 embodiments of the Ming dynasty timeless aesthetic. 上截，中間支以三彎形上細下大的圓材聯幫棍。椅盤為格角榫攢邊 框，邊抹冰盤沿上舒下斂底壓窄邊線，四框內緣踩邊打眼造軟屜。 The ‘Southern official’s hat’ armchair is one of the most prestigious 座面下安券口牙子，沿邊起線，上方齊頭碰椅盤下面，二側嵌入腿 forms of Chinese furniture. Whereas many armchairs of this form 足，底端出榫納入踏腳棖。左右兩面安相似券口牙子，後方為短牙 feature thick members and rigid lines, the present pair, displaying 子。腿間施步步高趕棖，踏腳棖及左右兩側管腳棖下各安一素牙子。 slender and elegant curves, has a most refined aesthetic, and represents among the most graceful examples of this design. 作為中國古典家具中最負盛名的形式之一，南官帽椅線條優美、造型 The entirely uncarved surfaces also suggests that the carpenter 舒展，通過明快而優雅的形式體現了明代家具簡練、純粹的美學追 appreciated their beauty in form and material. 求。此對高靠背南官帽椅結構嚴謹、用材細緻，既通過造型高大顯示 其挺拔俊秀，又兼具靈動線條傳達出的娟秀雅緻；寬厚的靠背板紋理 This particular design of nanguanmaoyi chairs differs from the ‘official’s 流暢，亮澤如蜜，更見木材天然韻致，盡現傳統中國家具之經典。 hat’ armchair guanmaoyi in that the crestrails continue into the back posts, as opposed to extending horizontally beyond them. In addition, 官帽椅有搭腦和扶手都出頭的「四出頭」、以及四處無一出頭的南官 creating the continuous line of the crestrail joining into the rear upright 帽椅之別；南官帽椅的搭腦、扶手和前後腿以悶榫角接合的正角榫接 posts is achieved by a rounded, right-angle joint called a ‘pipe-joint,’ 做法，匠師據其形象稱之為「挖煙袋鍋」。據Sarah Handler考證， which is also used to join the curved arms to the front upright posts. 官帽椅主要為供奉神明及王公貴族坐用，見S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，伯克利，2001年，頁43。 According to Sarah Handler, the Chinese yokeback chair was Robert Jacobsen和Nicholas Grindley則認為，此類坐具或源自宋明時 considered the stately seat of Buddhists, deities, royalty and important 期的竹製家具；刊行於約1570年的《玉簪記》插圖版畫中就描繪了一 people; see S.Handler, Austere Luminosity of Chinese Classical 對湘妃竹製高靠背椅，搭腦亦不出頭而向下彎扣，見R.D.Jacobsen與 Furniture, Hong Kong, 2001, p.43. Discussing the origin of this N.Grindley著，《明尼阿波利斯藝術館藏中國古典家具》，明尼阿波 form, Robert Jacobsen and Nicholas Grindley refer to bent bamboo 利斯，1999年，頁52-53。 construction, popular in the Song and Ming dynasties, as a possible inspiration for the continuous top and arm rails which is a principal 明尼阿波利斯藝術館館藏一對十七世紀早期黃花梨南官帽椅，比例及 feature of ‘Southern official’s hat’ armchairs. An illustration from the 券口牙子裝飾與本拍品極似，可資比對，見R.D.Jacobsen與N.Grindley ‘Legend of the Jade Hairpin’ Yuzan Ji, dated circa 1570, depicts a 著，《明尼阿波利斯藝術館藏中國古典家具》，明尼阿波利斯，1999 pair of speckled-bamboo tall-back chairs with continuous crestrails; 年，頁52-53。另見一對近乎相同的十七世紀黃花梨南官帽椅，售於香 see R.Jacobsen and N.Grindley, Classical Chinese Furniture in the 港佳士得，2012年11月28日，拍品編號2026。 Minneapolis Institute of Arts, Minneapolis, 1999, pp.52-53.

Compare with a pair of very similar huanghuali ‘Southern official’s hat’ armchairs, early 17th century, of similar proportions and shaped aprons and spandrels as the present examples, in the Minneapolis Institute of Arts, illustrated by R.Jacobsen and N.Grindley, Classical Chinese Furniture in the Minneapolis Institute of Arts, Minneapolis, 1999, pp.52-53. See also another nearly-identical pair of huanghuali ‘Southern official’s hat’ armchairs, 17th century, which was sold at Christie’s Hong Kong, 28 November 2012, lot 2026.

72 | BONHAMS THE H COLLECTION | 73 The Major-General Sir Neill Malcolm Early Western Zhou DynastyYo u

Major-General Sir Neill Malcolm (1869-1953) Neill Malcolm少將（1869-1953年）

The Malcolm Collection of Chinese early bronzes, ceramics and works Malcolm氏的高古青銅器和陶瓷等中國藝術品收藏，乃是上世紀二 of art was one of the most important private collections of its type 十至四十年代英國最為重要的中國藝術私人鉅藏之一。如Dugald formed in England during the 1920s-1940s. As described by Captain Malcolm上尉在1977年蘇富比專拍圖錄前言中所述，Neill Malcolm少 Dugald Malcolm in the foreword to the 1977 Sotheby’s catalogue, his 將於1896年首次進入中國，但直至1919年才在柏林購入第一件藏品。 father Sir Neill Malcolm first went to China in 1896. Starting from Leh in 其於1921至1924年在新加坡履職，一戰及二戰期間也曾多次造訪北 Kashmir, the journey to Beijing took seven months. His first purchases 京，購買古董，但其大部分收藏還是購自倫敦。1935至1936年，中國 were made in Berlin in 1919 and then later when he served in 藝術國際博覽會於倫敦皇家藝術學院舉辦，Malcolm少將任執行委員 Singapore (1921-1924). Between the First and Second World Wars he 會委員之一，並借展了所藏16件藏品。1953年Malcolm少將逝世後， visited Beijing a number of times and made a few purchases, although 其藏品先後出借於倫敦大學下屬的考陶爾德學院與大維德中國藝術基 the bulk of the collecting took place in London. Sir Neill Malcolm was 金會，供學者們研究學習，直至1977年於蘇富比盡數專場釋出。 a member of the Executive Committee of the 1935-1936 Exhibition at the Royal Academy and lent 16 pieces himself. Since 1953 and prior to being sold in 1977, the collection was on loan to London University, first to the Courtauld Institute and then at the Percival David Foundation, which made the collection available for study to scholars.

74 | BONHAMS

15 A VERY RARE ARCHAIC BRONZE RITUAL WINE VESSEL AND COVER, YOU Early Western Zhou Dynasty, 10th century BC The vessel of oval section fitted with a pair of loops attached to the arched handle ending with animal-mask terminals, cast in shallow relief on each side with a pair of kui dragons confronting an animal mask, all reserved on a leiwen band between two rows of circles, the cover similarly decorated beneath a segmented finial, both the inner body and cover cast with an eight-character inscription reading Menge Shou zuo fuyi zunyi, the surface with light malachite and cuprite encrustations. 30cm (11 6/8in) high. (2).

£120,000 - 150,000 CNY1,100,000 - 1,400,000

西周早期，公元前10世紀 青銅夔龍紋獸首提梁卣

The inscription Douge Shou zuo fuyi zunyi 鬥戈 守作父乙尊彝 may be translated as ‘Shou of Douge made this precious ritual vessel as a sacrifice for ancestor Father Yi’.

Provenance: 來源： Major-General Sir Neill Malcolm (1869-1953), KCB, DSO 爵級司令勳章及傑出服務勳章 人Neill Malcolm少將（1869-1953年） Captain Dugald Malcolm (1917-2000), CMG, CVO, TD 舊藏 Sotheby’s London, The Malcolm Collection: Ancient Bronzes, 聖米迦勒及聖喬治勳章三等勳爵士Dugald Malcolm上尉（1917-2000年） 29 March 1977, lot 17 舊藏 Hartman Rare Art, New York 倫敦蘇富比，「Malcolm收藏中國青銅禮器」專場拍賣，1977年3月 Christie’s London, 10 December 1990, lot 2 29日，拍品編號17 Christie’s New York, 18 September 1997, lot 324 紐約古董商Hartman Rare Art An important European private collection 倫敦佳士得，1990年12月10日，拍品編號2 紐約佳士得，1997年9月18日，拍品編號324 Exhibited: 歐洲重要私人收藏 Dartington Hall, Exhibition of Chinese Art, 9 July- 14 August 1949, Catalogue, no.1 展覽記錄： Oriental Ceramic Society, Exhibition of Early Chinese Bronzes, 1951, Dartington Hall，「Exhibition of Chinese Art（中國藝術展）」，1949 Catalogue, no.70 年7月9日-8月14日，《圖錄》，編號1 倫敦東方陶瓷學會，「Exhibition of Early Chinese Bronzes（早期中國 Published: 青銅器展）」，1951年，《圖錄》，編號70 Dartington Hall, Chinese Art, 1949, Catalogue, no.1 Oriental Ceramic Society, Exhibition of Early Chinese Bronzes, 1951, 出版著錄： Catalogue, no.70 Dartington Hall，《中國藝術展圖錄》，1949年，編號1 Y. Liu and Y. Lu, Jinchu yinzhou jinwen jilu (Corpus of Recently 倫敦東方陶瓷學會，《早期中國青銅器展圖錄》，1951年，編號70 Discovered Inscriptions from the Yin & Zhou Dynasties), vol.3, Beijing, 劉雨，盧岩，《近出殷周金文集錄》，卷三，北京，2002年，頁57， 2002, pl.597, p.57 圖版597 T. Wang and Y. Liu, A selection of early Chinese bronzes with inscriptions 汪濤，劉雨，《流散歐美殷周有銘青銅器集錄》，上海，2007年， from Sotheby’s and Christie’s sales, Shanghai, 2007, pl.146 圖版146 Z. F. Wu, Shangzhou qingtongqi mingwen ji tuxiang jicheng (Corpus of 吳鎮烽，《商周青銅器銘文暨圖像集成》，上海，2016年，卷24， Inscriptions and Images of Bronzes from the Shang & Zhou Dynasties), 頁131，圖版13217 Shanghai, 2016, vol.24, p.131, pl.13217

For details of the charges payable in addition to the final Hammer Price of each Lot 76 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

Outstanding for its remarkably-preserved crisp decoration of the leiwen According to Robert Bagley, the oval shape of you vessels, which the pattern, which complements the elegant and slightly compressed present example displays, did not appear until after the first century of form of the pear-shaped body, the present vessel displays the features the Anyang period (1600-1046BC) and could greatly vary from a taller, traditionally associated with bronze production of the early Western to a cylindrical, square and even animal shape standing on four legs Zhou dynasty. and cast with a long spout; see R.Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Washington, 1987, p.374. The you was one of the most important wine vessels of the late Shang and Zhou periods. Together with other bronze vessels By the Western Zhou period (circa 1046-771 BC) the basic shape of the manufactured for holding food and wine, the you formed part of the you was slightly modified; its profile became more compact and its oval ritual paraphernalia employed during the performance of important section more squared. Although contemporaneous examples slightly sacrifices to the ancestors of the highest-ranking families of the time. differed in proportion and profile, as well as in the shape of the handle These vessels were often cast with inscriptions recording the land and and the knob, the linear decoration of the present you is closer to late regional affiliations of the ancestors and their wider families. Honoured Shang examples lacking the flanges and decorated only with narrow and commemorated through the use of these precious vessels, bands of design around the cover, shoulder and foot, leaving the main the ancestral spirits were encouraged to confer blessings on their body plain. For a discussion about the different typologies of you dating descendants; whilst at the same time, the use of the vessel displayed, from the late Shang period, see R.Bagley, Shang Ritual Bronzes in the to the living, the power and wealth of their deceased owner. Arthur M. Sackler Collections, Washington, 1987, pls.68-70.

The number of vessels owned by a noble of the late Shang and By the end of the Middle Western Zhou period, the you disappeared Zhou periods numbered from twenty to forty-five pieces. Rarely from the repertoire of bronze vessels used for ritual purposes, along would these vessels have been of exactly the same date or cast with other wine vessels such as zun and jue. The nature and reason with closely-related decoration; but all were nonetheless products for this development are obscure; however, they may be explained of a readily-intelligible system that depended on the replication of in terms of religious reform spurred by political reasons. The political design elements from one generation to the next. By owning and and economic turmoil that accompanied the latter part of the Western using vessels that called to mind more remote eras, the patrons Zhou may have in fact triggered a concern with the stability of the state could reach back beyond the immediate past so they could and with rituals as means of ensuring cohesion; see J.Rawson, ‘Late associate themselves with earlier generations and their deeds; see Western Zhou. A Break in the Shang Bronze Tradition’, in Early China, J.Rawson, ‘Reinventing Ancient Ornament and the Presence of the 1985-1987, vols.11 and 12, pp.289-296. Past: Examples from Shang and Zhou Bronze Vessels’, in Wu Hung, Reinventing the Past. Archaism and Antiquarianism in Chinese Visual Compare with a similar archaic bronze vessel and cover, you, Western Art and Culture, Chicago, 2010, pp.47-76. Zhou dynasty, illustrated by R.Bagley, Shang Ritual Bronzes in the Arthur M.Sackler Collections, Washington, 1987, p.402, fig.71.1. Another Despite the early occurrence of the term you in Shang oracle-bone related bronze vessel and cover, you, early Western Zhou dynasty, is inscriptions and Western Zhou bronze inscriptions which refer to a illustrated by J.Rawson in Western Zhou Ritual Bronzes from the Arthur vessel employed for storing aromatic wine, the association of the M. Sackler Collections: vol.IIB, Washington, 1995, p.494, pl.68. term you with the shape of the current example appears to date to later times. By the Northern Song period, the ‘Catalogue of Illustrated A related archaic bronze you, early Western Zhou dynasty, was sold at Antiques’ Kaogutu employed you to define eight different bronze Sotheby’s New York, 21 March 2018, lot 584; see also a mid Western vessels of similar shape to the present example; see Wang Tao, Zhou bronze you of similar shape but with different motifs, which was Chinese Bronzes from the Meiyintang Collection, London, 2009, p.62. sold at Christie’s New York, 23 March 2012, lot 1524.

卣圓鼓腹，圈足，蓋穹頂。蓋、器皆飾單層變形夔紋，以雷紋填地， 至西周時，形如本例身呈梨形、頸帶提樑的樣式開始流行。但紋飾仍 上下飾連珠紋一周。器身連珠紋之下再起弦紋一匝，正中鑄有浮雕獸 舊保持了商晚期的裝飾風格，多以雷紋作地，夔龍紋或鳳鳥紋為主題 首以作中軸。器以半環銜接提梁，提梁兩端雕飾獸首，表面同樣飾夔 的帶飾環繞蓋、頸一周，器身餘無他飾。有關商晚期以來青銅卣的不 紋及雷紋，中心起扉棱。圈足飾弦紋兩匝。 同類型，參考R.Bagley著，《Shang Ritual Bronzes in the Arthur M. Sackler Collections》，華盛頓，1987年，圖版68-70。 卣為古代重要的盛酒器。《詩經》有云，「秬鬯一卣」。秬鬯是古代 祭祀神靈時用的酒，以香草與黑黍釀製而成，色黃而芳香，後更成為 西周中期以後，青銅酒器種類銳減，包括卣、尊、爵等逐漸銷聲匿 漢晉時期皇帝賜給諸侯、大臣有殊勳者的「九錫」之一；卣即指盛放 跡。其中原因尚不明晰，一說西周後期統治階層為穩定時局，改革 秬鬯的酒器。雖然在殷墟甲骨文卜辭、先秦文獻乃至如毛公鼎銘文 了祭祀形式。見J.Rawson著，〈Late Western Zhou. A Break in the 等西周金文中都有「卣」的存在，但出土青銅器中尚未發現自命為 Shang Bronze Tradition〉，收錄於《Early China》，卷11及12，1985- 「卣」的器物。北宋時期，呂大臨所著《考古圖》始將八件如此器型 1987年，頁289-296。 的青銅禮器命名為「卣」。參見汪濤著，《玫茵堂藏中國銅器》， 倫敦，2009年，頁62。 參考一件相似的西周時期青銅卣，收錄於R.Bagley著，《Shang Ritual Bronzes in the Arthur M. Sackler Collections》，華盛頓，1987年， 現今的出土陶器中未見卣這類器型。青銅卣始見於商，盛行於商晚 頁402，圖版71.1。另見一例西周早期青銅卣，收錄於J.Rawson 期和西周。據Robert Bagley所述，安陽時期的青銅卣形式多樣，或 著，《Western Zhou Ritual Bronzes from the Arthur M. Sackler 為高圓柱形、方形，或下呈三足、四足，乃至模仿各類動物形狀製 Collections》，卷二B，華盛頓，1995年，頁494，圖版68。 成。見R.Bagley著，《Shang Ritual Bronzes in the Arthur M. Sackler Collections》，華盛頓，1987年，頁374。 一件西周早期青銅卣，售於紐約蘇富比，2018年3月21日，拍品編號 584；以及一件西周中期青銅卣，形制與本例相似但裝飾不同，售於 紐約佳士得，2012年3月23日，拍品編號1524，可資比對。

78 | BONHAMS Dartington Hall, Exhibition of Chinese Art, 9 July- 14 August 1949; image courtesy of Dominic Jellinek Dartington Hall，中國藝術展，1949年7月9日-8月14日；圖片致謝Dominic Jellinek

THE H COLLECTION | 79 16TP Y A RARE PAIR OF LARGE HUANGHUALI SQUARE STOOLS, FANGDENG 17th/18th century Each with a square frame enclosing a hard-mat seat with double reeded aprons wrapping completely around the exterior of the piece to simulate bamboo, the wrap-around stretchers joined to the apron by two pairs of interlocked-ring struts on each side, all supported on four legs of circular section. 62.9cm (24 6/8in) square x 48.3cm (19in) high. (2).

£50,000 - 80,000 CNY450,000 - 720,000

十七/十八世紀 黃花梨直足裹腿方凳成對

Provenance: An American family collection, acquired in Beijing before 1945 Sotheby’s New York, 15 September 2015, lot 168 An important European private collection

來源： 美國家族私人舊藏，1945年前購於北京 紐約蘇富比，2015年9月15日，拍品編號168 歐洲重要私人收藏

Distinguished by their simple elegance and the refined geometry of their design, complemented with interlocking circular braces, the present stools are a rare and remarkable example of their particular type.

Corner-leg stools were highly popular during the Ming dynasty. They were stable and durable due to their apron and waist carved from a single piece of wood. The form of the present pair of stools suited them well to a variety of settings, due to their simple yet sturdy shape, and examples exist with both soft and hard-mat seats, with and without stretchers, and with and without carved surface decoration.

Stools have a long history in China, with the earliest examples depicted on a ritual vessel of the Eastern Zhou period (770-221 BC). In later times, stools were variously used as seats for Buddhist deities and high-ranking members of society. Their relatively small size made these seats perfectly adaptable to being moved from indoors to outdoors, where they often served as both seats and small tables during scholarly gatherings. For a discussion about the evolution of stools in China, see S.Handler, The Austere Luminosity of Classical Chinese Furniture, Berkeley and London, 2001, pp.82-102.

The combination of interlocking-ring braces decorating the present stools may have been inspired by earlier furniture designs. An altar table excavated from an underground chamber of a pagoda in Yuegezhuang, Fangshan, dating to circa 1110 AD, displays a similar combination of vertical struts and interlocking braces to the present stools; see Wang Shixiang, ‘Development of Furniture Design and Construction from the Song to the Ming’, in Chinese Furniture. Selected Articles from Orientations 1984-1999, Hong Kong, 1999, pp.42-55.

A pair of similar stools, early Qing dynasty, is illustrated by Wang Shixang in Classic Chinese Furniture; Ming and Early Qing Dynasties, London, 1986, vol.2, p.21, no.A11.

Compare with a pair of huanghuali stools of similar shape, 17th/18th century, illustrated by R.H.Ellsworth, Chinese Furniture, New York, 1970, pl.114. A related pair of huanghuali stools, 18th century, was sold at Sotheby’s New York, 23 March 2011, lot 676.

For details of the charges payable in addition to the final Hammer Price of each Lot 80 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 方凳成對，攢框裝硬屜，邊抹混面，採用「垛邊」的造法，飽滿渾 矮老，俊俏疏透，不落繁俗。見王世襄著，〈Development of Furniture 圓。腿足亦用圓材，羅鍋棖用裹腿做。每面棖上兩根矮老，中間安雙 Design and Construction from the Song to the Ming〉，收錄於《Chinese 環卡子花。 Furniture: Selected Articles from Orientations 1984-1999》，香港，1999 年，頁42-55。 圓裹腿的黃花梨杌凳，又被追溯為仿竹製傢俱，邊抹腿足均為弧面， 圓潤清新。裹腿是比較考究的製作工藝，垛邊的造法增加了邊抹的厚 參考一對清早期直足裹腿方凳，收錄於王世襄著，《明式家具珍賞》， 度，既加固了穩定性，又在與裹腿相呼應的同時避免了厚重之感，顯 倫敦，1986年，卷二，頁21，編號A11；以及一對十七至十八世紀 得輕盈而精巧。 黃花梨方凳，收錄於安思遠著，《Chinese Furniture》，紐約，1970 年，圖版114。 棖上加裝矮老和卡子花，以代牙條。據考證，矮老早在遼金時期就已 出現；建於約1110年的房山岳各莊遼塔中發現一例供案，就已使用矮 一對十八世紀黃花梨直足裹腿方凳，售於紐約蘇富比，2011年3月23 老。至明代已成為一種常用構件，或代之以各式卡子花，即裝飾化的 日，拍品編號676，可資參考。

THE H COLLECTION | 81 17TP Y A PAIR OF RARE HUANGHUALI, BURLWOOD AND FRUITWOOD ROUND-CORNER CABINETS, YUANJIAOGUI 17th/18th century Each sloping-stile cabinet with a protruding round-cornered top supported on slightly-tapered corner posts, enclosing a well-figured pair of burlwood door leaves separated by a removable stile, the side panels composed of two-board floating panels, the interior fitted with two shelves, all above a plain narrow apron and spandrels on legs of square section, the reddish colour of the huanghuali frame contrasting with the variegated burlwood panels set with baitong fittings. 113cm (44 1/2in) high x 85cm (33 1/2in) wide x 50cm (19 6/8in) deep. (2).

£120,000 - 150,000 CNY1,100,000 - 1,400,000

十七/十八世紀 黃花梨癭木圓角櫃成對

Provenance: An important European private collection

來源： 歐洲重要私人收藏

Notable for their elegant and tapering lines and the powerful swirls and hues of the wood, the present cabinets are among the most successful forms of classical Chinese furniture. The very subtle taper in their design lends a sense of stability and balance to the form while retaining a very graceful and pleasing profile, and the gently tapering sides convey the illusion of height and lightness.

Round-corner cabinets are one of the four types of cabinets with shelves created by Chinese furniture makers, along with open-shelf stands jiage, cabinets with open shelves liangegui and square-corner cabinets fangjiaogui. See Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, Hong Kong, 1990, vol.1, pp.82 and 85.

According to Sarah Handler, the form of tapering cabinets originated from large chests with panelled doors which, by the Song period, were kept on large tables and used to store silk cloths. See an example of these large chests depicted in a handscroll painting, attributed to the Southern Song dynasty (1127-1279), illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, p.244, pl.15.5. In later times, medium-sized cabinets such as the present examples were often kept in scholars’ studios and used to store books, scrolls or writing instruments. A hanging scroll from the set of ‘Eighteen Scholars of the Tang Dynasty’, dating to the Ming dynasty and in the National Palace Museum, Taipei, depicts a scholar beside a small cabinet about to select a work from the books and scrolls stacked on the shelves; see L.Lin, Catalogue to the Special Exhibition of Furniture in Paintings, Taipei, 1996, pl.9.

Compare with a similar huanghuali, burlwood and nanmu round-corner cabinet, late 16th-early 18th century, in the Haven Collection, University Museum, Hong Kong, illustrated by Chu Pak Lau, Classical Chinese Huanghuali Furniture, Hong Kong, 2016, p.227, no.54. See also a related pair of similar huanghuali and burlwood cabinets, 17th century, illustrated by R.H.Ellsworth, Chinese Furniture, New York, 1970, pl.122.

A very similar but slightly smaller huanghuali and burlwood round-corner cabinet, 18th century, was sold at Christie’s Hong Kong, 6 October 2015, lot 263.

For details of the charges payable in addition to the final Hammer Price of each Lot 82 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 83 圓角櫃上窄下寬，線條優雅，裝飾簡潔，且凸顯出木料與色澤的天然 美感，乃古典中式家具之典範。此對圓角櫃各高三尺有餘，櫃帽噴 出，作臼窩以納門軸，兩門之間立閂桿，安白銅銅活，櫃內分三層， 黃花梨框架與癭木門板相得益彰，櫃體造型挺拔輕盈。

圓角櫃是中式櫃架類家具四大門類之一；除圓角櫃外，另有架格、 亮格櫃和方角櫃三種。見王世襄著，《明式家具研究》，香港，1990 年，卷一，頁82與85。

Sarah Handler認為，此種角度傾斜的櫃體之雛型為帶門大箱，宋時多 置於案上，用以存放綢緞。現藏於黑龍江省博物館的南宋手捲《蠶織 圖》中可見一例，見 S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁244，圖版15.5。隨後， 如本例尺寸適中的櫃體多在書房陳設，以存放書籍手捲及文房用具； 台北國立故宮博物院所藏明人畫《十八學士圖軸》中就有放滿書卷的 小櫃之陳設。見林莉娜著，《畫中家具特展》，台北，國立故宮博物 院，1996年，圖版9。

香港大學博物館展出晏如居藏品之一件十六世紀晚期至十八世紀早期 黃花梨癭木楠木圓角櫃，可資參考，見劉柱柏著，《晏如居藏明式黃 Handscroll painting, attributed to the Southern Song dynasty (1127-1279) 花梨家具》，香港，2016年，頁227，編號54。另可比較一對十七世 南宋手捲《蠶織圖》（局部） 紀黃花梨癭木圓角櫃，收錄於安思遠著，《Chinese Furniture》， 紐約，1970年，圖版122。

一件十八世紀黃花梨嵌癭木圓角櫃，與本例相似惟尺寸稍小，2015年 10月6日售於香港佳士得，拍品編號263，可為參考。

84 | BONHAMS

18 A ZITAN BRUSHPOT, BITONG Compare with a similar zitan brushpot, 1700-1900, in the Victoria and Qing Dynasty Albert Museum, acc.no.FE.8-1983. See also a related zitan brushpot, Of circular section, carved from a single piece, with gently-waisted 18th century, which was sold at Christie’s New York, 16 September sides and everted mouthrim, the densely-grained dark-chocolate- 2016, lot 1101. brown wood flecked with honey-coloured streaks. 16.5cm (6 1/2in) high. 紫檀整木鏇製，用料豪奢，木材緻密，身略修束，素面無飾，極雅。

£4,000 - 6,000 比較一例維多利亞和阿爾伯特博物館館藏1700-1900年紫檀素面筆 CNY36,000 - 54,000 筒，藏品編號FE.8-1983。另有一例十八世紀紫檀筆筒，售於紐約佳 士得，2016年9月16日，可為參考。 清 紫檀筆筒

Provenance: An important European private collection

來源： 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 86 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19 A LARGE GOLD-SPLASHED BRONZE The form of the present incense burner is 口沿微侈，收頸，鼓腹，底近平，下承三乳 TRIPOD INCENSE BURNER, DING likely inspired by one of the most classic 足。口沿上起一對雙沖耳，稍稍外傾，耳孔 Xuande six-character mark, 17th/18th century bronze shapes produced during the Xuande 半圓。爐底有減地陽文「大明宣德年製」六 The incense burner of compressed bombé period (1426-1437). These shapes in turn 字楷書款。 form, cast with two upright handles, were drawn from the range of objects decorated on the exterior with scattered and depicted in the ‘Illustrations of Antiquities in 宣德三年，明宣宗敕令工部及禮部等官員利 irregular gold splashes, the base with an the Xuanhe Hall’, Xuanhe Xuanhe bogutu, and 用暹羅貢銅鑄造鼎彝之事；這批宣德爐形制 apocryphal Xuande six-character mark. other antiquarian texts; while some others 參考《宣和博古圖錄》等史籍，以及宋代名 26cm (10 2/8in) diam. were modelled on fine specimens of ceramics 窯瓷器之款式，開後世銅爐先河。本器應為 of the Northern Song period (960-1127). 參照宣德爐最為經典的器型之一仿製而成。 £20,000 - 30,000 CNY180,000 - 270,000 Vessels modelled after archaic shapes, such 形如本例的沖天耳爐，端莊中正，常見於內 as the present example, were designated 壇郊社宗廟祭祀之用，亦用於賞賜皇親國戚 for use in the sacrificial altars located outside 和功臣顯貴。而沿襲宋人情趣、將焚香尊為 十七/十八世紀 銅灑金沖天耳爐 of the capital, at Imperial ancestral temples 「文人四事」之一的歷代文人雅士，則將為 「大明宣德年製」楷書款 and within court palaces; however, they were 祭拜之用的香爐帶入書齋雅集，於氤氳之境 also presented to princely households and 得閒逸之情。 Provenance: meritorious officials. Incense burners were also Christie’s Paris, 9 June 2015, lot 220 used by the literati to decorate the tables and 參考一例明宣德沖耳爐，見P.Hu著，《Later An important European private collection shelves in their studio and burn fragrant incense Chinese Bronzes. The Saint Louis Art Museum for creating a contemplative atmosphere. and Robert E. Kresko Collection》，聖路 來源： 易，2008年，頁137，編號38。另見一例十八 巴黎佳士得，2015年6月9日，拍品編號220 For a Xuande mark and period tripod incense 世紀銅灑金沖天耳爐，形似本例，售於香港 歐洲重要私人收藏 burner see P.Hu, Later Chinese Bronzes. The 蘇富比，2019年10月8日，拍品編號3658。 Saint Louis Art Museum and Robert E. Kresko Collection, Saint Louis, 2008, p.137, no.38. A gold-splashed incense burner, 18th century, of similar shape to the present example but slightly smaller in size, was sold at Sotheby’s Hong Kong, 8 October 2019, lot 3658.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 87 20TP Y A RARE GREENSTONE-INSET HUANGHUALI SQUARE INCENSE STAND, CHANGFANGXIANGJI 17th/18th century The top of standard mitre, mortise and tenon construction with a flush, tongue-and-grooved, single board, the green floating panel supported by dovetailed transverse braces, the tenons exposed on the short sides of the frame, the edge moulding gently downward and inward and ending in a beaded edge, the waist and the apron ending in a wide band with a concave surface, all mortised and tenoned into the legs tenoning to the mitred frame and terminating in well-shaped hoof feet, with a mitred frame at the base. 82cm (32 2/8in) high x 55cm (21 5/8in) wide x 55cm (21 5/8in) deep.

£70,000 - 90,000 CNY630,000 - 810,000

十七/十八世紀 黃花梨嵌石面帶托泥方形四足香几

Provenance: Nagel, Salzburg, 9 December 2016, lot 23 An important European private collection

來源： 薩爾斯堡納高拍賣行，2016年12月9日，拍品編號23 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 88 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 89 Known as xiangji, incense stands count amongst the rarest types of 几面標準榫卯攢邊框裝綠石面心，邊抹冰盤沿自中上部內縮至底壓窄 furniture originating during the Ming dynasty. They were made square, 平線，高束腰嵌裝有浮雕海棠紋的絛環板，四足側腳顯著，足端挖成 rectangular, octagonal, lobed and even circular. Their function was 棱角犀利的馬蹄，直落在托泥之上。 for displaying a rock sculpture, fragrant bonsai (miniature plant), a flower vase or an incense burner, as recorded by Gao Lian in ‘Eight 香几常出現於明代書畫及版畫中，但傳世品極少。形制有方形、長方 Discourses on the Art of Living’ Zunsheng Ba Jian, compiled in 1591. 形、八角形、圓形或各式花葉形。高濂在其於萬曆十九年初刊的《遵 They were also placed outdoors for worship, as can be seen in 生八牋》中述及香几尺寸多樣，或陳設奇石，或置香櫞盤，或置香爐 woodblock illustrations in Ming books. 香盒、焚香插花，或置清雅玩具、佛像佛龕等，用途不一。

The present example, decorated only with subtle beading, has gently 中國古典家具以石為裝飾，由來已久，這與歷代文人賞石愛石的文化 spreading legs ending in exquisitely-shaped hoof feet, which rest on 傳統有著密切的淵源，尤以宋代為甚。宋徽宗舉「花石綱」，成為全 floor-level stretchers, and has an inset greenstone panel. As it was 國最大的藏石家，達官貴族、紳商士子爭相效尤；米芾、蘇軾和歐陽 difficult to create a tenon with the top frame, the stone edges were 修等文壇名士都是賞石大家，認為石材的天然紋理可與經典的山水畫 wedged and inserted into the custom-made grooves on the interior of 作相媲美。宋代之後的畫作中，經常能看到鑲文石板的家具，明代之 the top frame. 後益發流行。本例香几面心所鑲綠石，主要成分為水合矽酸鎂，因紋 理形似蛇皮，亦稱蛇紋石。以石板做面心，使得掉落的香灰無損於几 The use of stone panels in furniture manufacture has a long history in 案表面，分外適合焚香祭拜。 China. It was highly suitable to hold incense burners, in case burning embers fell on its top. Song dynasty scholars Mi Fu (1051-1107), Su 參考一件十六世紀晚期至十八世紀早期黃花梨嵌石香几，收錄於劉 Shi (1037-1101) and Ouyang Xiu (1007-1072) were great admirers of 柱柏著，《晏如居藏明式黃花梨家具》，香港，2016年，頁287， stones, which were considered natural representations of landscapes 編號74。另見一件攻玉山房舊藏明晚期黃花梨四足癭木面帶托泥長方 and nature itself. The present greenstone is composed primarily of 香几，形制可與本例比較，售於香港蘇富比，2015年8月14日， hydrated magnesium silicates. As its surface simulated snakeskin, 拍品編號1。 serpentine stone was also known as ‘snake-pattern stone’.

A huanghuali incense stand, late 16th/early 18th century, inset with a serpentine panel, is illustrated by Chu Pak-Lau, Classical Chinese Huanghuali Furniture, Hong Kong, 2016, p.287, no.74. Compare also the shape of the present stand with a huanghuali and burlwood incense stand, late Ming dynasty, which was sold at Sotheby’s Hong Kong, 14 August 2015, lot 1.

90 | BONHAMS

21 A RARE BRONZE RITUAL TRIPOD VESSEL, DING Early Western Zhou Dynasty The deep U-shaped body supported on three columnar legs, the flat everted rim set with two small upright loop handles above a band of kui dragons encircling the vessel beneath the rim on a ground of leiwen, the remainder of the body cast with a diagonal grid, each diamond-shaped unit defined by an individual leiwen border and with a central circle, a single pictogram cast to the well, the interior cast with a two-character inscription reading Yiran 乙冉, the sage-green patina with patches of malachite encrustations. 19.6cm (7 6/8in) high.

£70,000 - 120,000 CNY630,000 - 1,100,000

西周早期 青銅乳釘雷紋乙冉鼎

Provenance: 來源： Guggenheim 3 (label) Guggenheim 3（標籤） Sotheby’s London, 13 December 1963, lot 171 倫敦蘇富比，1963年12月13日，拍品編號171 Alan Hartman, New York 紐約古董商Alan Hartman Sotheby’s New York, 19 March 1997, lot 2 紐約蘇富比，1997年3月19日，拍品編號2 An important European private collection 歐洲重要私人收藏

Published and Illustrated: 出版著錄： C.Deydier, Chinese Bronzes, pl.14; in Yanku fijin tulu, vo.I, pl.6. 戴克誠，《Chinese Bronzes》，圖版編號14；同《巖窟吉金圖錄》， 卷一，圖版編號6 Published and Exhibited: Los Angeles County Museum of Art, Ancient Ritual Bronzes of China, 展覽著錄： Los Angeles, 1976, no.6. 洛杉磯藝術博物館，《Ancient Ritual Bronzes of China》，洛杉 磯，1976年，編號6

Lot 21, Los Angeles County Museum of Art, Ancient Ritual Bronzes of China, Los Angeles, 1976, no.6. 洛杉磯藝術博物館，《Ancient Ritual Bronzes of China》， 洛杉磯，1976年，編號6

For details of the charges payable in addition to the final Hammer Price of each Lot 92 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

The vessel is cast to the interior with two characters reading Yiran 乙冉 legs were cylindrical and full-bodied, as can be seen on the present relating to the powerful clan for which the vessel was produced. vessel; see C.Deydier, Chinese Bronzes from the Meyingtang Collection, vol.1, Paris, 2011, p.39. Notable for its elegant proportions and the crisp definition of the ‘diamond and boss’ design and stylised kui dragons combination, this Ding vessels have been excavated in large numbers from Shang and remarkable tripod vessel testifies to the artistic dexterity and technical Zhou dynasty burials of the highest-ranking members of society. The advancements achieved in bronze casting during the 11th century BC. tomb of Fu Hao, consort of King Wu Ding of the late Shang dynasty, for example, contained over twenty-six ding vessels. Burials dating to Ding vessels are among the most significant products of the Bronze the early Western Zhou period include the site of Yu Bo in Boji, Shaanxi Age in China. They were used in ritual ceremonies to present food Province, unearthed in the 1980’s; see ‘Corpus of Chinese Bronzes’ offerings to the ancestors and were associated with royal power, Zhongguo qingtongqi quanji, Beijing, 1996-1998, vol.11, nos.163-164. authority and legitimacy to the throne. According to the ‘Book of Rites’, Zhouli, compiled during the 12th century BC, and the The distinctive ‘diamond and boss’ decoration, probably an innovation ‘Commentary of Zuo’ Zuozhuan, dating to the late 4th century BC, of the Anyang foundries of the Shang dynasty, enjoyed popularity with the possession of a bronze ding was considered a concrete sign of of pre-dynastic Zhou casters and continued in fashion during the early heaven-bestowed legitimacy and continued heavenly protection and phases of the Zhou period. This design has been noted mainly on favour. According to legend, King Yu, founder of the Xia dynasty, had round-bodied vessels dating from the late Shang and early Western nine large bronze ding vessels cast, one for each of the nine provinces Zhou period excavated in Shaanxi Province, as demonstrated by in the kingdom; see Wu Hung, Monumentality in Early Chinese Art, several excavated examples illustrated by R.Bagley, Shang Ritual Stanford, 1995, pp.4-11. Bronzes in the Arthur M. Sackler Collections, Washington DC, 1987, pp.504-507, no.98, figs.98.3-5 and pp.510-14, nos.100 and 101, The present form of ding is an exceptionally elegant version of the figs.100.1-3 and 101.1-2. highest-quality food vessels, which were formerly made of pottery beginning in the early Neolithic period. Bronze was far scarcer and Compare with two nearly identical bronze ding vessels, late Shang/ required significantly more labour than ordinary ceramic production. early Western Zhou dynasty, one in the Guimet Museum, Paris, In addition, the more elaborate decoration employed on bronze illustrated by R.Bagley, Shang Ritual Bronzes in the Arthur M. Sackler vessels demonstrated their exalted function. Collections, Washington DC, 1987, p.96, fig.106, and the other in the Museum of Far Eastern Antiquities, Stockholm, illustrated by The earliest datable ding made of bronze appear to have been B.Kalgren,’New Studies on Chinese Bronzes’, Bulletin of the Museum produced towards the end of the Xia dynasty (c.2070-1600 BC). of Far Eastern Antiquities, no.9, 1937, pl.32, fig.132. At this time, their shape consisted of a flat-bottomed bowl with thin walls, topped by two vertical handles and supported by three Compare with a related bronze ritual vessel ding, late Shang/early triangular hollow legs. By the Shang dynasty, ding vessels were Zhou dynasty, of similar shape and decorated with similar bands of still thinly cast and had a deep rounded body. Towards the end of stylised kui dragons, which was sold at Christie’s New York, 21 March the 11th century BC, the body of the ding became rounder and its 2014, lot 2036.

鼎侈口，折沿，口沿上有雙立耳。深腹圓底，腹下三柱足。口沿下飾 此例獨特之處在於其斜方格乳釘紋飾，即腹部眾多且連續排布的外 變形夔紋一周，以雷紋為地。腹部飾斜方格乳釘紋，乳釘低平。器內 斜方格界、內乳釘紋、並以雷紋襯底的幾何花紋。此類紋飾最早見 鑄「乙冉」二字銘文；乙應為日名，冉則為族徽文字，表明器主所在 於安陽時期，並逐步流行至西周早期，影響擴大到陝西等地區， 的族氏。 多用於鼎、簋等深腹器形之上。參考多件出土示例，見R.Bagley著， 《Shang Ritual Bronzes in the Arthur M. Sackler Collections》，華盛 鼎不但是青銅禮器中的主要食器，在祭祀儀式上用於烹煮或盛載食 頓，1987年，頁504-507，編號98，圖版98.3-5；以及頁510-514， 物；更是古代中國傳統中最為重要的器物，與王權的至高無上息息 編號100及101，圖版100.1-3及101.1-2。 相關。傳夏禹有德，貢金九牧，而鑄九鼎。《左傳》有云，「桀有 昏德，鼎遷於商，載祀六百。商紂暴虐，鼎遷於週」。九鼎的遷徙 參考兩例極為相似的商晚期至西周早期青銅鼎，分別藏於巴黎吉美 指明了王朝的更迭，而鑄造或擁有九鼎則被視為天命所歸的象徵。 國立亞洲藝術博物館，見R.Bagley著，《Shang Ritual Bronzes in the 夏商周三代只有統治階層才能擁有和使用青銅，西周的列鼎制度更 Arthur M. Sackler Collections》，華盛頓，1987年，96頁，圖版106； 是嚴格規定了使用者身份等級與之相對應的用鼎數量。詳見巫鴻 以及斯德哥爾摩東亞博物館，見B.Kalgren著，〈New Studies on 著，《Monumentality in Early Chinese Art and Architecture》，斯坦 Chinese Bronzes〉，收錄於《Bulletin of the Museum of Far Eastern 福，1995年，頁4-11。 Antiquities》，第九期，1937年，圖版32，編號132。

新石器時代，陶鼎非常盛行，是最高級別的煮食用具，製作工藝也較 一件商晚期至西周早期青銅鼎，形制與本例相似，口沿下同樣飾夔紋一 一般陶器更為複雜。現存最早的青銅鼎見於二里頭文化；其器壁較 周，售於紐約佳士得，2014年3月21日，拍品編號2036，可資比對。 薄、鼎腹深圓、錐足中空的外形特徵延續至商代。至商晚期，鼎腹變 淺，柱足逐漸取代錐足，形如本例的造型已成主流。見戴克誠著， 《梅茵堂藏中國銅器》，卷一，巴黎，2011年，頁39。

94 | BONHAMS

22 A FINE BURLWOOD BRUSHPOT, BITONG 18th century Of cylindrical form and refined simplicity, the base with a central plug, the wood of warm caramel-brown colour accentuated with subtle dark brown burls. 17.4cm (6 7/8in) high.

£4,000 - 6,000 CNY36,000 - 54,000

十八世紀 癭木筆筒

Provenance: An important European private collection

來源： 歐洲重要私人收藏

Conmpare with a similar burlwood brushpot, 17th/18th century, illustrated by G.Wu Bruce, The Best of the Best. The MQJ Collection of Ming Furniture, vol.2, Hong Kong, 2017, p.447. A similar burlwood brushpot, 17th/18th century, was sold at Christie’s New York, 17 September 2010, lot 1269.

筆筒光素無飾，凸顯癭木斑點狀紋理之錯落別緻。 參考一例與之相似的十七至十八世紀癭木筆筒，見 伍嘉恩著，《木趣居：家具中的嘉具》，卷二，香 港，2017年，頁447。另見一例十七至十八世紀癭 木筆筒，售於紐約佳士得，2010年9月17日，拍品 編號1269。

23Y A RARE MINIATURE HUANGHUALI TWO- TIERED PICNIC BOX, TIHE 17th/18th century The box gracefully proportioned, comprising a cover and two deep trays set on a base frame supporting a rectangular handle flanked on the sides by standing spandrels, the handle and frame reinforced with metal mounts. 18cm (7in) long x 13.5cm (5 1/2in) high x 11.5cm (4 1/2in) deep.

£10,000 - 15,000 CNY90,000 - 140,000 22 十七/十八世紀 黃花梨袖珍雙層提盒

Provenance: Christie’s New York, The Flack Family Collection: A Very Personal Selection, 16 September 2016, lot 1104 An important European private collection

Published and Illustrated: MD Flacks Ltd., Classical Chinese Furniture I, New York, Spring 1997, p.31, no.16.

來源： 紐約佳士得，2016年9月16日，「擇善藏私 ─ 弗拉 克斯家族珍藏」專場，拍品編號1104 歐洲重要私人收藏

出版著錄： MD Flacks Ltd.，《Classical Chinese Furniture》 卷一，紐約，1997年春，頁31，編號16

For details of the charges payable in addition to the final Hammer Price of each Lot 96 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. Made of rich and dense huanghuali, the present picnic box is a classic form which has been constructed in an unusually small and graceful size.

The shape of tiered boxes appears to have remained unchanged since at least the Song dynasty (AD 960-1279), when they were, however, larger and probably made of bamboo or soft woods, used to transport food and wine. An illustration from ‘The Golden Lotus’ Jin Ping Mei, Ming dynasty, in the National Museum of History, Taipei, depicts a man carrying a sack across one shoulder and a picnic box in his right hand; see Wang Shixiang, Connoisseurship of Chinese Furniture, vol.1, Hong Kong, 2016, pp.95-96.

By the Ming dynasty, tiered boxes started to be made in smaller sizes and could be easily carried in one hand. These smallest versions, such as the present example, were generally made of valuable precious hardwoods, such as huanghuali and zitan, and usually employed to carry small valuable objects. This is reinforced by the presence of a lock mechanism securing the lid to the sides of the handle, rendering the box trays inaccessible.

Compare with a similar but larger huanghuali 23 two-tiered box, Ming dynasty, illustrated by G.Wu, Living with Ming. The Lu Ming Shi Collection, Hong Kong, 2000, p.203, no.65.

提盒形狀經典，以袖珍型式呈現。長方框造 底座，兩側端樹立柱，有站牙支撐，上安橫 梁，構件相交處均嵌鑲銅葉加固。提盒兩 撞，連同盒蓋共三層。下層盒底落在底座槽 內。沿口起燈草線，以加厚子口。盒蓋兩側 立牆正中以及立柱相對應的部分打眼，以銅 條貫穿，使各層無脫落之虞。

此種分層而有提樑的長方形箱盒樣式自宋 代定型，以軟木或竹製居多，用於出行時 盛放酒食。且體積不一，較大的槓箱需兩人 抬運，較小的食格則可一人肩挑兩具，或只 須一手提擎。明刊本《金瓶梅詞話》第七回 插圖，繪一人肩頭荷物，一手提盒，即為示 例。見王世襄著，《明式家具研究》卷一， 香港，2016年，頁95-96。

及至明代，提盒外型益發小巧，並開始選用 如黃花梨、紫檀等名貴木材製造。形如本例 的袖珍提盒並非用作盛放食物，而是貯藏玉 石印章、小件文玩之具。本例層層銜扣，並 以銅條貫穿盒蓋，更利於財物保管。

比較一例明黃花梨雙層提盒，造型相似但尺 寸稍大，見伍嘉恩著，《侶明室家具圖集》 ，香港，2000年，頁203，編號65。

THE H COLLECTION | 97

24TP Y AN EXTREMELY RARE HUANGHUALI LOW-BACK CONTINUOUS YOKEBACK ARMCHAIR, NANGUANMAOYI 17th century The highly-curved round-cornered top-rail pipe joined to the stiles, which continue through the seat frame to become the back legs, the elongated round-cornered S-shaped arms mitred, mortised and tenoned to the stiles and pipe-joined to the posts, similarly continuing through the seat to become the front legs, the sockets in the seat frame and the underside of the arms supported by a pair of tapering S-shaped circular supports, the back splat with two beaded-edged stretchers mortised and tenoned to the underside of the top rail and the back rail of the seat frame, further divided into three sections with a pair of horizontal beads-edged mitred stretchers, the top inset with a reticulated panel decorated with a foliate design above a central burlwood panel and a cusped leaf-shaped apron below the lower stretcher, the seat frame of standard mitre, mortise and tenon construction with the edge slightly curving and tenons exposed on the short rails, a plain apron with mitred spandrels butt-joined to the underside and tongue-and-grooved to the legs beneath the seat, the sides and back with similar aprons, the legs joined in front by a shaped footrest above an apron, each side fitted with a pair of oval stretchers flattened on the underside, the back with a similar single stretcher. 93cm high (36 5/8in) x 56.3cm (22 1/8in) wide x 45.3cm (18in) deep.

£300,000 - 500,000 CNY2,700,000 - 4,500,000

十七世紀 黃花梨攢靠背南官帽椅

Provenance: 來源： Grace Wu Bruce, Hong Kong 香港古董商嘉木堂 The Museum of Classical Chinese Furniture, Renaissance, California 中國古典家具博物館，美国加州Renaissance Christie’s New York, 19 September 1996, lot 36 紐約佳士得，1996年9月19日，拍品編號36 Sotheby’s Hong Kong, 6 April 2016, lot 103 香港蘇富比，2016年4月6日，拍品編號103 An important European private collection 歐洲重要私人收藏

Published and Illustrated: 出版著錄： Wang Shixiang and C.Evarts, Masterpieces from the Museum of 王世襄及柯惕思，《中國古典家具博物館館藏精品》，芝加哥及舊金 Classical Chinese Furniture, Chicago and San Francisco, 1995, 山，1995年，頁68 – 69 pp.68-69

Lot 24 illistrated by Wang Shixiang and C.Evarts, Masterpieces from the Museum of Classical Chinese Furniture, Chicago and San Francisco, 1995, pp.68-69 王世襄及柯惕思，《中國古典家具博物館館藏精品》，芝加哥 及舊金山，1995年，頁68 – 69

For details of the charges payable in addition to the final Hammer Price of each Lot 100 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 101 Woodblock illustration from ‘Journey to the West’ Xiyou Ji (1573-1619) 《西遊記》插圖版畫，1573-1619年

Characterised by elegant lines and generous yet balanced proportions, 大彎弧形的圓材搭腦兩端以挖煙袋鍋榫連接後腿上截，穿過椅盤成為 this magnificent armchair displays painstaking and delicate 腿足。三彎弧形的圓材扶手飄肩出榫納入後腿上截，前端以挖煙袋鍋 workmanship, conveying a highly-refined aesthetic pervaded with a 榫與前腿鵝脖連接，穿過椅盤成為腿足，扶手中間支以三彎形上細下 strong sense of Court atmosphere. 大的圓材聯幫棍。靠背板由三段攢成，上段鑲鏤空如意紋牌，中段鑲 楠木癭子，下段鑲葉紋亮腳。靠背後方掛麻披灰。椅盤為標準格角榫 A variant of the ‘yokeback’ chair, the ‘Southern official’s hat’ seat 攢邊框，四框內緣踩邊打眼造軟屜。冰盤微起混面，抹頭見透榫。座 is one of the most highly-accomplished forms of Chinese furniture 面下帶耳形牙頭的牙條，左右兩側及後方安相似短牙條。前方腿足間 construction. Comfortable, elegant and somewhat less formal than 施踏腳棖，下有一素牙子，左右兩側各安二根底面削平橢圓形管腳 tall yokeback chairs with extended arms and top rails, the ‘Southern 棖，後方一根。 official’s hat’ seat displays elegant proportions without a heavy appearance. The crestrail of this graceful seat appears to blend 此具黃花梨南官帽椅線條柔婉，曲直合度。大彎弧形的搭腦形成委婉 seamlessly into the back posts, as opposed to extending beyond 含蓄的一道弧線，勢如張弓。扶手前低後高，與搭腦走勢貫通，三彎 them, As with the ‘official’s hat’ counterpart. This effect was achieved 弧形曲線靈動，又與鵝脖自然銜接。柔中帶剛，暢通自然，傳達出高 through the use of the so-called ‘pipe-joint,’ a right-angle joint which 級的審美情趣和強烈的宮廷氣息。 also connected the curved arms to the front upright posts. 官帽椅形同官帽，自北宋起就主要供貴族文人及士大夫階層使用； Yokeback armchairs were used since at least the Northern Song 其後背板相對平直的設計使人自然端坐其上，強化了使用者的尊貴地 dynasty as seats for emperors, deities, high-ranking officials. Their 位。南官帽椅作為官帽椅的變體，亦是中國古典家具中的經典類型之 relatively-straight back forced the body to assume a posture of upright 一。搭腦和靠背的弧形設計為人體提供舒適的支撐，相較之四出頭官 rectitude, thus inevitably bestowing honour, dignity and power on the 帽椅則更顯靈動優雅且不失莊重。此類坐具常以四張或更多為一組製 dignitary sitting on it. These chairs were usually made in sets of four 成，置於廳堂之上，用以待客。依照古禮，主客相會，主北面坐，客 or more, arranged in the reception hall for guests, with the hosts and 南面坐；明末以後開始流行「蘇坐」，即主客東西相向而坐。有關官 guests respectively seated in the north and south side of the hall. 帽椅的演進，可見S.Handler著，〈A Yokeback Chair for Sitting Tall〉， However, towards the end of the Ming dynasty, this arrangement was 收錄於《Journal of the Chinese Classical Furniture Society》，1993年 altered to an east-west configuration. For a comprehensive view of 春季刊，頁4-23。 the evolution of the yokeback chair, see S.Handler, ‘A Yokeback Chair for Sitting Tall,’ in Journal of the Chinese Classical Furniture Society, 三段攢靠背多見於圈椅和官帽椅，用於南官帽椅者極少。本例中靠背 Spring 1993, pp.4-23. 板上下設兩橫棖，上段如意云頭開光，沿邊起陽線，中段癭木板紋 理華麗，下段亮腳牙板壼門曲線柔美，生機盎然。亮腳牙板與如意開 It is very unusual for a ‘Southern official’s hat’ armchair to have three- 光，隔著中間素板遙相呼應，是為點睛之筆。攢靠背官帽椅子在明代 sectioned backsplats, a feature more frequently associated with 書籍版畫插圖常見，但傳世實例實為稀少。參見《西遊記》插圖版畫 ‘horseshoe-back’ examples. Here the upper section is carved with a 所繪一例南官帽椅，收錄於劉柱柏著，《晏如居藏明式黃花梨家具》， reticulated ruyi medallion; the middle section is set with an attractive 香港，2016年，頁98。 burlwood panel exhibiting highly-figured ‘grape-like’ grains; and the lower section is defined by an arched apron. This elaborate design 香港大學博物館一組十七至十八世紀黃花梨攢靠背南官帽椅，四張成 was probably adapted to fit the aesthetic taste of the owner and may 堂，出處同上，頁99，編號17，可資參考。 have been inspired by a ‘continuous yokeback’ armchair depicted in a woodblock illustration from ‘Journey to the West’ Xiyou Ji (1573-1619) illustrated by Chu-Pak Lau, Classical Chinese Furniture from the Haven Collection, Hong Kong, 2016, p.98.

Compare with a set of four huanghuali ‘Southern official’s hat’ armchairs, 17th/18th century, in the Hong Kong University Museum, which display a related tripartite design for the backsplats, illustrated in Ibid., p.99, no.17.

102 | BONHAMS THE H COLLECTION | 103 25 ANONYMOUS Sunset over Musashi Plain, Momoyama (1573-1615) or Edo (1615-1868) Period, 17th century A six-panel folding screen painted in ink, mineral pigments, and gold on paper applied with gold leaf, depicting a red sun setting over Musashino (Musashi Plain), with autumn plants including susuki (pampas grass), ominaeshi (valerian), hagi (bush clover), kiku (chrysanthemum), and kikyo (Chinese bellflower) above a band of gold mist; unsigned. Each panel 170.3cm (67in) high x 64cm (25 1/8in) wide.

£60,000 - 80,000 CNY540,000 - 720,000

日本桃山或江戶時代，十七世紀 武藏平原日落 紙本設 色 金箔地六折屏風

Provenance: Butterfield & Butterfield, San Francisco, 18 June 1991, lot 2110 (front cover) An important European private collection

來源： 舊金山Butterfield & Butterfield拍賣行，1991年6月18 日，拍品編號2110（封面拍品） 歐洲重要私人收藏

For a related example, see a seventeenth-century two-panel screen of Musashino at Sunset, Peggy and Richard M. Danziger Collection; see Rosina Buckland, Golden Fantasies: Japanese Screens from New York Collections, exh.cat., New York, Asia Society, 2004, cat.no.14 (image accessible at http://sites.asiasociety. org/arts/japanesescreens/scr08.html)

Some seven centuries before this screen was painted, Musashi Plain to the west and north of Edo (present- day Tokyo) had already entered the Japanese artistic imagination as a wild, distant, and featureless place. An episode from the tenth-century Ise monogatari (The Ise Stories), for example, tells how the exiled courtier hero and his lover hide in its grasses before being flushed out by the threat of a fire set by the Governor’s men.

Screens depicting Musashino with nothing but grasses and the moon—rather than the sun—first appeared in the later Muromachi Period (133-1573), before the move of a substantial part of Japan’s elite population to the growing metropolis of Edo made the plain an actual rather than an imaginary location. In response to this increased awareness, painters in different traditions took up the challenge of depicting the eerie yet beautiful wilderness, sometime adding a wider range of canonical autumn plants or rarely and dramatically, as here and in the example cited above, even replacing the moon with the sun.

For details of the charges payable in addition to the final Hammer Price of each Lot 104 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 105 26TP Y A FINE AND RARE LARGE HUANGHUALI RECESSED-LEG BENCH, DATIAODENG 17th century The bench of robust proportions, the rectangular mat surface set within a wide frame above a plain apron with shaped spandrels, supported on recessed legs of rectangular section, joined by double struts with straight-edged tops and bottoms and rounded sides. 210cm (82 6/8in) wide x 69cm (27 1/8in) deep x 53cm (19 1/8in) high.

£80,000 - 120,000 CNY720,000 - 1,080,000

十七世紀 黃花梨夾頭榫春凳

Provenance: An important European private collection

來源： 歐洲重要私人收藏

‘Assembled Pictures of the Three Realms’ Sancai Tuhui, 1608 《三才圖會》插圖，1608年

For details of the charges payable in addition to the final Hammer Price of each Lot 106 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 107 (underside)

This elegant bench is notable for its rather large dimensions of the Pictures of the Three Realms’ Sancai Tuhui, a Ming dynasty prized huanghuali wood and sturdy appearance, achieved through encyclopedia published in 1608, also illustrates a bench of similar the square-sectioned legs which gently splay outwards. Benches design, see Wang Qi, Sancai Tuhui, Shanghai, 1995, p.16. were very popular in the Ming and Qing dynasties as they were highly functional: their relatively light weight and soft-cane seat allowed air Compare with a related but smaller huanghuali bench, 17th century, circulation, making them ideal to be used both indoors and outdoors. illustrated by C.Evarts, A Leisurely Pursuit: Splendid Hardwood In addition, their large size and sturdy construction allowed them to Antiquities from the Liang Yi Collection, Hong Kong, 2000, pp.56- also function either as daybeds or as support for displaying small 57, no.6. See also a huanghuali bench, 17th century, with square treasured objects. members but a hard seat, illustrated in the University Museum Art Gallery, Classical Chinese Huanghuali Furniture, Hong Kong, 2016, no. According to the ‘Classic of Lu Ban’ Lu Ban Jing, a 15th century 26. Finally, a line drawing of a bench with square members and cloud- manual on carpentry, benches were classified according to their shaped spandrels is illustrated by Wang Shixiang, Connoisseurship of size: large benches were known as ‘spring benches’ chundeng, long Chinese Furniture. Ming and Early Qing Dynasties, Hong Kong, vol.2, and narrow examples were referred to as tiaodeng, while benches 1990, pl.A53. accommodating two people were named errendeng. A line drawing of tiaodeng, from the late Ming version of the Lu Ban jing, is illustrated A related recessed-leg huanghuali bench, 17th century, was sold at by G.Wu Bruce, Ming Furniture, Hong Kong, 1995, p.60. The ‘Twelve Sotheby’s Hong Kong, 11 July 2020, lot 131. Volumes of Useful Objects’ Qiyong Shier Juan in the ‘Assembled

108 | BONHAMS 凳面攢框鑲籐編蓆面，夾頭榫造法連接光素牙條牙角，方腿間置雙橫 一例十七世紀黃花梨凳，但尺寸較本例稍小，收錄於柯惕思著， 棖，四足微微外撇。周身線條凝練，用料厚重，無單調之嫌，有雋永 《A Leisurely Pursuit: Splendid Hardwood Antiquities from the Liang Yi 之趣。 Collection》，香港，2000年，頁56-57，編號6，可為比較。另參考 一例十七世紀黃花梨凳，凳面裝硬板，曾展於《晏如居藏明式黃花梨 春凳因其樣式輕便，蓆面清爽通氣，在明清時期頗受歡迎。既可代小 家具》，香港大學美術博物館，香港，2016年，編號26；及一牙頭 榻用於坐臥，又能如桌案陳置器物。十五世紀木匠典籍《魯班經匠家 飾卷雲紋春凳插圖，收錄於王世襄著，《明式家具研究》，卷2，香 鏡》將長凳依尺寸形制分為春凳、條凳和二人凳；參考明晚期線描圖 港，1990年，圖版A53。 示，收錄於伍嘉恩著，《Ming Furniture》，香港，1995年，頁60 。 明代百科全書《三才圖會》版畫中也有收錄同類凳，見王圻等編， 參考一件十七世紀黃花梨夾頭榫春凳，售於香港蘇富比，2020年7月 《三才圖會》，上海，1995年，頁16。 11日，拍品編號131。

THE H COLLECTION | 109 27 A VENETO-SARACENIC DISH, ASCRIBED TO MAHMED AL-KURDI Egypt or Syria，second half of the 15th century The shallow dish with flat rim, decorated with a dense ground of foliate designs overlaid with knotted ropework in silver forming cartouches and medallions, inscribed amal al-mu’allim mahmu[d]/ al-kurdi yarju al-mahgfi[ra] which can be translated as ‘Work of the master Mahmud al-Kurdi, hoping for forgiveness’. 36.6cm (14 3/8in) diam.

£25,000 - 40,000 CNY230,000 - 360,000

埃及或敘利亞，十五世紀後半葉 威尼托-薩拉遜式盤 署名Mahmed al-Kurdi

Provenance: Sotheby’s London, 8 October 2014, lot 104 An important European private collection

來源： 倫敦蘇富比，2014年10月8日，拍品編號104 歐洲重要私人收藏

The inscription on the dish reads:

‘Amal al-mu’allim mahmu[d]/ al-kurdi yarju al-mahgfi[ra] ‘Work of the master Mahmud al-Kurdi, hoping for forgiveness’

‘Veneto-Saracenic wares’, such as the present dish, were often finely worked and manifested plural influences deriving from the extensive trade network between Renaissance Europe and the Islamic world at this time. These wares have been variously attributed to both Venice and the Middle East seen them be attributed to both Venice and the Middle East. In this context, the signature of Mahmud al-Kurdi presents a particular challenge because it appears both in Arabic (or Persian) and transliterated Roman script. It is still uncertain whether these signatures should be ascribed to a single master or rather than an entire atelier. Although a small number of signed works have been safely attributed to the master himself, there are several other works which could possibly be ascribed to him, including the present dish, whose stylistic features could be attributable to his period.

For a further discussion on the works by Mahmud al-Kurdi, see S.Auld, Renaissance Venice, Islam and Mahmud the Kurd: A metalworking Enigma, London, 2004.

For details of the charges payable in addition to the final Hammer Price of each Lot 110 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 111

28TP Y A HUANGHUALI HORSESHOE-BACK ARMCHAIR, QUANYI 17th century With curving toprail sloping down to the arms supported on serpentine side posts and terminating in a curved hook beyond the corner posts set with shaped spandrels, the backsplat carved with a ruyi panel enclosing entwining chilong dragons, the back corner posts continuing below the rectangular frame set with a mat seat, to the back legs joined by stretchers and a footrest with plain shaped apron. 94cm (37in) high x 60cm (23 5/8in) wide x 45.5cm (18in) deep.

£100,000 - 150,000 CNY900,000 - 1,400,000

十七世紀 黃花梨圈椅

Provenance: Sotheby’s Hong Kong, 5 April 2015, lot 2848 An important European private collection

來源： 香港蘇富比，2015年4月5日，拍品編號2848 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 114 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 115 Armchairs like the present example are timeless in the simplicity and 圈椅扶手三接，兩端出頭迴轉收尾。靠背板上端作葵形開光，內鏟地 elegant balance of their lines. Known as ‘horseshoe-back armchairs’ 浮雕雙螭圖。後腿上截出榫納入圈形彎弧扶手，下穿過椅盤成為腿 quanyi, these seats are particularly attractive for the fluidity of their form 足，鵝脖與前腿足亦相同造法。扶手與鵝脖間打槽嵌入小角牙，扶手 achieved through the continuous curved crest rail that also functions 左右支以三彎形上細下大的圓材聯幫棍。椅盤下的券口牙板浮雕卷草​​ as an armrest. 紋，並沿輪廓線起一道陽線為飾，兩側面則裝光素的券口牙子。腿間 施步步高趕棖，踏腳棖及左右兩側管腳棖下各安一素牙子。 Quanyi chairs were often made in sets of two or four and are depicted in woodblock illustrations dating to the Ming and Qing dynasty, 質量輕便、結構堅實的圈椅是明清時期最為經典的家用坐具之一， showing their use in the context of activities related to dining, painting 無論場合是否正式皆可適用，並常見於明代書籍版畫插圖之中。圈椅 or receiving guests. Horseshoe-back chairs displayed high status and 還可用作高階官員的轎椅，作為其尊貴身份的象徵，見柯律格著， with the addition of two carrying poles, they were easily converted into 《Chinese Furniture》，倫敦，1988年，頁24。 sedan chairs reserved for high-ranking officials; see C.Clunas, Chinese Furniture, London, 1988, p.24. 圈椅因其圓而細的月牙扶手而得名。明代工匠通過複雜的楔釘榫造 法，在硬木上復刻出竹篾彎曲的效果，傳達出豐盈且平衡的圓潤之 The elegant design of the present seat was probably inspired by chairs 美。楔釘榫是將兩片榫頭盡端有小舌的榫頭合掌式地交搭，小舌入槽 of nearly-identical shape made of varying lengths of bamboo, which 後要能緊緊貼合，使榫頭不能上下移動，然後在搭口中部剔鑿方孔， were subsequently bent into a ‘U’-shape and bound together using 將一枚斷面為方形的頭粗而尾稍細的楔釘貫穿過去，使得榫頭不能左 natural fibres. These seats were highly regarded for their lightweight, 右移動。圈椅的月牙扶手圓而細，楔釘榫任何構件的輕微誤差都會被 sturdy and strong appearance, so the cabinetmakers quickly adapted 相鄰的構件放大，尤須造得精緻。見王世襄著，《明式家具研究》卷 this design to hardwood furniture using ingenious joinery techniques. 一，香港，1990年，頁43-45。 The continuous back was obtained by fitting the members together with a cut-out to accommodate a tapered wood pin that, once 此具圈椅後背板木紋緻密，雕工精細。除素圈椅外，圈椅大多如本 inserted, locked each part firmly in place. A lacquer coat was then 例，在後背板和券口牙板處進行裝飾；裝飾主題包括仿古紋飾、纏枝 applied to the surface crest rail so as to make invisible the underlying 花卉、蟠龍瑞獸等。安思遠認為，此種複古的紋飾設計是為晚明時 joinery. The complexity of this technique called for utmost precision, 期創新，見安思遠著，《Chinese Furniture：Hardwood Examples of since any slight error in the angle of any of the joints was magnified the Ming and Early Ch’ing Dynasties》，紐約，1971年，頁86。安氏 by the adjoining members; see Wang Shixiang, Connoisseurship of 進一步認為，此類券口牙板可在唐代桌案裝飾中找到相似之處；參見 Chinese Furniture: Ming and Early Qing Dynasties, Hong Kong, 1990, 奈良正倉院所藏一例，收錄於S.Handler著，《Austere Luminosity of pp.43-45. Chinese Classical Furniture》，柏克萊，2001年，頁244 ，圖版12.6。

The present chair is distinguished by the attractively-figured grain on 安思遠舊藏一件十七世紀黃花梨圈椅，後背板開光浮雕螭龍紋，可為 the backsplat and the precise carving of the ruyi-form medallions. 比對，售於紐約佳士得，2015年3月18日，拍品編號139。另參考一 Quanyi chairs were either left undecorated or carved on the splats and 對十七世紀黃花梨圈椅，售於紐約佳士得，2017年3月16日，拍品編 aprons with raised designs, such as the present seat. The subjects 號607。 selected to decorate such chairs included interlocking archaistic designs, floral scrolls, entwined chilong and writhing dragons. According to Robert Ellsworth, these designs were an innovation of the late Ming period; see R.H.Ellsworth, Chinese Furniture. Hardwood Examples of the Ming and Ch’ing Dynasties, New York, 1971, p.86. The author further observes the similarities between the curvilinear apron of quanyi chairs, which the present example also displays, with its counterpart found on Tang period tables, such as the example in the Shōsōin Treasure House, Nara, illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkley, 2001, pl.12.6.

Compare with a single huanghuali horseshoe-back armchair, 17th century, similarly decorated with finely-carved ruyi medallions enclosing pairs of sinuous chilong, formerly in the collection of Robert H. Ellsworth, which was sold at Christie’s New York, 18 March 2015, lot 139. See also a pair of huanghuali horseshoe-back chairs, 17th century, which was sold at Christie’s New York, 16 March 2017, lot 607.

116 | BONHAMS

29TP Y A RARE HUANGHUALI FLAT-TOP RECESSED-LEG TABLE, PINGTOU’AN 17th century The long single-panel top set within a wide frame with ‘ice-plate’ edge, supported on robust recessed legs of round section joined by a plain apron and rounded rectangular spandrels, the sides with double oval- section stretchers joining the front and back legs, the precious wood of warm honey tone throughout. 171cm (67 1/2in) long x 83cm (32 6/8in) high x 53cm (20 1/8in) deep.

£70,000 - 90,000 CNY630,000 - 810,000

十七世紀 黃花梨平頭案

Provenance: An important European private collection

來源： 歐洲重要私人收藏

The simple yet elegant form of the present table is one of the most 頂面標準榫卯攢邊框鑲獨板面心，牙頭光素，腿子截面圓形，以兩根 successful and recognisable designs of classical Chinese furniture, one 橫棖連接，是中國古典家具體系中最為經典的條案式樣。 that best epitomises a Chinese scholar’s fondness for unassuming and functional furniture. 明《魯班經匠家鏡》中將平頭案稱為「一字桌式」，蓋因平直的 案形與漢字「一」相似。見柯律格著，《Chinese Furniture》，倫 The particularly fine grain and the rich honey-colour tone of the 敦，1988年，頁47。平頭案線條平實簡約又富多樣性，可作為畫 huanghuali timber, and the elegantly-finished surfaces of the present lot, 案、條案、各式承具實用，常於一戶正廳中靠牆擺放，用以展示古 show that it would have been made for a high-rank official or scholar. 玩字畫，從而成為主人身份地位的象徵。見S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，伯克利，2001年，頁 The basic proportions were adaptable to make large and smaller 224-238。雖然平頭案作為最廣為使用的桌案式樣，普遍見於古代中 tables, benches and stools. This iconic Ming design is referred to in the 國各個階層，但觀本例木材之緻密、工藝之考究，且面心採用獨板製 ‘Classic of Lu Ban’ Lu Ban Jing, a carpentry manual dating to the early 作，即便在當時也相當昂貴，應非尋常人家之用具。 Ming dynasty, as a ‘Character One Table’ due to its similarity in profile to the single horizontal stroke of the Chinese character for the number 參考一件十七世紀黃花梨平頭案，見王世襄著，《明式家具研究》 one; see C.Clunas, Chinese Furniture, London, 1988, p.47. 卷二，香港，1990年，頁96，編號B81。另有一張維多利亞和阿爾 伯特博物館館藏十七世紀黃花梨畫案，收錄於柯律格著，《Chinese Incorporating a single-panel top of lustrous huanghuali, which would Furniture》，倫敦，1988年，頁46。倫敦佳士得於2015年11月10日 have been precious even during the 17th century, the present table is 所售一件十七世紀黃花梨平頭案，拍品編號380，與本例相似，可資 an example of the narrow version of this particular form. It would have 比對。 been used in domestic as well as religious contexts and would most likely have been placed against a wall to display ornamental objects or support ceremonial offerings. For a further discussion regarding the importance of Chinese side tables and altar tables, see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, pp.224-238.

For a similar huanghuali recessed-leg table, 17th century, see Wang Shixiang, Connoisseurship of Chinese Furniture, Hong Kong, 1990, vol.2, p.96, no.B81. See also a huanghuali painting table, 17th century, in the Victoria and Albert Museum, illustrated by C.Clunas, Chinese Furniture, London, 1988, p.46. Another similar example of a huanghuali pingtou’an, 17th century, was sold at Christie’s London, 10 November 2015, lot 380.

For details of the charges payable in addition to the final Hammer Price of each Lot 118 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 119 30 A RARE ARCHAIC BRONZE RITUAL VESSEL, ZHI Early Western Zhou Dynasty, 11th/10th century BC The elegant pear-shaped body flaring to a wide trumpet mouth, raised on a high spreading pedestal foot bound with a double bowstring, cast with a further bowstring below a band of eight zoomorphic crested birds centred with relief bovine heads featuring broad notched ears forming the handles, the interior cast with a two-character inscription, the surface with a glossy patina beneath bright green malachite, blue azurite and red cuprite encrustations. 21.6cm (8 1/2in) high.

£30,000 - 40,000 CNY270,000 - 360,000

西周早期，公元前11至10世紀 青銅鳥紋觶

Provenance: A Japanese private collection Sotheby’s London, 18 November 1998, lot 803 Sotheby’s London, 14 November 2000, lot 2 An important European private collection

Published and Illustrated: Wang Tao and Liu Yu, A Selection of Ancient Chinese Bronzes with Inscriptions from Sotheby’s and Christie’s Sales, Shanghai, no.152

來源： 日本私人收藏 倫敦蘇富比，1998年11月18日，拍品編號803 倫敦蘇富比，2000年11月14日，拍品編號2 歐洲重要私人收藏

出版著錄： 汪濤，劉雨，《流散歐美殷周有銘青銅器集錄》， 上海，2007年，編號152

Zhi vesels such as the present example served as drinking vessels. Zhi vessels decorated with a single band of decoration, such as the They were employed in important ritual performances aimed at present examples, appear to be rare. Compare with a bronze zhi vessel, paying homage to the ancestors. According to Chinese beliefs, the 11th/10th century BC, in the Metropolitan Museum of Art, New York, ancestors were deemed active participants in the life of their living acc.no.49.135.14. See also a related bronze zhi vessel, 11th/10th offspring, which they could positively influence if provided with the century BC, illustrated by J.Rawson, Western Zhou Ritual Bronzes from correct necessities for their own afterlife; see J.Rawson, ‘The Power of the Arthur M. Sackler Collections, Harvard MA, 1990, no. 101. Images: The Model Universe of the First Emperor and Its Legacy’, in Historical Research, no.75, 2002, pp.123-154. Copare with a related archaic bronze ritual vessel and cover, zhi, which was sold at Bonhams Hong Kong, 24 November 2013, lot 571. According to literature dating to the Song dynasty (960-1279), zhi vessels were ring-footed bronze cups. Compared with other forms of 本器侈口，束頸，梨形腹微鼓，圈足較高，足底外撇。頸部一周鳥紋 wine vessels the zhi form was a late arrival, probably first appearing 飾帶，以中軸相對，首尾相連，兩側浮雕牛首為鈕，下再起弦紋一 in the Yinxu period (1250-1192 BC) but not yet common in Shang 匝。圈足另飾弦紋兩匝，餘無他飾。器內鑄「父乙」銘文，應為宗廟 burials. By the early Western Zhou period the zhi was part of the 內祭祀「父乙」而製。 regular wine vessel set, along with the jue and gu vessles, and its use appears to have continued after the disappearance of these latter 觶為酒器，其名早在先秦文獻中已有記載，用於定名此類器物則始於 forms; see Wang Tao, Chinese Bronzes from the Meiyintang Collection, 北宋《博古圖》，此後學界一直沿用。觶較觚、爵等其他類型的青銅 London 2009, p.38. 酒器出現較晚，最早見於殷墟時期，但商代未見大量出土。西周早期 開始流行，並逐步取代觚的地位，成為酒器基本組合的核心物品。參 Zhi vessels appear to have been cast in two designs: the first type a 汪濤著，《玫茵堂藏中國銅器》，倫敦，2009年，頁38。 slender cup similar to the gu beaker; the second form, such as the present example, a fairly low cup, oval in cross-section, with a concave 青銅觶通常分為扁體和圓體兩類，商代和西周時期並存於世。圓體者 neck and often a lid. The types seem to have co-existed throughout 形似侈口的小壺，較細較長，有些形制比例甚至與觚相似；扁體者則 the late Shang and Western Zhou dynasties. 如本例，形狀為橢扁體，下腹鼓出。商晚期的扁體觶頸腹比例各異， 西周早期則大多為寬頸垂腹式，呈現如本例腹部下垂較深的式樣。 The inscription on the vessel fu yi, meaning ‘Father Yi’, also appears on three bronze jue vessels, 10th/11th century BC, illustrated by 紐約大都會藝術博物館藏一件公元前十一至十世紀青銅觶，藏品編號 N.Barnard and Cheung Kwong-Yue, Rubbings and Hand Copies of 49.135.14，與本例同樣在頸部飾鳥紋一周，可資比對。另參考一例 Bronze Inscriptions in Chinese, Japanese, European, American, and 公元前十一至十世紀青銅觶，見J.Rawson著，《Western Zhou Ritual Australasian Collections, Taipei, 1978, vol.6, nos.937-939. Bronzes from the Arthur M. Sackler Collections》，麻省劍橋，1990 年，編號101。一例西周青銅蕉葉紋觶，售於香港邦瀚斯，2013年11 月24日，拍品編號571，可為比對。

For details of the charges payable in addition to the final Hammer Price of each Lot 120 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

31TP Y A RARE PAIR OF HUANGHUALI WAISTED CORNER-LEG STOOLS, FANGDENG 17th century Both stools gracefully proportioned, the rectangular frame mitered and with moulded edges, the soft-mat seat supported on bowed transverse stretchers, with a recessed waist turning into a plain straight apron, raised on legs of square section terminating in hoof feet. 44.5cm (17 1/2in) high x 50cm (19 5/8in) wide x 50cm (19 5/8in) deep (2).

£40,000 - 60,000 CNY360,000 - 540,000

十七世紀 黃花梨有束腰羅鍋棖方凳成對

Provenance: An important European private collection

來源： 歐洲重要私人收藏

Notable for their restrained design and understated elegance, the 方材，攢框裝軟屜，弧型托棖，冰盤沿上舒下斂，層次豐富。有束 present pair of stools was suited to a variety of settings. Examples exist 腰，羅鍋棖。四腿並非完全垂直，下端略向內兜轉，弧線柔和，足底 in a variety of designs, with both soft and hard-mat seats, with and 馬蹄高翻，是明代杌凳的典型設計。本例比例勻稱，是設計簡約純 without stretchers, and with and without carved surface decoration. 粹、線條優美明式家具之代表作。

Stools were the most common seating during the Ming period and 杌凳這類明代最為常見的坐具，被認為是中國最早的坐具形式之一。 are considered by scholars to be amongst the earliest seating forms 南京博物館館藏江蘇出土一件東周時期青銅禮器碎片，鑄有杌凳形 in China. They were used since at least the Eastern Zhou period (770- 紋飾。公元四至五世紀的佛教石窟壁畫中，也​​可見杌凳用作神明的 221 BC), as suggested by the depiction of a stool on a fragment of a 坐具。Sarah Handler認為，中國古代的桌椅皆由杌凳這種基本形式 bronze vessel excavated in Jiangsu Province, displayed in the Nanjing 演化而來——添加扶手即為椅，擴大尺寸則成桌；見S.Handler著， Museum. In later dynasties, stools were also used as formal seats for 《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001 deities, as shown in wall frescoes of Buddhist caves in North China, 年，頁82-102頁。 dated to the fourth and fifth century AD. According to Sarah Handler, chairs and tables in China developed from the basic design of stools, 參考一例十七世紀黃花梨杌凳，見王世襄著，《明式家具研究》， so that ‘adding armrests conclusively changes a stool into a chair: 卷二，香港，2016年，頁19，編號A3；及有關杌凳的形式綜述， expanding the dimensions of the stool’s top produces a table’; see 見卷一，頁27-31。另有一對十七世紀黃花梨長方凳，售於紐約佳士 S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley 得，2013年3月21日，拍品編號925，可資比對。 and London, 2001, pp.82-102.

For similar huanghuali stools, 17th century, see Wang Shixiang, Connoisseurship of Chinese Furniture, vol.2, Hong Kong, 2016, p.19, no.A3 and vol.1, pp.27-31, where the author discusses the general form. Compare with a similar pair of huanghuali stools, 17th century, which was sold at Christie’s New York, 21 March 2013, lot 925.

For details of the charges payable in addition to the final Hammer Price of each Lot 122 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 123

32TP Y A VERY FINE PAIR OF HUANGHUALI HORSESHOE-BACK ARMCHAIRS, QUANYI 17th century Each elegantly modelled with a curving toprail sloping down to the arms supported on serpentine side posts and terminating in a curved hook beyond the corner-posts set with shaped spandrels, the backsplat carved with a ruyi-shaped panel enclosing a curling chilong, the back corner-posts continuing below the rectangular frame set with a matted seat, to the back legs joined by three stretchers and a footrest with plain apron. 102cm high (40 1/8in) x 61cm (24in) wide x 48cm (18 7/8in) deep. (2).

£150,000 - 200,000 CNY1,350,000 - 1,800,000

十七世紀 黃花梨圈椅成對

Provenance: An important European private collection

來源： 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 126 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 127 Elegant lines and generous yet balanced proportions characterise this 月牙扶手曲線優美，兩端出頭迴轉收尾。靠背板上端開光浮雕螭龍 magnificent pair of huanghuali armchairs. 紋，後腿上截出榫納入圈形彎弧扶手，下穿過椅盤成為腿足，鵝脖與 前腿足亦相同造法。扶手與鵝脖間打槽嵌入小角牙，扶手左右支以三 Chairs displaying this graceful silhouette were frequently portrayed in 彎聯幫棍。籐編座面，椅盤下的券口牙板浮雕卷草​​紋，兩側面則裝素 Ming and Qing dynasty woodblock illustrations depicting their use in 券口牙子。腿間施步步高趕棖，踏腳棖及左右兩側管腳棖下各安一素 various domestic and official settings, such as dining rooms, scholars’ 牙子。 studios and entertaining halls. Whenever a representation of a banquet shows both round-backed and square-backed armchairs in use, it is 圈椅常見於明清兩代的木刻版畫中，造形大器美觀，線條流暢，適 the latter which were occupied by the more eminent guests. 用於廳堂或居家各類場合。有關圈椅用途的詳細論述可見柯律格 著，《Chinese Furniture》，倫敦，1988年，頁24，以及安思遠著， Quanyi armchairs denoted high status and were reserved for eminent 《Chinese Furniture: Hardwood Examples of the Ming and Early Ch’ing officials and magistrates. During the late Ming period, these seats Dynasties》，紐約，1971年，頁86-87。 bore the imposing name of ‘Grand Tutor Chairs’ taishi yi. For a fuller discussion about horseshoe-back armchairs, see C.Clunas, Chinese 圈椅因其圓而細的月牙扶手而得名。明代工匠通過複雜的楔釘榫造 Furniture, London, 1988, p.24. See also R.H.Ellsworth, Chinese 法，在硬木上復刻出竹篾彎曲的效果，傳達出豐盈且平衡的圓潤之 Furniture: Hardwood Examples of the Ming and Early Ch’ing Dynasty, 美。此對黃花梨圈椅線條簡約，比例得當，色澤溫潤，盡顯傳統手藝 New York, 1971, pp.86-87. 的精工細作。券口牙板的浮雕卷草紋或源自青銅禮器紋飾，反映了 十七世紀晚期文人階層的崇古思潮。安思遠認為，此種複古的紋飾 The inviting capacious arched crestrails were inspired by chairs 設計是為晚明至康熙時期的創新，見安思遠著，《Chinese Furniture: of nearly-identical shape but made of pliable lengths of bamboo, Hardwood Examples of the Ming and Early Ch’ing Dynasties》，紐 which were bent into a ‘U’-shape and bound together using natural 約，1971年，頁86。 fibers. These chairs display the ingenuity of Ming dynasty cabinet makers, who were able to create a hardwood version by developing 安氏舊藏一具十七世紀黃花梨圈椅，售於紐約佳士得，2015年3月18 complicated joinery techniques. The continuous back was thus 日，拍品編號139，可資參考。 obtained by fitting together the separate members with a cut-out to accommodate a tapered wood pin that locked them firmly in place once inserted. This elaborate design called for utmost precision, as the smallest error in the angle of any of the joints would be emphasised by the adjoining members. A lacquer coat was finally applied to the surface crestrail so that the underlying joinery was not visible and virtually impossible to wrest apart.

The superb present pair of armchairs displays large arching crestrails ending in pronounced scrolling hand grips, graceful and vigorous outlines for the shaped aprons, and refined quality of carving for the splat medallions and aprons. The crisp angular scrollwork may be an innovation introduced during the late Ming/Qing dynasty. This feature may have been inspired by designs found on archaic bronzes, thus reflecting the interest in antiquarianism shared by the scholarly elites of the late 17th century; see R.H.Ellsworth, Chinese Furniture. Hardwood Examples of the Ming and Ch’ing Dynasties, New York, 1971, p.86.

A related huanghuali chair, 17th century, formerly in the collection of Robert H. Ellsworth, was sold at Christie’s New York, 18 March 2015, lot 139.

128 | BONHAMS

33 A GOLD-SPLASHED BRONZE INCENSE BURNER, GUI Cast with a bombé body embellished with a pair of animal-mask Xuande six-character mark, 17th/18th century handles, the present vessel displays a powerful shape resembling The archaistic body rising from a spreading foot to a gently-flared rim, bronze food ritual vessel, gui, of the Shang and Zhou dynasty. Archaistic cast with a pair of animal-mask handles suspending beaded rings, the vessels were normally employed as models for incense burners or ritual base cast with an apocryphal Xuande six-character mark, decorated vessels, as subtle allusions to the ancient Chinese past. with irregular gold splashes. 10.2cm (4in) wide. Compare with a related gold-splashed bronze incense burner decorated with animal masks, early 18th century, in the Cernuschi £4,000 - 6,000 Museum, Paris, illustrated by M.Maucuer, Bronzes de la Chine CNY36,000 - 54,000 Imperiales Song au Qing, Paris, 2013, p.128, no.76.

爐型仿商周時期重要禮器簋，唇口外撇，短束頸，微鼓腹，高圈足。 十七/十八世紀 銅灑金獸耳簋式爐 兩側塑獸耳，猙獰威武，下銜浮雕連珠環。爐底有減地陽文「大明宣 「大明宣德年制」楷書款 德年製」六字楷書款。通體灑金，精工美型。

Provenance: 參考巴黎賽努奇亞洲藝術博物館藏一例十八世紀早期銅灑金獸耳爐， Sotheby’s London, 13 May 2009, lot 239 (part lot) 收錄於M.Maucuer著，《Bronzes de la Chine Imperiales Song au An important European private collection Qing》，巴黎，2013年，頁128，編號76。

來源： 倫敦蘇富比，2009年5月13日，拍品編號239（部分） 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 130 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 34 A SMALL GOLD-SPLASHED BRONZE HALBERD-HANDLED The form of the present incense burner may have been based on INCENSE BURNER, YILU a prototype dating to the Ming dynasty. A line drawing of a gold- Xuande six-character mark, 17th/18th century splashed incense burner, displaying a form nearly identical to the The vessel of archaistic form rising from a short foot to a flaring rim, present example, is included in the ‘Illustrated Catalogue of of the cast with a pair of stylised chilong handles, decorated to the exterior Ritual Vessels of the Xuande Period’ Xuande Yiqi Tupu. The work with irregular-sized gold splashes, the base cast with an apocryphal purports to be the wording of an Imperial decree of 1428 ordering Xuande six-character mark. bronzes for the palace. Many scholars, however, have argued that 12cm (4 6/8in) wide. 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. £3,000 - 5,000 CNY27,000 - 45,000 A related gold-splashed bronze halberd-handled incense burner, 17th/18th century, was sold at Sotheby’s London, 5 November 2008, lot 15. 十七/十八世紀 銅灑金雙戟耳彝爐 「大明宣德年製」楷書款 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 Provenance: 間，學界亦有爭議，參見R.Kerr著，《Later Chinese Bronzes》，倫 An important European private collection 敦，1990年，頁18。

來源： 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 歐洲重要私人收藏 年11月5日，拍品編號15。

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 131 35TP Y A FINE AND RARE HUANGHUALI BURLWOOD-INSET INCENSE STAND, XIANGJI 17th century The stand of rectangular shape enclosing a top of standard mitre, mortise, and tenon construction with a flush, tongue-and-grooved, single-board floating panel, the edge moulding gently downward and inward, ending in a beaded edge, the waist and the apron made of one piece of wood, ending in a wide band with a concave surface, the whole supported by square legs terminating in elegant hoof feet. 81cm (31 7/8in) high x 64cm (25 1/8in) wide x 48.5cm (19in) deep.

£30,000 - 50,000 CNY270,000 - 450,000

十七世紀 黃花梨癭木面長方香几

Provenance: Bonhams San Francisco, 9 December 2008, lot 5136D An important European private collection

來源： 舊金山邦瀚斯，2008年12月9日，拍品編號5136D 歐洲重要私人收藏

Incense stands such as the present example are among the rarest 几面標準榫卯攢邊框鑲獨板癭木面心，邊抹冰盤沿自中上部內縮至底 types of Ming furniture. They could be square, rectangular, octagonal, 壓窄平線，窄束腰以抱肩榫連接腿足，足端內翻馬蹄，挺拔有力。 round or even lobed and were used to display a scholar’s rock, a miniature plant, a flower vase or an incense burner. These stands were 香几常出現於明代書畫及版畫中，但傳世品極少。形制有方形、長方 typically used in affluent homes and were often placed in courtyards 形、八角形、圓形或各式花葉形。王世襄著《明式家具研究》中述 where, on the occasion of the Double Seventh Festival, (falling on 及香几用途，「富貴之家，或置廳堂，上陳爐鼎，焚蘭煴麝；或置中 the seventh day of the seventh month in the Chinese calendar), the 庭，夜色將闌，仕女就之祈神乞巧。道宮神殿，也設香几，焚香之 women of the household burned incense and prayed for progeny or 外，兼放法器」。明刊本《三才圖會》圖示之高方香几，與本例形制 sewing skills. 十分相似，見王世襄著，《明式家具研究》，卷一，香港，1990年， 頁53-54。 An illustration of an incense stand, of a very similar shape to the present example, from the ‘Pictorial Encyclopedia of Heaven, Earth 一件十六世紀晚期至十八世紀早期黃花梨香几，可資比對，見劉柱柏 and Man’ Sancai Tuhui, a Ming dynasty work, is illustrated by Wang 著，《晏如居藏明式黃花梨家具》，香港，2016年，頁286-287，編 Shixiang, Connoisseurship of Chinese Furniture, vol.1, pp.53-54. 號74。

Compare the shape of the present lot with a rectangular incense 另見一件明晚期黃花梨嵌癭木香几，售於香港蘇富比，2015年10月7 stand, late 16th/early 18th century, illustrated by Chu Pak-Lau, 日，拍品編號110。 Classical Chinese Furniture from the Haven Collection, Hong Kong, 2016, pp.286-287, no.74.

A related huanghuali and burlwood incense stand, late Ming dynasty, was sold at Sotheby’s Hong Kong, 7 October 2015, lot 110.

For details of the charges payable in addition to the final Hammer Price of each Lot 132 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 133 36 A RARE ARCHAIC BRONZE RITUAL WINE VESSEL AND COVER, HU Late Spring and Autumn Period, late 6th-5th century BC The slender pear-shaped body rising from a spreading foot, crisply cast in relief with four bands of S-scrolls with curled tips within plain borders, all below a band of upright flat-cast blades around the tall waisted neck, the shoulders set with a pair of taotie-mask loop handles suspending loose rings, each ring with a chain to a dragon- shaped handle, all under a light green encrustation. 36cm (14 1/8in) high. (2).

£15,000 - 20,000 CNY140,000 - 180,000

春秋晚期，公元前六至五世紀晚期 青銅羽翅紋提梁鏈壺

Provenance: An important European private collection

來源： 歐洲重要私人收藏

According to the ‘Rites of Zhou’ Zhou Li, hu ritual vessels such as the 長頸，口微侈，球形腹，圈足。蓋呈穹頂，上有雙環。肩部一對獸頭 present lot were used as wine containers during the performance of 鋪首耳，上銜鍊和提梁。提梁扁圓，兩端飾獸首，與銅環套接而成的 sacrificial ceremonies in Bronze Age China. 鏈相連。頸飾卷雲紋，肩上一周蕉葉蟬紋，腹飾四周羽翅紋。

Wine vessels were cast in a variety of designs. Vessels like the present 壺為酒器，形如本例的提梁鏈壺在中國中部及南部，包括河南、河 example, set on a low ring foot patterned to resemble a twisted rope, 北、山東、廣東等省份，皆有發現。考古出土的提梁鏈壺，提鏈大多 with the lid attached to a long chain handle and four movable rings 穿過蓋頂銜環，使器蓋和器身連在一起，使用時不至缺失。參見汪濤 at the neck, have been mainly excavated from central and southern 著，《玫茵堂藏中國銅器》，倫敦，2009年， 頁96；及蘇芳淑著， Chinese provinces including Henan, Hebei, Shandong, and Guangdong 《Eastern Zhou Ritual Bronzes in the Arthur M. Sackler Collections》， Province. These excavations have shown that actual ropes were passed 卷三，紐約，1995年，頁250。 between the rings around the neck and the corresponding ones on the lid, to hold the lid firmly in place while the vessel was being carried; see 比較一例山東曲阜出土公元前四世紀青銅提梁鏈壺，形制類似本例， Wang Tao, Chinese Bronzes from the Meyingtang Collection, London, 惟無紋飾，收錄於蘇芳淑著，《Eastern Zhou Ritual Bronzes in the 2009, p.96; and J.So, Eastern Zhou Ritual Bronzes from the Arthur Arthur M. Sackler Collections》，卷三，紐約，1995年，頁277，圖版 Sackler Collections, New York, 1995, vol.3, p.250. 49.2。另有一例湖北江陵雨台山出土公元前四至三世紀提梁鏈壺， 下腹另有四隻鋪首銜環耳，出處同上，頁287，圖版51.3。 Compare with a related bronze hu vessel and cover, 4th century BC, of similar form and proportions but with an undecorated body, excavated 一件春秋晚期，公元前六至五世紀晚期青銅提梁鏈壺，售於紐約佳士 from Qufu Xian M3 site in Shandong Province, illustrated by J.So, 得，2014年3月21日，拍品編號2023，可資比對。 Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, New York, 1995, vol.3 p.277, fig.49.2. See also another bronze hu vessel and cover, 4th-3rd century BC, with flat-cast decorative bands and taotie-mask loose ring handles on the lower body, excavated in Jiangling Yutaishan, Hubei Province, illustrated in Ibid., p.287, fig.51.3.

A very similar bronze ritual wine vessel and cover, hu, late Spring and Autumn period, late 6th-5th century BC, was sold at Christie’s New York, 21 March 2014, lot 2023.

For details of the charges payable in addition to the final Hammer Price of each Lot 134 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

A Very Fine and Rare Huanghuali Yokeback Armchair, Guanmaoyi 17th century

37TP Y A VERY FINE AND RARE HUANGHUALI YOKEBACK ARMCHAIR, GUANMAOYI 17th century With a well-carved protruding crestrail supported on a broad S-shaped splat and curved rear posts continuing to form the rear legs, the curved arms supported on tapering stiles and curved front posts continuing through the seat frame to form the front legs, the seat frame enclosing a soft-mat seat above a shaped apron and spandrels, the legs joined by stepped stretchers on the sides and a footrest on the front. 115cm (45 2/8in) high x 59cm (23 2/8in) wide x 44cm (17 3/8in) deep.

£180,000 - 240,000 CNY1,600,000 - 2,200,000

十七世紀 黃花梨四出頭彎材官帽椅

Provenance: Grace Wu Bruce, Hong Kong Sotheby’s London, 13 May 2015, lot 115 An important European private collection

來源： 香港古董商嘉木堂 倫敦蘇富比，2015年5月13日，拍品編號115 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 138 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 139 Huanghuali yokeback armchairs such as the present example convey Illustrations included in literary sources of the Ming and Qing dynasties timeless elegance through the simplicity and balance of their lines frequently show armchairs like the present example next to large tables which represents spare but opulent aesthetic of the Ming elite. They are in sumptuous reception halls, and beside writing tables in a scholar’s distinguished by their large size, the generous sweep of the crestrail, studio. See, for example, a woodblock print in the 1616 edition of well-shaped terminals and elegantly-curved front and back posts. the ‘Golden Lotus’ Jin Ping Mei, depicting the main male character and his principal wife seated on a guanmaoyi chair while dining with The remarkable level of carpentry of this chair is also visible in the plain his secondary wives and concubines seated on stools, illustrated by S-shaped back splat, which is carved from the same piece of wood C.Clunas, ‘The Novel Jin Ping Mei as a Source for the Study of Ming and tongue-and-grooved into the underside of the top rail and tenoned Furniture, in Chinese Furniture: Selected Articles from Orientations to the back member of the seat frame. In addition, only four pieces of 1984-2003, Hong Kong, 2004, p.118, fig.8. wood were used for the four verticals of the front legs and front arm- posts, back legs and back posts, with each vertical passing through For a general discussion about the basic model and decorative the frame of the seat. vocabulary of guanmaoyi armchairs, see C.Evarts, ‘From Ornate to Unadorned’, Journal of the Chinese Classical Furniture Society, Referring to the winged hat of the formal attire worn by Ming officials, Spring, 1993, pp.24-33. the term guanmaoyi conveyed status and authority associated with the highest-ranking classes in China. Prior to the Ming dynasty, yokeback Compare with a nearly-identical huanghuali yokeback armchair, armchairs served as seats for Imperial family members and deities. late 16th-early 17th century, in the Museum of Fine Arts, Boston, Gaozong’s empress (Gaozong r. 1127-1162), for example, is depicted illustrated by N.Berliner, ‘When Vernacular Meets Fine: Thoughts on gracefully seated on a yokeback armchair in one of a series of portraits Chinese Furniture Studies’, Chinese Furniture: Selected Articles from of Song dynasty Imperial figures in the National Palace Museum, Orientations 1984-1999, Hong Kong, 1999, pp.215, fig.11. A similar Taipei; see S.Handler, Austere Luminosity of Classical Chinese huanghuali yokeback chair, 17th century, was sold at Sotheby’s New Furniture, London, 2001, p.46, fig.4.4. York, 20 March 2012, lot 127.

主體以圓材製作，素面三彎靠背板嵌入搭腦下方與椅盤後大邊槽口， 後腿上截穿過椅盤作肩出榫納入彎弧搭腦，三彎弧形的扶手同樣作肩 出榫接合後腿上截，前方接前腿鵝脖，穿過椅盤成前腿足，中間支以 三彎形上細下大的圓材聯幫棍。椅盤為格角榫攢邊框，抹頭見透榫， 邊抹冰盤沿上舒下斂底壓窄邊線，四框內緣踩邊打眼造軟屜。座面下 安券口牙子，沿邊起線，上方齊頭碰椅盤下面，二側嵌入腿足，底端 出榫納入踏腳棖。左右兩面安相似券口牙子，後方為短牙子。腿間施 步步高趕棖，踏腳棖及左右兩側管腳棖下各安一素牙子。

官帽椅，顧名思義，是由於像古代官吏所戴的帽子而得名。四出頭官 帽椅，以其簡潔的結構和協調的造型傳達出驚人的現代性，體現了明 代文人逸士古雅雋永的美學追求。有別於更為常見的直材四出頭官帽 椅，本拍品構件纖細，但彎曲程度大，製作時需用大料搜挖，以實現 「柔婉」的效果，為堅硬的木材賦予了彈性之美。

官帽椅歷史上常與中國統治階層的崇高地位息息相關。明代以前， 官帽椅多用作皇室貴冑之坐具。台北國立故宮博物院館藏一件宋高 宗後坐像，描繪了高宗皇后端坐於一件形似官帽椅的寶座之上，見 S.Handler著，《Austere Luminosity of Chinese Classical Furniture》， 伯克利，2001年，頁46，圖4.4。至明清時，形如本例的扶手椅常 見於文學作品的插圖中。1616年刊印的《金瓶梅》版畫中，就有 西門慶與正室坐官帽椅用膳，而妾侍坐於凳上的場景，參見柯律 格著，〈The Novel Jin Ping Mei as a Source for the Study of Ming Furniture〉，收錄於《Chinese Furniture: Selected Articles from Orientations 1984-2003》，香港，2004年，頁118，圖8。

有關官帽椅的基本類型，可參柯惕思著，〈From Ornate to Unadorned〉，收錄於《Journal of the Chinese Classical Furniture Society》春季刊，1993年，頁24-33。

參考波士頓美術館藏一件近乎相同的十六世紀晚期至十七世紀早期 黃花梨四出頭官帽椅，見N.Berliner著，〈When Vernacular Meets Woodblock illustration from ‘The Golden Lotus’ Jin Ping Mei Fine: Thoughts on Chinese Furniture Studies〉，收錄於《Chinese 《金瓶梅》插圖版畫 Furniture: Selected Articles from Orientations 1984-1999》，香 港，1999年，頁215，圖11。另有一例黃花梨四出頭官帽椅，售於紐 約蘇富比，2012年3月20日，拍品編號127，可資參考。

140 | BONHAMS THE H COLLECTION | 141 38TP Y A VERY RARE PAIR OF HUANGHUALI SQUARE STOOLS, FANGDENG 17th/18th century Each fitted with a mat seat, set within a square frame above a plain narrow waist and beaded apron, all gracefully supported on thick, beaded legs of square section joined by humpback stretchers and terminating in hoof feet. 50cm (19 6/8in) high x 47cm (18 1/2in) wide x 42.5cm (16 6/8in) deep (2).

£40,000 - 60,000 CNY360,000 - 540,000

十七/十八世紀 黃花梨有束腰羅鍋棖方凳成對

Provenance: Peter Lai Antiques Ltd. (label) An important European private collection

來源： 香港古董商黎氏古玩（標籤） 歐洲重要私人收藏

Characterised by crisp linear form and understated charm, the present 方材，攢框裝軟屜，冰盤沿上舒下斂，至底壓一道窄平線。有束腰， type of stools was highly popular during the Ming and Qing dynasties, 羅鍋棖。腿足沿邊起陽線，與牙條陽線銜接貫通。四足並非完全垂 used in a variety of settings. The earliest examples of the present type 直，下端略向內兜轉，馬蹄內翻有力。 were stable and durable due to their apron and waist carved from a single piece of wood. 杌凳是明清時期極為常見的坐具，也被認為是中國最早的坐具形式之 一。現存最早的考古證據為一件東周時期青銅禮器碎片，紋飾可見人 Stools were the most commonly used forms of seating during the Ming 物坐於杌凳之上。公元四至五世紀的佛教石窟壁畫中也可見杌凳的身 period and appear to be amongst the earliest seating forms in China. 影。因其造型小巧、質量輕便，十分適合室內外各類場合，是文人雅 They were used since at least the Eastern Zhou period (770-221 BC) 集的常用坐具。有關杌凳的詳細論述，可參S.Handler著，《Austere as shown by a bronze ritual vessel depicting a figure seated on a Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁 stool about to receive the offerings presented by a group of figures in 82-102頁；及王世襄著，《明式家具研究》，卷一，香港，1990年， a procession. In later times, stools also served as seats for religious 頁27-33。 figures. Because of their relatively small size, they could be easily moved between the various halls of a courtyard house as well as be 參考安思遠舊藏兩對十七至十八世紀黃花梨方凳，售於紐約佳士 used outdoors during scholarly gatherings. 得，2015年3月18日，拍品編號130及168；以及一對明晚期至清早期 黃花梨長方凳，售於香港佳士得，2012年11月28日，拍品編號2007。 For a fuller discussion about stools, see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley and London, 2001, pp.82- 102. See also Wang Shixiang, Connoisseurship of Chinese Furniture, vol.2, Hong Kong, 2016, p.19, no.A3 and vol.1, pp.27-31, where the author discusses the general form.

Compare with two pairs of similar huanghuali stools, 17th century, formerly in the collection of Robert Ellsworth, which were sold at Christie’s New York, 18 March 2015, lots 130 and 168. See also a pair of related huanghuali stools, late Ming/early Qing dynasty, which was sold at Christie’s Hong Kong, 28 November 2012, lot 2007.

For details of the charges payable in addition to the final Hammer Price of each Lot 142 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 143

39 ANONYMOUS Japan, Books, 18th/19th century A pair of two-panel folding screens decorated with pieces probably from costumes for the Noh drama and perhaps also kesa (priests’ shawls), and uchishiki (altar cloths), embroidered on silk satin rinzu (figured silk) with coloured silk and couched gold threads, each piece representing the cover of a book with designs including shuro palms, pines, and chrysanthemums, others with repeat patterns, some with blank title slips, all mounted on silver leaf over paper; unsigned. 139.1cm (54 7/8in) high x 114.9cm (45in) wide. (2).

£50,000 - 80,000 CNY450,000 - 720,000

Robert Hatfield Ellsworth (1929-2014) 十八/十九世紀 古籍圖 銀箔地刺繡雙折屏風一對 安思遠（ 年） 1929-2014

For details of the charges payable in addition to the final Hammer Price of each Lot 146 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. Provenance: Robert Hatfield Ellsworth (1929-2014), New York Christie’s New York, The Collection of Robert Hatfield Ellsworth, Part V, 21 March 2015, lot 1001 An important European private collection

來源： 美國紐約，安思遠（1929-2014年）舊藏 紐約佳士得，「錦瑟華年 - 安思遠私人珍藏」專場拍賣第五部 分，2015年3月21日，拍品編號1001 歐洲重要私人收藏

THE H COLLECTION | 147 40TP Y A RARE HUANGHUALI SQUARE-CORNER CABINET, FANGJIAOGUI 17th/18th century Of 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.

£60,000 - 80,000 CNY540,000 - 720,000

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

For details of the charges payable in addition to the final Hammer Price of each Lot 148 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 149 The present cabinet is notable for its restrained design, minimalist 「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 decoration, elegant proportion and extravagant use of beautifully- 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 grained huanghuali. Constructed entirely from high-quality huanghuali 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 wood, chosen for its rich golden-honey tones, the wide flat surface 約，盡顯木材自然紋理，乃明清傢俱的永恆經典。 emphasises the natural beauty of the densely-grained wood. 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 The simple austere lines of these cabinets created a sense of solidity 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 and strength resulting from a slim profile combined with the strong 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 horizontal lines of the top and bottom members. The circular door 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 pivots form an elegant contrast to the square members. In addition, 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 the cabinet has no superfluous ornamentation, except the beaded S.Handler著，《Austere Luminosity of Chinese Classical Furniture》， edge along the plain apron and spandrels towards the feet and the 柏克萊，2001年，頁241-267。 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 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 functional metal hinges, lock plate and pulls enhance the richness of the （館藏編號1988.350a-d）、由宮廷畫家徐揚於1770年所作之《乾隆 wood. These important decorative elements were carefully sized and 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 spaced to complement the proportion of the cabinet. The lockplates are 稿，收錄於王世襄著，《明式家具珍賞》，卷一，香港，1990年， persimmon-shaped, while the pulls are shaped as double fish, subtly 頁152，編號D24。 intimating auspicious wishes for abundance and wealth. 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 During the Ming and Qing periods, furniture was probably selected 22-23日，拍品編號1726，可為參考。 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.1, 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.

150 | BONHAMS THE H COLLECTION | 151

41TP Y A FINE AND RAIR PAIR OF HUANGHUALI ‘LAMPHANGER’ CONTINUOUS YOKEBACK CHAIRS, DENGGUAYI 17th century Each fitted with a stepped crest rail extending beyond the corner posts, above the gently curved splat and hard mat seat set within the rectangular frame, with shaped, beaded aprons and spandrels in the front, plain aprons and spandrels on the sides and back, all supported on legs of rounded section joined by stepped stretchers. 112cm (44in) high x 52cm (20 1/2in) wide x 45cm (17 6/8in) deep (2).

£80,000 - 120,000 CNY720,000 - 1,080,000

十七世紀 黃花梨燈掛椅成對

Provenance: An important European private collection

來源： 歐洲重要私人收藏 Woodblock illustration from ‘The Welcome Spring’ Xi Feng Chun (1628-1644) 《喜逢春》插圖版畫，1628-1644年

‘Lamphanger’ chairs derive their name from the bamboo furniture 主體以圓材製作，搭腦兩端微微上翹，中部削出便於頭部倚靠的斜坡。 used to suspend lamps in China. Such ‘lamphangers’ were often 素面靠背板向外彎出，嵌入搭腦下方與椅盤後大邊槽口，後腿上截穿過 used in the Jiangnan region in the lower section of the Yangze river. 椅盤作肩出榫納入搭腦。椅盤為格角榫攢邊框，抹頭見透榫，邊抹冰盤 Easily transportable and less formal than armchairs, side chairs such 沿上舒下斂底壓窄邊線，籐編座面。椅盤下四面光素短牙板。腿間施方 as the present examples would have been made in sets and placed 材步步高趕棖，踏腳棖及左右兩側管腳棖下各安一素牙子。 against the wall. They were easily accessible when required, yet were slim enough in profile to prevent overcrowding within an interior 「燈掛」之名，據王世襄考證，或源自用來掛油燈燈盞的竹製座托， space. Perhaps due to their relatively fragile design and lack of armrest 舊時為江南地區家家必備之物。燈掛的座托平而提梁高，此類搭腦出 supports, side chairs such as the present examples are rare. 頭、面寬較窄而靠背比例較高的靠背椅與之造型相似，即以「燈掛 椅」名之。燈掛椅體積較小、便於搬運，無論是和一般桌案配置還是 The present chairs are constructed in the classical Ming style, with the 單獨陳放都不顯單調，故而成為明代最為流行的椅式之一。無扶手的 S-shaped crestrail terminating crisply in a truncated round section. 設計使得就坐時左右無障礙，或許也正因如此，其結構不似有扶手的 The highly-figured and matched backsplats were made from one large 椅式堅固，存世品也更為稀少。 piece of huanghuali. In addition, the seat frame is a mortise-and-tenon mitred frame supported by straight aprons on the underside. 燈掛椅亦常見於明代版畫插圖中，如明末刊印的木刻版畫《喜逢春》 中，就繪有官員坐於形如本例的燈掛椅之上的場景；見劉柱柏著， Woodblock illustrations dating to the Ming dynasty frequently depict 《晏如居藏明式黃花梨家具》，香港，2016年，頁110。 side chairs used in a variety of settings including private rooms, landscaped gardens and formal reception spaces. See, for example, 參考一具黃花梨燈掛椅，見王世襄著，《明式家具研究》，卷一， a set of four chairs similar in design to the present lot, placed around 香港，1990年，頁38，編號A56。另有一對十七世紀黃花梨燈掛椅， a table behind a group of officials, depicted in an illustration from a 售於紐約佳士得，2012年11月28日，拍品編號2005，可資比對。 woodblock printed edition of ‘The Welcome Spring’ Xi Feng Chun (1628-1644); see Chu-Pak Lau, Classical Chinese huanghuali Furniture from the Haven Collection, p.110.

Compare with a related pair of huanghuali ‘lamphanger’ chairs, 17th century, illustrated by Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, Hong Kong, 1990, p.38, no.A56.

A similar pair of huanghuali ‘lamphanger’ chairs, 17th century, was sold at Christie’s New York, 28 November 2012, lot 2005.

For details of the charges payable in addition to the final Hammer Price of each Lot 154 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 155 42 A RARE GOLD-SPLASHED BRONZE OVAL INCENSE BURNER The origin of gold-splash decoration remains a source of speculation. Xuande six-character mark, 18th century The decoration, noted on the present example, may have been based The vessel of elliptical form with gently-flaring sides rising from four ruyi on a Ming dynasty practice of decorating bronzes. This is suggested feet, the greenish-brown patina with numerous irregular gold splashes by a line drawing of a gold-splashed incense burner in the ‘Illustrated in varying sizes, the base with an Xuande six-character mark. Catalogue of of the Ritual Vessels of the Xuande Period’ Xuande Yiqi 21.5cm (8 1/2in) wide. Tupu, which purports to be the wording of an Imperial decree of 1428 ordering bronzes for the Palace, and which illustrates these vessels. £6,000 - 8,000 Many scholars, however, have argued that the this work may have CNY54,000 - 72,000 been published at a later stage than the Ming dynasty; see R.Kerr, Later Chinese Bronzes, London, 1990, p.18.

十八世紀 銅灑金洗式爐 An oval ‘narcissus bowl’ bronze incense burner, 16th-17th century, 「大明宣德年製」楷書款 featuring a similar elliptical form as the present lot, is illustrated by S.Moss, The Second Bronze Age. Later Chinese Metalwork, London, Provenance: 1991, no.43. An important European private collection 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， 來源： 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 歐洲重要私人收藏 「大明宣德年製」六字楷書款。

Notable for its elegant and restrained form, the present vessel takes 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 the form of a vessel type known as ‘narcissus bowl’, shuixian pen, 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 which may have served as a incense burner as well as a floral bowl, 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 probably as an elegant accessory on a scholar’s desk. 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。 The elliptical form of narcissus basins appears to have originated in the ceramic production of the Northern Song dynasty (960-1127). See for 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， example the exquisite Ruyao-glazed ‘narcissus basins’ dating to the 《The Second Bronze Age. Later Chinese Metalwork》，倫敦，1991 11th and 12th century and standing on four ruyi feet, in the National 年，編號43。 Palace Museum, Taipei, illustrated by Lin Baiting, Special Exhibition of Ju Ware from the Northern Song Dynasty, Taipei, 2006, no.7.

For details of the charges payable in addition to the final Hammer Price of each Lot 156 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 43 A GOLD-SPLASHED BRONZE TRIPOD INCENSE BURNER, DING mercury, so that the small amount of gold was left adhering to the Xuande seal mark, 17th/18th century base metal. The process could then be repeated several times to build Of globular shape supported on three short curling legs, and set with two up thicker layers of gold. Indeed, a line drawing of a gold-splashed bail handles rising from the rim, the base cast with a Xuande six-character incense burner in the ‘Illustrated Catalogue of the Ritual Vessels of the mark, with irregular splashes of gold on the olive-brown patina. Xuande Period’ Xuande Yiqi Tupu, which purports to be the wording of 18.5cm (7 2/8in) wide. an Imperial decree of 1428 ordering bronzes for the Palace, and which illustrates these vessels, would seem to indicate that the practice of £8,000 - 12,000 applying gold splashes on bronzes may have been used since the CNY72,000 - 110,000 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. 十七 十八世紀 銅灑金三足鼎式爐 / 「宣德」篆書款 Compare with a related gold-splashed globular tripod incense burner, 18th century, with a two-character Xuande seal mark, which was sold Provenance: at Sotheby’s Hong Kong, 8 October 2019, lot 3650. An important European private collection 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 來源： 之意。通體灑金，線條流暢，古雅大方。爐底正中鏨刻「宣德」篆書 歐洲重要私人收藏 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。 The form of the present incense burner is based on the archaic bronze food ritual vessel, ding, produced during the Shang dynasty. As such, 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 it reflects the Qing emperors’ fascination with antiquity, and their call 譜》繪有一件灑金銅爐，可資證明。 《宣德彝器圖譜》據傳編撰於 for craftsman to take inspiration from earlier forms and designs. 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。 The ‘gold-splashed’ decoration was achieved by ‘fire-gilding’, a technique involving the application of gold in the form of a mercury/ 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」 gold amalgam. Subsequently the vessel was heated to drive off the 篆書仿款，售於香港蘇富比，2019年10月8日，拍品編號3650。

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 157

44TP Y A RARE LARGE HUANGHUALI FLAT-TOP RECESSED-LEG TABLE, PINGTOU’AN 17th/18th century The table top of standard miter, mortise and tenon construction, enclosing a two-board round-cornered floating panel supported underneath by dovetailed transverse stretchers, the cylindrical legs double tenoned into the top and cut to house the plain spandrelled apron, with two oval- sectioned stretchers joining each pair of legs. 221.5cm (87 2/8in) wide x 90cm (35 1/2in) high x 50.5cm (19 7/8in) deep.

£120,000 - 180,000 CNY1,080,000 - 1,630,000

十七/十八世紀 黃花梨夾頭榫大平頭案

Provenance: An important European private collection

來源： 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 160 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 161 Made from prized huanghuali wood of attractively warm brown and 黃花梨製，頂面標準榫卯攢邊框，鑲兩拼面心板，牙頭光素，腿子截面 amber tones, and set with a lively-grained two-board top, the present 圓形，以兩根橫棖連接。結構清雅，渾厚圓實，木紋緻密，亮澤如蜜， table is a remarkable example of one of the most versatile and popular 盡現傳統中國家具之經典，細節間無不透露了原主人的顯赫身世。 designs in Chinese furniture. The popularity of this linear form is evident in its continuous popularity without any major evolution in the 此類桌案歷史上被稱為「一字桌式」，蓋因平直的案形與漢字「一」 design. The elegant wood grain and the smoothly-finished joinery of 相似。該造形似從漢代木造建築演化而來，宋代已可見此樣式，榫卯 the present example indicate that this table would have belonged to a 結構，沿邊嵌牙條，雙橫棖，並屢見於宋畫。參考明代仇英臨宋人畫 high-ranking member of the court or a scholar. 冊之《村童鬧學圖》中所繪二條案，見王世襄著，〈Development of Furniture Design and Construction from the Song to the Ming〉，收錄於 Recessed-leg tables were historically referred to as ‘character one’ 《Chinese Furniture: Selected Articles from Orientations 1984-1999》， tables yi zi zhuo shi, as the single horizontal stroke of the Chinese 香港，1999年，頁55，圖版35。 character for the numeral ‘one’ resembles this linear form. This design appears to have derived from standard wood building construction 平頭案由於質樸簡練，曲直合度，宜作多方用途，常於一戶正廳之中 employed from as early as the Han dynasty. This particular design 靠牆擺放，用以展示古玩字畫，從而成為主人身份地位的象徵。見 with side stretchers is known from as early as the Song dynasty S.Handler著，《Austere Luminosity of Chinese Classical Furniture》， (960-1279), when tables with bridle and tenon joints, a continuous 伯克利，2001年，頁224-238。 apron with small spandrels, and double stretchers at the sides were produced. See two recessed-leg tables depicted in a painting entitled 參考一件十七世紀黃花梨平頭案，見R.D.Jacobsen與N.Grindley著， ‘Country Boys Playing Chess’, attributed to the Song period and 《明尼阿波利斯藝術館藏中國古典家具》，明尼阿波利斯，1999年， illustrated by Wang Shixiang, ‘Development of Furniture Design and 頁122-123，編號40 。另有一件十七世紀黃花梨平頭案，與本例相 Construction from the Song to the Ming’, Chinese Furniture: Selected 似，售於香港佳士得，2015年11月10日，拍品編號380；及一件十八 Articles from Orientations 1984-1999, Hong Kong, 1999, p.55, pl.35. 世紀黃花梨平頭案，售於香港佳士得，2012年11月28日，拍品編號 2028，可資比對。 Because of their light and simple form, these tables could be easily moved from one location to another. They were usually placed against the wall in the main hall of the family compound where important visitors were received and family ceremonies took place; hence these tables became representative of their owner’s status and level of refinement and functioned as surfaces on which to display cherished antiquities, artefacts, scroll paintings, to practice calligraphy and painting, and even play the qin; see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, pp.224-238.

Compare with a huanghuali recessed-leg table, 17th century, illustrated by R.D.Jacobsen and N.Grindley, Classical Chinese Furniture in the Minneapolis Museum of Arts, Minneapolis, 1999, pp.122-123, no.40. A similar huanghuali recessed-leg table, 17th century, was sold at Christie’s Hong Kong, 10 November 2015, lot 380. See also a rare huanghuali recessed-leg altar table, 18th century, which was sold at Christie’s Hong Kong, 28 November 2012, lot 2028.

‘Country Boys Playing in Class’, attributed to the Song dynasty 仇英（1494-1552年），臨宋人畫冊之《村童鬧學圖》（局部）

162 | BONHAMS THE H COLLECTION | 163 45 A VERY RARE ARCHAIC BRONZE COPPER-INLAID WINE VESSEL, BIANHU Warring States Period The vessel with flattened oval sides raised on a spreading rectangular pedestal foot, the main faces cast in relief with panels of tight abstract curling patterns arranged in five horizontal bands within copper- inlaid borders, the sides similarly decorated and applied with two taotie masks suspending a ring handle, all below a narrow band on the waisted neck and a copper band on the flared mouth, the body covered with light-green encrustation. 33cm (13in) high.

£30,000 - 50,000 CNY270,000 - 450,000

戰國 青銅羽翅紋扁壺

Provenance: J.J. Lally & Co., Oriental Art, New York An important European private collection

Published, Illustrated and Exhibited: J.J. Lally & Co., Oriental Art, Archaic Chinese Bronzes, Jades and Works of Art, New York, June 1994, no.56

來源： 紐約古董商J.J. Lally & Co., Oriental Art 歐洲重要私人收藏

展覽著錄： J.J. Lally & Co., Oriental Art，《Archaic Chinese Bronzes, Jades and Works of Art》，紐約，1994年六月，編號56

Lot 45 published by J.J. Lally & Co., Oriental Art, Archaic Chinese Bronzes, Jades and Works of Art, New York, June 1994, no.56 拍品收錄於J.J. Lally & Co., Oriental Art，《Archaic Chinese Bronzes, Jades and Works of Art》圖錄，紐約，1994年六月，編號56

For details of the charges payable in addition to the final Hammer Price of each Lot 164 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. Bianhu vessels first appeared as in the Warring States period (457- 壺呈扁圓形，侈口，短頸，溜肩，長方形圈足。肩飾一對鋪首銜環 221 BC), when they formed an important part of religious and cultural 耳。腹部以赤銅作五層長方形格欄，兩側六層，格內飾細密繁縟羽翅 rituals aimed at presenting food and drink offerings to the ancestors 紋，紋飾層疊，繁而不亂。 of powerful families. At the time, various social and political changes were bringing old rituals to an end. One such change was the 扁壺為酒器，約始見於戰國。一說其形制源於北方游牧民族盛水的 increasing presence in China of nomadic peoples, and it is likely that 皮囊，東周時期隨各民族文化交流而傳入中原。參見J.Rawson著， the bianhu was inspired by practical vessels used for carrying water on 〈Ordering the Exotic: Ritual Practices in the Late Western and Early horseback; see J.Rawson, ‘Ordering the Exotic: Ritual Practices in the Eastern Zhou〉，收錄於《Artibus Asiae》，卷73，第一刊，2013 Late Western and Early Eastern Zhou’, in Artibus Asiae, vol.73, no.1, 年，頁5-76。中國北方少數民族白狄族鮮虞部在今河北省境內建立古 2013, pp.5-76. 中山國，其戰國時期王陵中曾見一件扁壺，出土時仍有半壺酒液， 進一步佐證了此類扁壺的用途。見《戰國雄風——河北省中山國王 The intricate interlacing designs noted on the present vessel testify to 墓文物展》，香港，1999年，頁44，編號7。 a highly-developed method of mechanical production that appears to have become the norm during the Eastern Zhou dynasty. At this 部分扁壺最初使用時或配以木製或陶製壺蓋，這些材料易腐易碎， time, elaborate designs were produced using ‘pattern blocks’ made of 無法經歷漫長歲月而保存。如現藏於河南博物館、1975年於河南三門 clay, which were carved as the masters from which to impress strips 峽上村嶺出土一件青銅羽紋扁壺，形制紋飾皆似本例，且出土時同樣 of negative design to fill out the moulds. This method enabled the 無蓋。見《中國文物精華大辭典·青銅卷》，上海，1995年，頁241， production of a large number of similarly-decorated vessels, probably 編號864。主體密集往復的浮雕裝飾，應使用模印法，即以印模在尚 intended to impress a socially-prominent audience. In a world of 未全乾的陶胎上連續印製鑄成，是戰國時期青銅紋飾的典型例證。 competing courts, conspicuous displays of every kind was the order of the day. For example, the lavish content of the tomb of Marquis Yi 參考兩件極似本例的戰國時期青銅扁壺，分別藏於英國Compton of Zeng, the ruler of a small state on the borders of the Chu kingdom, Verney莊園博物館，館藏編號CVCSC 0218.1-2.A；及阿姆斯特丹荷蘭 yielded spectacular wine hu containers, in addition to a magnificent set 國立博物館，收錄於《Asiatic Art in the Rijskmuseum Amsterdam》， of sixty-five bronze bells; see Hubei Sheng Bowuguan, Zeng Hou Yi 阿姆斯特丹，1985年，頁38，編號10。 Mu, Beijing, 1989. 一例相似的戰國時期青銅扁壺，售於紐約佳士得，2011年3月24日， A bronze bianhu, Warring States period, unearthed in 1977 from the 拍品編號1257，可資比對。 tomb of King Cuo of the Zhongshan state, contained an alcoholic drink, further proving the function of this type of vessel at that time; see Liu Jiansheng, Warring States Treasures- Cultural Relics from the State of Zhongshan, Hebei Province, Hong Kong, 1999, p.44, no.7.

The lack of a lid on the present example may be explained because many of these covers were originally made from perishable or fragile materials, such as wood or pottery. See a bianhu and cover, Warring States period, excavated in 1975 at Sanmenxia Shangcunling, Henan Province, now in the Henan Provincial Museum, Zhengzhou, illustrated in Zhongguo Wenwu Jinghua Dacidian, Qingtong juan, Shanghai, 1995, p.241, no.864.

Compare with two very similar bronze bianhu vessels, Warring States period, late 4th-early 3rd century BC, in the Compton Verney collection, Warwickshire, acc.no.CVCSC 0218.1-2.A, and the example in Rijksmuseum, Amsterdam, illustrated in Asiatic Art in the Rijskmuseum Amsterdam, Amsterdam, 1985, p.38, no.10.

A very similar copper-inlaid bronze ritual wine vessel, bianhu, Warring States period, was sold at Christie’s New York, 24 March 2011, lot 1257.

166 | BONHAMS

46 A WAKIZASHI (SHORT SWORD) WITH LACQUER MOUNTS By Yasutsugu, Edo Period (1615-1868), 17th/18th century The blade of shinogi-zukuri form with torii-zori, chu- gissaki, and iori-mune, notare-ha of nie and nioi, itame-hada, komaru-boshi, the omote side with a horimono (carved image) of Fudo Myo-o wielding a sword and surrounded by flames, the ura side carved with a bonji (Sanskrit character) and suken (double-edged straight sword), the ubu-nakago with one mekugi-ana, signed Nanban tetsu o motte Echizen Yasutsugu, Bushu Edo ni oite kore o saku (Echizen Yasutsugu made this at Edo in Musashi Province using Nanban iron) and a carved mitsuba aoi mon (triple-hollyhock crest), in shirasaya (plain wood scabbard); the saya (scabbard) lacquered black with densely-sprinkled aogai nashiji (sprinkled mother-of-pearl) and inlaid with small flying birds of shell, the tsuba (sword guard) shakudo with inlaid gilt floral details, signed Furukawa Genchin with a kao, fuchigashira (matching hilt collar and pommel), menuki (paired hilt ornaments), kogai (skewer), and kozuka (knife handle) also shakudo with inlaid gilt floral details, the kogatana gilt-bronze with bonji, the kurikata (knob for tying cord), kojiri (scabbard tip), kaeshizuno (hook to secure scabbard) of gilt-metal nanako (‘fish-roe’ dot pattern). The saya: 72cm (28 1/4in) long; The blade: 50.2cm (19 3/4in) long. (2).

£3,000 - 5,000 CNY27,000 - 45,000

日本江戶時代，十七/十八世紀 康繼作 黑漆包鞘打刀

Provenance: An important European private collection

來源： 歐洲重要私人收藏

The Yasutsugu School of swordsmiths served the Tokugawa Shoguns for generations throughout the Edo period (1615-1868). The first-generation Yasutsugu, originally named Shimosaka, initially worked in Echizen Province (Fukui Prefecture), where he entered the service of Matsudaira Hideyasu (1574- 1607), third son of the Shogun Tokugawa Ieyasu (1543-1616), and lord of the domain.

Shimosaka went on to serve Shoguns Ieyasu and Hidetada in Edo (Tokyo), receiving the character ‘Yasu’ in his name from Ieyasu, henceforth known as Yasutsugu. He was also granted permission to sign his swords with the Tokugawa-clan hollyhock crest, a carved mitsuba aoi mon, present on this lot.

The first and second generation Yasutsugu were well known for the bold horimono (carving) on their blades. By forging broader swords, they were able to carve larger, more intricate designs on the surface without compromising the strength of the blade. This novel change led to the shift to more decorative horimono, more typically seen in swords of the Edo period. For an example of a sword with a plum branch and bamboo horimono by Yasutsugu I, see M. Ogawa, ed., Art of the Samurai: Japanese Arms and Armor, 1156-1868, New York, Metropolitan Museum of Art, 2009, p.182, no.103.

For details of the charges payable in addition to the final Hammer Price of each Lot 168 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 47 A KATANA (LONG SWORD) WITH LACQUER MOUNTS By Shoji Yamon Naokatsu (active 1864-1868), late Edo Period (1615-1868), dated Genji Year 1 (1864) The blade of shinogi-zukuri form with torii-zori, chu- gissaki, and iori-mune, gunome-ha of varying nie and nioi, itame-hada, midari-komi, the ubu-nakago with kesho-yasuri and one mekugi-ana, signed Genji gannen kinoe-ne hachigatsu no hi, Shoji Yamon Naokatsu (A day in the eighth month in the first, kinoe-ne, year of Genji [1864], Shoji Yamon Naokatsu), in shirasaya (plain wood scabbard); the saya (scabbard) lacquered black with densely sprinkled aogai nashiji (sprinkled mother-of-pearl), the tsuba (sword guard) iron signed Shoji Yamon Naokatsu, the fuchigashira (matching hilt collar and pommel), kurikata (knob for tying cord), and kojiri (scabbard tip) silvered metal decorated with waves, the fuchi signed Hirotsugu with a kao; the menuki shakudo with dragons amongst clouds. The saya: 90cm (35 1/2in) long; The blade: 70.2cm (27 5/8in) long. (2).

£4,000 - 6,000 CNY36,000 - 54,000

日本江戶時代，元治一年（1864年❘ 司弥門直勝作 黑漆包鞘打刀

Provenance: An important European private collection

來源： 歐洲重要私人收藏

Shoji Yamon Naokatsu was the student and successor of Jiro Taro Naokatsu (died 1858) and the adopted son of Taikei Naotane (1778-1857). At the close of the Edo period, Japan’s military class showed a general inclination toward traditional samurai values, possibly a reaction to a rapidly failing feudal system. Clinging to the ‘old ways’, swordsmiths began producing blades reminiscent of relics from the past. This sword, forged at the very end of the feudal period shows characteristics more in keeping with some of the robust blades from the Kamakura period (1185-1333) with a wide mihaba, extended kissaki, and slight koshizori.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 169 48 A GOLD LACQUERED KAWARI KABUTO (ECCENTRICALLY- SHAPED HELMET) Edo Period (1615-1868), 17th/18th century An impressive naga eboshi nari kabuto (helmet in the form of an elongated eboshi), constructed in the form of an exaggerated eboshi (formal court cap), the mabisashi (peak) and fukigaeshi (turnbacks) covered with stencilled-leather floral designs and gilt mon (crest), trimmed in gilt iron fukurin (rim) with engraved foliate scrolls, the elongated ei wakidate (side decorations in the form of an official’s hat) of gold leaf over lacquer, the three-lame ita-mono komanju jikoro (slightly-curved plated neck guard) black-lacquered and laced in kon ito kebiki odoshi (dark blue lacing in kebiki style), the maedate (forecrest) a simple gold-lacquered sun disc; with a wood stand. 68cm (26 3/4in) high. (2)

£20,000 - 30,000 CNY180,000 - 270,000

日本江戶時代，十七/十八世紀 金漆頭盔

Provenance: An important European private collection

來源： 歐洲重要私人收藏

Though a rare and unusual helmet shape, a somewhat similar naga eboshi nari kabuto was sold with a set of armour at Bonhams New York, 8 October 2013, lot 1029. The helmet from this armour, also exhibited at The Frazier History Museum, Louisville, KY, is an early copy of a naga eboshi previously owned by Kato Kiyomasa (1562-1611) which is currently in the collection of the Tokugawa Museum, Nagoya.

Daimyo of Kumamato in Higo Province, who served warlords Toyotomi Hideyoshi and Tokugawa Ieyasu (1543-1616), Kato Kiyomasa was renowned for his prowess in battle. In art, he is often depicted wearing the easily-identifiable naga eboshi. An Edo Period portrait of Kato Kiyomasa wearing a similar helmet was illustrated by Galerie Jean- Christophe Charbonnier, Armures Japonaises à la XXVe Biennale des Antiquaires (Japanese Armour at the XXVth Biennale des Antiquaires), Paris, 2010, pp.94-95.

For a gold-lacquered naga eboshi worn by Mizuno Katsunari (1564- 1651), daimyo of Fukuyama in Bingo Province, see Sengoku busho no yoroi kabuto (Armour and Helmets of Sengoku Period Warlords), Tokyo, Takarajimasha, 26 February 2016, p.73. Another similar gold- lacquered example worn by Maeda Toshiie (1538-1599), general to warlord Oda Nobunaga (1534-1582) and later daimyo of Kaga, is also illustrated in ibid, p.67. This present lot appears to be a unique example of a naga eboshi fitted with ei wakidate.

For details of the charges payable in addition to the final Hammer Price of each Lot 170 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 171 49TP Y A FINE PAIR OF HUANGHUALI RECTANGULAR WAISTED CORNER-LEG STOOLS, FANGDENG 17th/18th century Both stools with a soft-mat seat set within the rectangular frame, above a short plain waist and plain apron, the whole raised on legs of square section joined by humpback stretchers and terminating in hoof feet. 60cm (23 2/8in) wide x 59cm (23 1/2in) deep x 52cm (20 1/2in) high. (2).

£40,000 - 60,000 CNY360,000 - 540,000

十七/十八世紀 黃花梨有束腰羅鍋棖方凳成對

Provenance: Peter Lai Antiques Ltd. (label) An important European private collection

來源： 香港古董商黎氏古玩（標籤） 歐洲重要私人收藏

Fashioned from thick members of light-coloured huanghuali, stools 方材，攢框裝軟屜，冰盤沿上舒下斂，至底壓一道窄平線，簡潔利 such as the present lot were highly prized during the Ming and Qing 落。有束腰，羅鍋棖。四足下端略向內兜轉，馬蹄內翻有力。 dynasties for their linear design and elegant simplicity. 杌凳在中國歷史悠久。考古發現表明東周就出現了此類坐具；公元四 Stools have a long history in China, and archaeological evidence has 至五世紀的佛教石窟壁畫和七至十世紀繪畫作品中，也可見杌凳供神 shown that they were used from as early as the Eastern Zhou period 明及地位較高的社會成員使用的情形。宋代之後，椅子已非常普遍， (770-221 BC). In later times, the versatile function of stools enabled 但杌凳仍因其輕便小巧、使用舒適而廣為用於室內外各類場合。傳 them to serve as seats for Buddhist deities, as seen in frescoes 為馬遠所作之《春遊賦詩圖》中，文人逸士在溪林邊雅集賦詩，一 decorating Buddhist caves dating to the 4th and 5th century, as well 人執筆書於案上，身後即設一隻鑲席面的大方杌凳。有關杌凳的詳 as serving high-ranking members of society, visible in 7th to 10th 細演化，參S.Handler著，《Austere Luminosity of Chinese Classical century paintings. Furniture》，柏克萊，2001年，頁82-102頁，及王世襄著，《明式家 具研究》，卷一，香港，1990年，頁27-33。 Although chairs had become common by the Song dynasty, stools remained in widespread use. Because of their relatively small size, 參考一例十七世紀黃花梨杌凳，見王世襄著，《明式家具研究》， stools could be easily moved between the halls of a courtyard house, 卷二，香港，2016年，頁19，編號A3。另見一對明晚期至清早期黃 or carried outdoors during scholarly gatherings to serve as seats or 花梨杌凳，售於香港佳士得，2012年11月28日，拍品編號2007。 low tables. See, for instance, the large square stool set with a mat seat, depicted in ‘Composing Poetry on a Spring Outing’, a 12th/13th century painting attributed to Ma Yuan (active before 1189-after 1225).

For a discussion about the evolution of stools in China, see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley and London, 2001, pp.82-102；see also Wang Shixang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, Vol.1, Hong Kong, 1990, pp.27-33.

A similar huanghuali rectangular corner-leg stool, 17th century, is illustrated by Wang Shixiang, Connoisseurship of Chinese Furniture, vol.2, Hong Kong, 2016, p.19, no.A3 and vol.1, pp.27-31. A pair of similar huanghuali stools, late Ming/early Qing dynasty, was sold at Christie’s Hong Kong, 28 November 2012, lot 2007.

For details of the charges payable in addition to the final Hammer Price of each Lot 172 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 173 50TP Y A RARE HUANGHUALI YOKEBACK ‘OFFICIAL’S HAT’ ARMCHAIR, SICHUTOU GUANMAOYI 17th century Gracefully proportioned with a solidly carved toprail, the shaped yoke and upswept flat ends supported on corner posts continuing through to the back legs, and flanking a thick s-shaped rectangular back splat, the elongated serpentine arms supported by curved stiles and posts, the hard-mat seat above the round-section front legs joined by continuous beaded and cusped aprons, with side and back stretchers with plain aprons and a footrest. 110.5cm (43 2/8in) high x 57cm (5/8in) wide x 44.5cm (17 1/2in) deep.

£100,000 - 150,000 CNY900,000 - 1,400,000

十七世紀 黃花梨四出頭官帽椅

Provenance: Nicholas Grindley, Barling of Mount Street, London, 13 July 1992 Sotheby’s New York, 17 March 2015, lot 221 An important European private collection

來源： 1992年7月13日，購自英國倫敦古董商，Barling of Mount Street，Nicholas Grindley 紐約蘇富比，2015年3月17日，拍品編號221 歐洲重要私人收藏

The ‘four-corners-exposed’ chair structure is one of the earliest classic is illustrated by S.Handler, Austere Luminosity of Chinese Classical forms found in huanghuali furniture chair design. Early forms of this Furniture, Berkeley, 2001, p.54, fig.4.14 (one of a pair); a further similar chair can be seen in murals at Dunhuang dating from the Southern armchair is illustrated by R.H.Ellsworth, Chinese Hardwood Furniture and Northern Dynasties, which saw a further evolution throughout the in Hawaiian Collections, Honolulu, 1981, no.10. See also another Tang and Song dynasties; see Quincy Chuang ed., Fine Ming and Qing related armchair with four protruding ends, cloud motif on splat and Furniture in the Shanghai Museum, Hong Kong, 1998, p.36. tendril on apron, Ming dynasty, illustrated by Wang Shixiang, Classic Chinese Furniture – Ming and Early Qing Dynasties, Bangkok, 1986, The present pair of armchairs represents one of the most sculptural pl.46; and another example in the collection of the Central Academy of forms of Chinese furniture dating to the late Ming period. The graceful Arts and Crafts, Beijing, illustrated by Chen Zengbi, ‘Central Academy and sinuous shaping of the frame members resonate with dynamism of Arts and Crafts: Illustrations of Collections’ Zhongyang Gongyi and elegance, and the vigorous top rails resemble the protruding wings Meishu Xueyuan Yuancang: Zhenpin Tulu, vol.2: Mingshi Jiaju (‘Ming of the hats worn by Ming officials, hence the generic name of ‘official’s Furniture’), Hong Kong, 1994, p.23. hat’ chairs. The flat ends of the yokes and arms impart a restrained inner strength reinforcing the stately presence of the chairs. A similar single huanghuali yokeback armchair, late Ming dynasty, of slightly smaller size and with a medallion on the splat, was sold at Compare a very similar pair of huanghuali yokeback armchairs, Sotheby’s Hong Kong, 6 April 2016, lot 108; compare also with a pair 16th/17th century, illustrated in Splendor of Style: Classical Chinese of huanghuali yokeback armchairs, 17th century, which was sold at Furniture from the Ming and Qing Dynasties, Taipei, 1999, p.82; Sotheby’s New York, 11-12 September 2012, lot 218. another similar example, circa 1600, in the John W. Gruber collection,

For details of the charges payable in addition to the final Hammer Price of each Lot 174 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 175 主體以圓材製作，素面三彎靠背板嵌入搭腦下方與 椅盤後大邊槽口，後腿上截穿過椅盤作肩出榫納入 彎弧搭腦，三彎弧形的扶手同樣作肩出榫接合後 腿上截，前方接前腿鵝脖，穿過椅盤成前腿足，中 間支以三彎形上細下大的圓材聯幫棍。籐編座面， 椅盤下三面壺門券口牙子，後方為短牙子。腿間施 步步高趕棖，踏腳棖及左右兩側管腳棖下各安一素 牙子。

四出頭官帽椅是傳統家具坐具中最早形成的經典結 構之一，南北朝時期的敦煌壁畫上就已出現這種椅 子的雛形，並經唐宋時期進一步演變，見莊貴崙編 著，《莊氏家族捐贈上海博物館明清家具集萃》， 香港，1998年，頁36。

本具四出頭官帽椅造型大氣，簡練雋永，傳達出明 末傳統家具之最具雕塑感的美學形式。搭腦正中削 出斜坡，向兩旁微微下垂，至盡端又復上翹，形如 官帽的展腳。有別於更為常見的直材四出頭官帽 椅，本拍品構件纖細，但彎轉弧度大，製作時不惜 剖割大料，以實現”柔婉”的效果，為堅硬的木材賦 予了彈性之美。

一具十六至十七世紀黃花梨官帽椅，與本例極似， 收錄於《風華再現：明清家具收藏展》，台北， 國立歷史博物館，1999年，頁82，可資比對。另 比較一具美國收藏家John W. Gruber舊藏約1600 年制黃花梨官帽椅，見S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，柏克 萊，2001年，頁54，圖版4.14；以及一具收錄於安 思遠著，《Chinese Hardwood Furniture in Hawaiian Collections》，檀香山，1996年，編號10。另有 兩例分別收錄於王世襄著，《明式家具珍賞》，曼 谷，1986年，頁46；及陳增弼 中央工藝美術學院 編，《中央工藝美術學院院藏珍品圖錄 第二輯 明式 家具》，香港，1994年，頁23。

比較一具明晚期黃花梨官帽椅，尺寸近似但背板上 以浮雕裝飾，售於香港蘇富比，2016年4月6日，拍 品編號108；以及一對十七世紀黃花梨官帽椅，售於 紐約蘇富比，2012年9月11-12日，拍品編號218。

Woodblock illustration from ‘The Golden Lotus’ Jin Ping Mei 《金瓶梅》插圖版畫 176 | BONHAMS THE H COLLECTION | 177 51 A SPINACH-GREEN JADE BRUSHPOT, BITONG Mid Qing Dynasty Of cylindrical form inset with a circular base, the lustrous stone of rich spinach-green tone with dark and white speckles. 17cm (6 6/8in) high.

£16,000 - 20,000 CNY140,000 - 180,000

清中期 碧玉筆筒

Provenance: Grace Wu Bruce, Hong Kong, no.AJ 171 (label) An important European private collection

來源： 香港古董商嘉木堂，編號AJ 171（標籤） 歐洲重要私人收藏

The vibrant green colour of the present brushpot evokes vegetation 碧玉琢製而成，取材大度，質地堅潤，色澤莊重古樸，紋路清晰自 and infuses the composition with a feeling of peace and tranquillity. 然，包漿淳樸溫和，渾然大氣。

Jade brushpots were precious objects placed on the desk of scholars 筆筒是我國傳統文房用具之一，在各類筆筒中，材料價值最高的當屬 and high-ranking officials. 玉質筆筒。筆筒的製作需要玉料相對較大，且不能有大的綹裂和太多 雜質。因為材料珍貴，玉質筆筒較竹木或瓷筆筒等少的多，多見於皇 The term bitong was first used in theMaoshi caomu niaoshou chongyu 室貴冑之家。 shu, a 3rd-century commentary on the Shijing, a Confucian classic by Lu Ji, who lived in the Wu Kingdom during the Three Kingdoms 「筆筒」一詞最早出現在《毛詩草木鳥獸蟲魚疏》，這一三國吳人陸 period. At this time, the bitong consisted of ‘a brush case made of 璣為《詩經》中提到的動植物進行註解的著作之中。據揚之水考證， two bamboo segments attached together and containing a pair of 彼時所稱之「筆筒」，應指收筆所用的筆套，類秦漢時期常見的兩根 brushes’. The Chuanxin shiyong fang, a recipe book compiled in 1180, 竹管連在一起而在其中置放一對毛筆的雙連式筒套，亦有單管之製。 mentions the use of bitong as a tool to feed liquid medicine, and the 這一形制的筆筒流行時間很久，宋醫方著作《傳信適用方》記載了服 Zhixu zazu, another Song dynasty text, mentions that ‘(Wang) Xianzhi 藥時「用筆筒灌在喉中」，此處筆筒亦應指筆套。宋代《致虛雜俎》 owned a bitong named qiuzhong (‘fur cup’) made of spotted bamboo’. 記載「（王）獻之有斑竹筆筒名裘鐘」，則為筆罩或曰筆帽之屬。而 Yang believes that both were brush cases rather than brushpots; 作為插筆之用的筆筒，或受竹刻製品之影響，流行於明清之際，沿用 see Yang Zhishui and Guo Xuelei, ‘Bitong shitong, xiangtong’, in 至今。見揚之水與郭學雷著，〈筆筒、詩筒、香筒〉，收錄於《收藏 Shoucangjia, 2006: vol.3. 家》，2006年第3期。

The relatively ample supply of raw nephrite jade, after the Qianlong 十八世紀後期，乾隆皇帝為捍衛西北邊防，平定回部，新疆正式歸入 emperor invaded Khotan and captured the nephrite jade sources, 清中央政府的直接管轄之下，優質的白玉及碧玉玉料源源不斷貢入宮 meant that the Court’s demand for jade desk items could be fully 廷。本例製作之時，玉料豐富，品種激增，同期可見碧玉、青白玉、 satisfied. The jade brushpots produced at the time include those made 和闐白玉、黃玉等所製筆筒。 from spinach-green, pale green, Khotan-green, and yellow jade, as well as examples made from other semi-precious stones.

For details of the charges payable in addition to the final Hammer Price of each Lot 178 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 179 52TP Y A VERY RARE PAIR OF HUANGHUALI HORSESHOE-BACK ARMCHAIRS, QUANYI 17th/18th century Both chairs with the sweeping crest rail terminating in outswept hooks above shaped spandrels, forming an elegant curve above the curving splat carved with a ruyi cartouche enclosing a pair of entwined chilong, flanked by beaded shaped spandrels, the rear posts continuing to form the back legs below the rectangular frame above shaped, beaded aprons and spandrels carved to the front with foliate scrolls, with plain beaded aprons and spandrels on the sides, all supported by four round legs joined by stretchers. 96.8cm (28in) high x 59.7cm (23 1/2in) wide x 45.7cm (18in) deep. (2).

£200,000 - 300,000 CNY1,800,000 - 2,700,000

十七/十八世紀 黃花梨圈椅成對

Provenance: The Lai Family collection Christie’s New York, 17 September 2015, lot 901 An important European private collection

來源： 黎氏家族舊藏 紐約佳士得，2015年9月17日，拍品編號901 歐洲重要私人收藏

A woodblock illustration from The Golden Lotus, Jin Ping Mei 《金瓶梅》插圖版畫

For details of the charges payable in addition to the final Hammer Price of each Lot 180 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 181 The present chairs are distinguished by the attractively-figured 圈椅扶手兩端出頭迴轉收尾。靠背板上端浮雕抵尾雙螭，翻成雲紋， huanghuali grain on the backsplat, the vigorous outline of the shaped 後腿上截出榫納入圈形彎弧扶手，下穿過椅盤成為腿足，鵝脖與前腿 aprons and the refined quality of the carving of the splat medallions 足亦相同造法。扶手與鵝脖間打槽嵌入小角牙。扶手左右支以三彎形 and aprons. 上細下大的圓材聯幫棍。籐編座面，椅盤下的券口牙板浮雕卷草​​紋， 並沿輪廓線起一道陽線為飾，兩側面則裝光素的券口牙子。腿間施步 The Chinese name for this type of chair, quanyi, literally translates as 步高趕棖，踏腳棖及左右兩側管腳棖下各安一素牙子。此對黃花梨圈 ‘chair with a circular back’ or ‘circle chair’. During the Song dynasty, 椅線條簡約流暢，色澤溫潤素雅，盡顯傳統手藝的精工細作。 this form was known as kaolaoyang, referring to a large round basket made from split bamboo. 圈椅之名，蓋因其圓靠背狀如圈而得來。宋人稱之為「栲栳樣」， 原意指用竹篾或柳條編成的大圓筐，與之形似。圈椅的後背和扶手一 Horseshoe-back chairs, quanyi, are notable for their elegant curving 順而下，坐靠時不僅肘部有所倚托，腋下一段臂膀也得到支承，分外 crest rails and sweeping armrests and are strikingly modern in their 舒適。接扶手所用的榫卯是極為巧妙的「楔釘榫」；依王世襄在 balanced interplay between curvilinear and straight members. These 《明式家具研究》中所述，楔釘榫是將兩片榫頭盡端有小舌的榫頭合 chairs were inspired by seats made of pliable lengths of bamboo with 掌式地交搭，小舌入槽後要能緊緊貼合，使榫頭不能上下移動，然後 seemingly-simple continuous crest rails achieved through an ingenious 在搭口中部剔鑿方孔，將一枚斷面為方形的頭粗而尾稍細的楔釘貫穿 joinery technique. To recreate a continuous back when using less 過去，使得榫頭不能左右移動。圈椅的月牙扶手圓而細，楔釘榫任何 pliable hardwoods, the various members were fitted together with 構件的輕微誤差都會被相鄰的構件放大，尤須造得精緻。亦可參安思 a cut-out to accommodate a tapered wood pin that locked them 遠著，《Chinese Furniture: Hardwood Examples of the Ming and Early firmly in place when inserted. The complexity of the design required Ch’ing Dynasties》，紐約，1971年，頁86-87。 utmost precision, as a slight error in the angle of any of the joins would be magnified by the adjoining members. A lacquer coating 圈椅質量輕便，結構堅實，是明清時期最為經典的家用坐具之一， was then applied to make the underlying joinery virtually invisible; see 無論場合是否正式皆可適用，並常見於明代書籍版畫插圖之中。圈椅 R.H.Ellsworth, Chinese Furniture: Hardwood Examples of the Ming and 還可用於高階官員的轎椅，作為其尊貴身份的象徵，見柯律格著， Early Ch’ing Dynasty, New York, 1971, pp.86-87. 《Chinese Furniture》，倫敦，1988年，頁24。券口牙板的浮雕卷草 紋或源自青銅禮器紋飾，反映了十七世紀晚期文人階層的崇古思潮。 Lightweight yet sturdy, quanyi armchairs were amongst the most 安思遠認為，此種複古的紋飾設計是為晚明至康熙時期的創新，見安 prestigious seats in Ming and Qing dynasty households. They were 思遠著，《Chinese Furniture: Hardwood Examples of the Ming and reserved for high-ranking members of society and frequently depicted Early Ch’ing Dynasties》，紐約，1971年，頁86。 in woodblock illustrations. During formal occasions, quanyi chairs were draped with sumptuous textiles and provided with a footstool. Their 圈椅通常成對或成堂製作。參考一具與本例裝飾風格相似的晚明 wide seats, C-shaped splats and curved backs made these chairs 黃花梨圈椅，見安思遠、N.Grindley與A.Christy合著，《Chinese particularly comfortable and suitable for informal contexts. They also Furniture: One Hundred Examples from the Mimi and Raymond Hung served as sedan chairs reserved for officials of high rank, and were Collection（洪氏所藏木器百圖）》，紐約，1996年，頁68-69， considered markers of high status, seats of honour; see C.Clunas, 編號14。另有一具十七世紀黃花梨圈椅，靠背板浮雕紋飾相近，收錄 Chinese Furniture, London, 1988, p.24. 於王世襄與柯惕思著，《Masterpieces from the Museum of Classical Chinese Furniture》，芝加哥與舊金山，1995年，頁56，編號26。 The crisp angular scrollwork decorating the aprons appears to have been inspired by designs found on archaic bronzes, reflecting 參考一件與本例相似的十七至十八世紀黃花梨圈椅，售於紐約佳士 the interest in antiquarianism which was popular among the literati 得，2015年3月18日，拍品編號139。 elites during the late 17th century. According to Robert Ellsworth, the archaistic designs are an innovation attributable to the late Ming and Kangxi period; see R.H.Ellsworth, Chinese Furniture. Hardwood Examples of the Ming and Ch’ing Dynasties, New York, 1971, p.86.

Horseshoe-back chairs were generally made in sets of two or four. A single huanghuali horseshoe-back armchair, late Ming dynasty, carved in similar fashion to the present chairs is illustrated by R.H.Ellsworth, Chinese Furniture: One Hundred Examples from the Mimi and Raymond Hung Collection, New York, 1996, pp.68-69, no.14. See also a huanghuali horseshoe armchair, 17th century, carved with similar ruyi heads on the splat, illustrated by Wang Shixiang and C.Evarts, Masterpieces from the Museum of Classical Chinese Furniture, Chicago and San Francisco, 1995, p.56, no.26.

A similar huanghuali horseshoe-back armchair, 17th/18th century, was sold at Christie’s New York, 18 March March 2015, lot 139.

182 | BONHAMS

53TP Y A VERY RARE HUANGHUALI RECESSED-LEG SIDE TABLE, JIUZHUO 18th century The table defined by a thick top framed on four sides and with beaded edges, set within single-panel flower-shaped aprons, supported on fluted legs featuring bridle joints, the stretchers similarly fluted. 98cm (38 1/2in) wide x 82cm (32 2/8in) high x 48.5cm (19in) deep.

£150,000 - 200,000 CNY1,400,000 - 1,800,000

十八世紀 黃花梨花棱式腳酒桌

Provenance: The Feng Wen Tang collection, Hong Kong Christie’s Hong Kong, 3 June 2015, lot 2849 An important European private collection

來源： 香港奉文堂舊藏 香港佳士得，2015年6月3日，拍品編號2849 歐洲重要私人收藏

A woodblock print from the ‘Rescue of Prostitute by Zhao Paner’ Zhao Paner Fengyue Jiu Fengchen 《趙盼兒風月救風塵》插圖版畫

For details of the charges payable in addition to the final Hammer Price of each Lot 184 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 185 The present table is an exceptionally rare and elegant example of its 酒桌頂面攢邊打槽做法，冰盤沿中間打窪起線腳，直牙條沿輪廓線起陽 type. Its clean timeless outline, resulting from its rectilinear members 線，牙頭花瓣式。整體夾頭榫結構。直腿四面正中打窪，形成花棱式 and strong proportions, provides a pleasing aesthetic effect which 腳，以雙橫棖連接，棖面雙素混面中間打窪成花棱式，與線腳呼應。 would have greatly appealed to the scholar-collector. In addition, the fluted legs supporting the flat top are features rarely encountered on 酒桌屬於中小型的長方案形結體，主要為飲酒用膳之用；明代宴飲往 huanghuali tables, as circular or square legs were normally used to 往主客兩人共用一桌，賓客多時，則人各一桌，故而大大增加了此類 support recessed-leg tables. 桌案的需求量。除此之外，酒桌也可靠牆擺放，用於陳設古玩字畫和 花卉盆景。酒桌大小適中，側腳收分，結構緊湊，原型可以追溯到宋 Wine tables were often used for dining, usually accommodating one 代的家居陳設。河南白沙宋墓壁畫中就描繪了墓主人夫婦於此類桌案 or two individuals. However, they were also placed next to walls, 兩側對坐宴飲之場景，見宿白著，《白沙宋墓》，北京，1957年。 supporting flower vases, incense burners and art objects. Their 明代《趙盼兒風月救風塵》木刻版畫插圖中繪製了一對男女坐在平頭 restrained form and graceful splay of the legs may be traceable to 小案一側，享用酒肴；收錄於伍嘉恩著，《木趣居：家具中的嘉具》， domestic furniture design of the Song dynasty. See for example the 北京，2017年，頁154。 elegant couple seated at a very similar table as the present example, enjoying wine served in lotus-shaped cups, depicted on the wall of 一張安思遠舊藏十七世紀黃花梨酒桌，腿足裝飾與本例相似，售於紐 a Song dynasty tomb in Baisha, Henan Province, illustrated by Su 約佳士得，2015年3月17日，拍品編號42。另見一對十七世紀黃花 Bai, ‘Song dynasty tombs in Baisha’Baisha Song mu, Beijing, 1957. 梨桌，收錄於《風華再現：明清家具收藏展》，台北，國立歷史博物 Furthermore, a woodblock print from the ‘Rescue of Prostitute by Zhao 館，1999年，頁128-129。 Paner’ Zhao Paner Fengyue Jiu Fengchen, a drama dating to the Ming dynasty, depicts the protagonist and his female companion also sitting 對比一件形制相仿的明晚期黃花梨小平頭案，收錄於伍嘉恩著，《木 beside a recessed-leg table laid with a wine pot and cups. See G.Wu 趣居：家具中的嘉具》，北京，2017年，頁155。另參考一件十七世 Bruce, The Best of the Best. The Moj Collection of Ming Furniture, 紀黃花梨邊桌，售於香港佳士得，2012年11月28日，拍品編號2003。 Beijing, 2017, p.154.

A huanghuali recessed-leg table supported on similar fluted legs like the present example, 17th century, formerly in the collection of Robert Ellsworth, was sold at Christie’s New York, 17 March 2015, lot 42. See also the pair of small huanghuali tables, 17th century, in the Chen Chite collection, illustrated in Splendors of Style: Classical Furniture from the Ming and Qing Dynasties, Beijing, 1999, pp.128-129.

Compare with a nearly identical huanghuali recessed-leg wine table, late Ming dynasty, illustrated by G.Wu Bruce, The Best of the Best. The Moj Collection of Ming Furniture, Beijing, 2017, p.155. A similar slightly earlier huanghuali waistless-leg side table, banzhuo, 17th century, was sold at Christie’s Hong Kong, 28 November 2012, lot 2003.

186 | BONHAMS

54 A RARE PAIR OF ARCHAIC BRONZE RITUAL WINE VESSELS, HU Warring States Period Each vessel of pear-shaped body cast with three horizontal bands of interlocking and confronted dragons, divided by narrower bands decorated with stylised cicada and geometric designs, above a band of twisted-rope designs at the mouth, the neck set with two taotie masks suspending ring handles, the surface with a greyish-green patina with some areas of encrustation. 36cm (14 3/8in) high. (2).

£30,000 - 50,000 CNY270,000 - 450,000

戰國 青銅蟠螭紋壺一對

Provenance: Vanderven & Vanderven, LE ‘s-Hertogenbosch, n.180 (label) An important European private collection

來源： 荷蘭斯海爾托亨博斯古董商，Vanderven & Vanderven，n.180（標籤） 歐洲重要私人收藏

The present pair of hu vessels is a remarkable example of the creativity 壺侈口束頸，球形腹，圈足。肩部一對鋪首銜環耳。頸飾 索紋一匝， associated with Bronze Age design evolution, first developing in the 腹部凸起四道變形蟬紋為界，其間飾三週蟠螭紋，繁密交纏。圈足各 Western Zhou period, after which ritual bronzes continued to become 飾一周變形蟬紋。 increasingly elaborate throughout the Eastern Zhou period. 春秋及戰國時期，青銅器鑄造工藝大幅發展，紋飾風格也有別於商代 Bronze vessels hu served as wine containers during the performance 的神秘奇詭和西周的質實典重，而愈加繁複綺麗。本例主體密集往復 of sacrificial ceremonies aimed at worshipping the ancestors. These 的浮雕裝飾，應使用模印法，即以印模在尚未全乾的陶胎上連續印製 elaborate vessels were reserved for the highest-ranking members of 鑄成，是戰國時期青銅紋飾的典型例證。 society and were thus powerful indicators of the power and wealth of their owner. 形似本例的青銅壺多見於中國北方如河南等省份，如河南輝縣趙固出 土一件公元前六至五世紀青銅壺，收錄於蘇芳淑著，《Eastern Zhou Although hu vessels may have been in use since the Shang dynasty, Ritual Bronzes in the Arthur M. Sackler Collections》，卷三，華盛 they became popular during the Zhou dynasty, with many variants 頓，1995年，頁248，圖版42.1。另可參考紐約大都會藝術博物館 being produced at this time. The present vessel exhibits a dense 藏一件公元前五世紀青銅壺，與本例相似，見D.Leidy著，《How to sculptural decoration that is the direct result of the use of ‘master Read Chinese Ceramics》，紐約，2015年，頁22，圖版2.1；以及倫 decor stamps’, also known as ‘pattern blocks’, which facilitated the 敦大英博物館藏一件東周青銅壺，藏品編號1960.0724.1。 mould-making process and brought about specialisation and mass production to meet the rapid commercialisation of the bronze industry. 一件戰國晚期青銅蟠虺紋壺，售於紐約佳士得，2011年9月15日， 形制相仿，可資參考。 Hu vessels of similar shape to the present example, typically set on a low foot patterned to resemble a twisted rope, have been mainly excavated in Henan Province, in North China. See for example, a hu vessel, late 6th/5th century BC, excavated from an Eastern Zhou burial in Huixiang Zhaogu, Henan Province, illustrated by J.So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, vol.3, Washington DC, 1995, pp.248, fig.42.1.

Compare with a similar bronze vessel hu, 5th century BC, in the Metropolitan Museum, New York, illustrated by D.Leidy, How to Read Chinese Ceramics, New York, 2015, p.22, fig.2.1. See also a similar bronze hu, Eastern Zhou dynasty, in the British Museum, London, no.1960.0724.1.

A similar bronze ritual wine vessel, hu, late Warring States period, was sold at Christie’s New York, 15 September 2011, lot 1129.

For details of the charges payable in addition to the final Hammer Price of each Lot 188 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

55 ANONYMOUS Chrysanthemums Beside a Brushwood Fence, River, and Pine Tree, Edo Period (1615-1868), circa 1700 A six-panel folding screen painted in ink, mineral pigments, gofun (calcified crushed shell) and gold on paper applied with gold leaf, depicting chrysanthemums rendered in the moriage relief technique growing behind a brushwood fence beside a flowing river and pine tree partially hidden in gold clouds; unsigned. 380cm (149 1/2in) long x 168cm (66 1/8in) high.

£20,000 - 30,000 CNY180,000 - 270,000

日本江戶時代，約1700年 河畔東籬菊 紙本設色 金 箔地六折屏風

Provenance: Liza Hyde, New York An important European private collection

來源： 紐約Liza Hyde舊藏 歐洲重要私人收藏

This bold composition was created for the interior of a castle or perhaps a daimyo mansion in the new samurai city of Edo, in a tradition stretching back to the sixteenth century when screen pairs or screens like this were first ordered by leading warlords. It was painted using luxurious materials, with rich applications of crushed mineral pigments such as gunjo (blue) and rokusho (green) and extravagant passages of gofun (calcified and crushed clam shell powder) on a support of gold leaf on paper. Unfolded at night in a large formal space, a screen like this would have reflected the light of many candles or lanterns, casting a golden glow over the room and its occupants.

In keeping with the Confucian ethos of the ruling military elite, the composition—almost certainly the work of the official Kano painting academy— combines the rugged majesty of a mature pine (a Kano staple) with a Chinese poetic theme: the ‘Chrysanthemums by the East Fence’ beloved of the poet Tao Qian (Tao Yuanming, 365-427), who retired mid-career to the classic Chinese scholar- hermit’s life of obscurity, drinking, and versification. The chrysanthemum patch that he nurtured by the eastern fence of his estate was depicted in Chinese painting as early as the thirteenth century and the theme probably reached Japan around that time, a peak period for cultural exchange with the Asian mainland.

For details of the charges payable in addition to the final Hammer Price of each Lot 192 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 193 56 A RARE GILT-COPPER-MOUNTED SHELL-INLAID NANBAN Crafted in Kyoto’s lacquer workshops alongside quite different wares LACQUER CABINET intended for elite Japanese clients, these kinds of Nanban coffers Momoyama Period, late 16th/early 17th century and cabinets decorated in gold hiramaki-e and shell were among the Embellished predominantly in gold hiramaki-e lacquer and inlaid earliest Japanese artefacts to reach Asian and European markets, with shell, the single-hinged door decorated on the front with a ho-o starting two or three decades after the first landfall by Portuguese (phoenix) and a smaller bird standing on a rock among flowering adventurers in the mid-sixteenth century. Celebrated today for their peony and kikyo (Chinese bellflowers), three other birds in flight, the lavish, innovative technique and dense ornamentation (inspired in part top surface with a pair of four-tusked elephants resting among tall by wares from other parts of Asia), such pieces brought the Japanese stems of kikyo, plum blossoms and pine; the right side with a bird of genius for design to global attention and ensured that Japan would be prey about to attack one of two smaller birds, one perched on a maple synonymous with ‘lacquer’ until the present day. tree; the left side with a pair of monkeys gripping trailing branches of wisteria; the back with meandering branches of clematis; the Traded along newly-opened global sea routes, Japanese lacquers door opening downwards to reveal an interior panel decorated with offered Asian and European monarchs alike a distant glimpse of the meandering branches of kuzu (kudzu vine), and eleven drawers of four splendours of the Momoyama age, when great warlords like Toyotomi sizes decorated with assorted floral designs including camellia, fruiting Hideyoshi (1537–1598) took overall control of the country. Hideyoshi orange tachibana and nogiku (wild chrysanthemums), all arranged and his rivals, vassals and successors ordered lavish use of gold— horizontally in four rows and fitted with a gilt-copper chrysanthemum not just on lacquer wares but on folding screens and wall-painting knop surrounding a central drawer fitted with a copper lock plate, ensembles as well—to brighten the brooding interior spaces of their all framed by narrow thin bands of gold lacquer zig-zag motifs, the magnificent palaces and castles. sides with two copper-gilt carrying handles, the corners applied with gilt-copper fittings engraved with stylised cherry, the underside The decoration of this splendid cabinet, with lively animal, bird and undecorated; with the original key. flower designs placed within rich floral and geometric ornament, 64cm (25 1/8in) wide x 43.5cm (17 1/8in) high x 34cm (13½in) deep. (2). points to a date during the closing years of the sixteenth century or the opening decades of the seventeenth, when such wares partially £20,000 - 30,000 reflected contemporaneous pictorial trends within Japan. CNY180,000 - 270,000 For a discussion about Nanban fall-front cabinets of this type, illustrating comparative examples, see O.Impey and C.J.A.Jörg, 日本桃山時代，十六世紀晚期/十七世紀早期 花鳥獣蒔絵螺鈿洋櫃 Japanese Export Lacquer 1580-1850, Amsterdam, 2005, pp.122-124.

Provenance: An important European private collection

來源： 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 194 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 195 57TP A RARE LARGE TIANQI AND QIANGJIN LACQUER ALTAR TABLE Wanli The rectangular top colourfully decorated with a garden landscape scene depicting various plants and flowers including bamboo, lingzhi, magnolia and peony trees between rocks, and a small bird perched on a rocky outcrop, all reserved on a floral diaper red and gold ground, the table sides and the square-section legs all decorated with designs of leafy scrolling lotus blooms, the openwork apron with blossoming chrysanthemums within meandering scrolling tendrils, the legs terminating in hoof feet. 225.5cm (88 6/8in) wide x 89cm (35in) high x 64cm (25 2/8in) deep.

£70,000 - 100,000 CNY630,000 - 900,000

明萬曆 填漆戧金花鳥紋條桌

Provenance: A Belgian private collection Christie’s London, 10 November 2015, lot 378 An important European private collection

來源： 比利時私人收藏 倫敦佳士得，2015年11月10日，拍品編號378 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 196 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 197 Impressive in size and lavishly decorated with polychrome lacquer When combined with qiangjin, the gold lines and polychrome lacquer deigns, the present table displays a remarkable degree of labour, created a rather colourful and dazzling effect. A number of furniture which would suggest its probable creation in an Imperial workshop. pieces, such as tables, stools, incense stands were made during the Jiajing and Wanli periods, testifying to the Court’s great interest in The qiangjin (incised lines filled with gold) technique was developed as lacquered furniture at this time. Compare, for example, a rectangular early as the Warring Sates period. It was widely adopted on lacquer lacquered table decorated with designs of flowers and birds, Ming wares from the Song dynasty and was used on Imperial lacquer wares dynasty, in the Qing Court Collection, illustrated in The Complete during the Ming dynasty. The history of tianqi, a subtype of the caiqi Collection of Treasures from the Palace Museum. Furniture of the Ming technique of colour lacquering, can be traced back to as early as the and Qing Dynasties, Hong Kong, 2002, p.108, no.91. Shang and Zhou dynasties. Although the earliest time when these two techniques were first used together on lacquer wares remains The subjects depicted on the table top invoke auspicious symbolism unknown, during the 16th century a large number of lacquer works conveyed through the use of birds and flower designs. Peonies were made combining the qiangjin and caiqi techniques. mudan were also known in China as fugui, presumably following the popularity enjoyed by flowers among members of the Imperial

198 | BONHAMS families during the Tang dynasty. By their character and pronunciation, 整桌木胎戧金彩漆，桌面髹赭黃色，並以朱漆填勾錦紋作地，描漆繪 they convey blessings for happiness, fu, and noble/rich/high rank, 花鳥竹石等園林景緻，漆面受刀處皆戧金，各式花卉爭奇鬥艷。無束 gui. In conjunction with rocks (symbolic of endurance), magnolias 腰，方材直腿內翻馬蹄。足端四面刻繪玲瓏賞石，其上生出纏枝番 (representing beauty and fertility), and magpies (homophones with jue, 蓮，遍布桌腿及冰盤沿，羅鍋棖及矮老亦滿飾纏枝花卉，華彩煥然。 meaning high rank), peonies represent a visual rebus for the multiple 裝飾之華麗，工藝之細膩，表明本桌或出自宮廷作坊工匠之手，是一 blessings of wealth, longevity, progeny and advancement in career. 件不可多得的明代家具珍品。

The shape of the present table is similar to a rosewood table, Ming 戧金，即指在器物上淺刻出線條紋飾，並在刻痕內填金的工藝。始見 dynasty, illustrated in The Complete Collection of Treasures of the 於戰國，宋代起用於漆器裝飾，至明朝時更為流行，並大量用於宮廷 Palace Museum. Furniture of the Ming and Qing Dynasties, Hong 漆器。彩漆工藝發軔時期更為久遠，先秦時期便有廣泛運用，其工藝 Kong, 2002, p.111, no.94. Compare the flower and birds designs on a 又細分成「填漆」和「描漆」兩種，至於戧金和彩漆工藝何時結合， red lacquer table, Ming dynasty, illustrated ibid., p.108, no.92. 學界尚無定論，惟可見明嘉靖以來，戧金彩漆家具有大量存世。

一例明紅木條桌，收錄於《故宮博物院藏文物珍品全集：明清家具》 ，香港，2002年，頁111，編號94，造型可與本例比較。另可參考一 件明填漆花鳥圖長方桌，桌面裝飾紋樣可與本例比對，出處同上，頁 108，編號92。

THE H COLLECTION | 199

58TP Y A RARE PAIR OF HUANGHUALI MARBLE-INSET HIGH-BACK ARMCHAIRS, GUANMAOYI 17th/18th century Each chair with a flat crestrail supported on a slightly-curving backsplat set with an attractive and variegated round marble panel suggestive of a landscape scene, between backwards-curving rear posts continuing through the seat to form the rear legs, the rectangular frame enclosing a mat seat above plain aprons and spandrels, the whole raised on legs of square section, joined by stepped stretchers on the sides and a foot rest at front. 102cm (40 1/8in) high x 55cm (21 5/8in) wide x 44cm (17 2/8in) deep. (2).

£60,000 - 80,000 CNY540,000 - 720,000

十七/十八世紀 黃花梨嵌大理石四出頭官帽椅成對

Provenance: An important European private collection

來源： 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 202 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 203 Huanghuali yokeback armchairs such as the present examples are 通身以方材製作，搭腦平直，靠背板上端微微後彎，嵌圓形理石板。 notable for their simplicity and harmonious form. Their name ‘official 後腿上截與靠背板彎出相同弧度，出榫納入搭腦，下穿過椅盤成為腿 hat-shaped chairs’ derives from the resemblance of their crestrail 足。平直的扶手作肩接入後腿上截，另一端與另木安裝的鵝脖相連， to the winged hat that was part of the formal attire of Ming officials. 聯幫棍省略不用。籐編座面，椅盤下四面光素短牙板。腿間施方材步 Guanmaoyi chairs were regarded as high-status chairs and retained 步高趕棖，前棖下施牙條。 a connotation of authority associated with the elite gentry in Chinese society. According to the ‘Classic of Lu Ban’ Lu Ban jing, a 15th 官帽椅以理石鑲嵌為飾者，頗為稀有。自漢代始，石材就被用於裝飾 century carpenter’s manual, the joinery of yokeback chairs was the 傢具；黑白紋路的大理石，如水墨山水，尤為文人墨客所珍尚。文震 quintessential achievement of Chinese furniture construction; see 亨所著《長物誌》「大理石」條中稱，「白若玉、黑若墨為貴...... 但 C.Clunas, Chinese Furniture, London, 1988, p.20. 得舊石，天成山水雲煙，如米家山，此為無上佳品」；「椅」條中又 稱，「烏木鑲大理石者，最稱貴重」。參考W.S.Lee著，《Status of Guanmaoyi chairs inset with marble panels on the splat are unusual. the Materials Used in Suzhou Gardens in the Late Ming Dynasty》， Decorative stone panels were incorporated into furniture design from 檀香山，2006年，頁70。 at least the Han period. Decorative stone panels were highly regarded by the literati for their abstract imagery and complex patterns which 對比一具Tseng Riddell收藏十七世紀官帽椅，收錄於《風華再現：明 often evoked dramatic misty ink landscapes. These panels were often 清家具收藏展》，台北，國立歷史博物館，1999年，頁83。另見一對 set into tables, display stands or screens. The most attractive panels 十七至十八世紀黃花梨嵌理石官帽椅，售於香港佳士得，2018年5月 were reserved for larger furniture, such as wall panels and the railings 30日，拍品編號3017。 surrounding large daybeds. The presence of beautifully variegated stone-inset furniture was a signifier of refined taste and wealth, as Wen Zhenheng advocated in his ‘Treatise on Superfluous Things’ Zhang Wu Zhi, a Ming dynasty work on taste and interior design; see W.S.Lee, Status of the Materials Used in Suzhou Gardens in the Late Ming Dynasty, Honolulu, 2006, p.70.

A related yokeback armchair, 17th century, from the Tseng Riddell collection, is illustrated in the National Palace Museum, Splendor of Style: Classical Furniture from the Ming and Qing Dynasties, Taipei, 1999, p.83.

Compare with a related pair of huanghuali Dali-marble-inset armchairs, guanmaoyi, 17th-18th century, which was sold at Christie’s Hong Kong, 30 May 2018, lot 3017.

A pair of huanghuali armchairs, circa 1550-1600; image after C.Clunas, Chinese Furniture, Victoria and Albert Museum, London, 1997, p.18, fig.3 約1550-1600年，黃花梨四出頭官帽椅成對；收錄於柯律格，《Chinese Furniture》，倫敦維多利亞和阿爾伯特博物館，1997年，頁18，圖3

204 | BONHAMS THE H COLLECTION | 205 59TP Y The present pair of stools is notable for their 方凳成對，攢框裝軟屜，邊抹混面，採用 A RARE PAIR OF LARGE JICHIMU geometrical form and the simplicity of their 「垛邊」的造法，羅鍋棖用裹腿做。邊抹腿 STOOLS, CHANGFANGDENG 17th/18th century design. Stools constructed in this shape could 足皆為圓材，或為仿竹製傢俱之效果。 Each stool with a soft-mat seat set within a have soft and hard-mat seats; they were wide frame with double cushion-moulding made with and without stretchers, and with or 杌凳是明清時期極為常見的坐具，也被認為 simulating bamboo, supported on thick without carved surfaces. 是中國最早的坐具形式之一。造型小巧、 cylindrical legs joined by wrap-around 質量輕便，十分適合室內外各類場合；詳 humpback stretchers, supported underneath Stools were amongst the most common 見S.Handler著，《Austere Luminosity of by a bowed stretcher. forms of seating during the Ming and Qing Chinese Classical Furniture》，柏克萊，2001 58.7cm (23in) high x 61cm (24in) wide x dynasties, serving only a slightly less formal 年，頁82-102頁。本例羅鍋棖採用裹腿工 54cm (21 2/8in) deep. (2). function than chairs. Stools were employed 藝，製作考究；垛邊的造法增加了邊抹的厚 in China since a very early date, and could be 度，既加固了穩定性，又在與裹腿相呼應的 easily adapted to various indoor and outdoor 同時避免了厚重之感，整體輕盈而精巧。 £30,000 - 50,000 settings, as discussed by S.Handler, Austere CNY270,000 - 450,000 Luminosity of Chinese Classical Furniture, 參考一件十七世紀黃花梨方凳，見王世襄 Berkeley and London, 2001, pp.82-102. 著，《明式家具研究》，卷二，香港，2016 十七/十八世紀 鸂鶒木直足裹腿長方凳成對 年，頁19，編號A3。另有一對十七世紀黃花 A huanghuali stool related to the present 梨長方凳，售於紐約佳士得，2013年3月21 Provenance: example, 17th century, is illustrated by 日，拍品編號925，可資比對。 Barbara Giordana, Paris Wang Shixiang, Connoisseurship of Chinese An important European private collection Furniture, vol.2, Hong Kong, 2016, p.19, no.A3 and vol.1, pp.27-31. Compare with a 來源： pair of related huanghuali stools, 17th century, 巴黎Barbara Giordana舊藏 which was sold at Christie’s New York, 21 歐洲重要私人收藏 March 2013, lot 925.

For details of the charges payable in addition to the final Hammer Price of each Lot 206 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 60 AN ARCHAIC BRONZE RITUAL FOOD The origin of the dou can be traced back to Compare the shape and fine decoration and VESSEL AND COVER, DOU the shallow pottery tazza of the Longshan its arrangement on the present vessel with a Eastern Zhou Dynasty culture during the late Neolithic Period. related bronze dou, late Spring and Autumn The bowl raised on a high stem, the body The form continued to be in common use period, 6th century BC, illustrated by J.So, cast with stylised dragons beneath two bands throughout the Shang and Zhou dynasties. It Eastern Zhou Ritual Bronzes in the Arthur M. of densely arranged S-scrolls, the sides set was in the Western Zhou period that attempts Sackler Collections, London, 1996, no.24. with a pair of loop handles, the same design were made to embellish the simple pottery A similar bronze ritual food vessel and cover, repeated on the cover surrounding the everted form by fashioning it from lacquer over a dou, 6th century BC, was sold at Christie’s finial decorated with interlacing designs, the wood core, or casting it in bronze. Bronze New York, 19 September 2013, lot 1108. pale green patina with scattered malachite versions of the dou vessel, such as the present encrustations. example, the standard shape being shallow 豆為食器，新石器時代晚期的龍山文化即有 20cm (8in) high. bowls with straight vertical sides rising from 黑陶陶豆出土，商周時期，青銅豆得以大量 tall pedestal feet, are likely to have developed 使用。青銅豆延續了陶豆類高足盤的形制， £15,000 - 20,000 during the Western Zhou period (1047-772 約於西周時期逐漸演化出上為淺碗形盤、中 CNY140,000 - 180,000 BC). Archaeological excavations suggest that 呈柱形柄、柄下圈足的標準器型；東周時期 the further refinement of the domed lid and 更常見穹頂形蓋及環耳。東周以後，豆逐漸 the lug handles were added to the vessel at 取代簋的地位，成為祭祀儀式中盛放黍稷等 東周 青銅蟠虺紋豆 the beginning of the Eastern Zhou period. 穀物的重要禮器。見蘇芳淑著，《Eastern During the Eastern Zhou dynasty, dou vessels Zhou Ritual Bronzes in the Arthur M. Sackler Provenance: gradually replaced their gui counterpart to An important European private collection Collections》，倫敦，1996年，頁179-180。 become the most essential grain containers 本例主體飾蟠虺紋，細緻繁密，交錯往復， in a ritual vessel set; see J.So, Eastern Zhou 來源： 應為模印壓製而成，是東周青銅紋飾的典型 Ritual Bronzes in the Arthur M. Sackler 風格。形制及紋飾相關的他例可參考一件 歐洲重要私人收藏 Collections, London, 1996, pp.179-180. 春秋晚期，公元前六世紀青銅豆，見蘇芳 The present vessel is a fine example of grain 淑著，《Eastern Zhou Ritual Bronzes in the receptacles used in ritual performances to Arthur M. Sackler Collections》，倫敦，1996 worship the ancestors during the Eastern 年，編號24。另可比較一例相似的春秋晚 Zhou Period (771-256 BC). 期，公元前六世紀青銅豆，售於紐約佳士 得，2013年9月19日，拍品編號1108。

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 61TP Y A RARE PAIR OF HUANGHUALI HORSESHOE-BACK ARMCHAIRS, QUANYI 17th century Both chairs gracefully defined by a graceful S-shaped back splat carved with a ruyi cartouche enclosing entwining chilong dragons, the curving toprail continuing to the armrests with curled back ends, supported on the round-section back posts, with tapered serpentine side posts, the soft-mat seat on rounded legs joined by a plain apron and a stepped stretcher frame above the feet. 97cm (38 1/8in) high x 58cm (22 7/8in) wide x 45cm (17 6/8in) deep. (2).

£70,000 - 90,000 CNY630,000 - 810,000

十七世紀 黃花梨圈椅成對

Provenance: An important European private collection

來源： 歐洲重要私人收藏

Elegantly constructed with a wide back splat precisely carved The half-lapped pressure-peg join used to create the generous with confronted chilong enclosed within a ruyi-shaped medallion, graceful curve of the crest rail of the present pair of armchairs was the present chairs convey their aesthetic appeal through the fluid in architectural use from the 11th century for beams, sills and lintels. movement suggested by their continuous crest rails, which convey a Its use on a smaller form and in a highly-resinous, tightly-grained sense of containment and ease to their occupants. hardwood required the craftsman’s most careful attention. The huanghuali wood had to be very carefully chosen so that the grain was The curved members of the crestrails were obtained by cutting a bent with the curve to ensure a strong join and created to aesthetically bent piece of wood or constructing the bend from segments. Most pleasing and enduring proportions. horseshoe-back rails are composed of five segments. However, a number of examples exist which are constructed with just three Quanyi armchairs were either left undecorated or carved on the members, including the present pair. The three-member rail was splats and aprons with raised motifs, as the present pair is; see more difficult to obtain as it required extravagant use of the expensive R.H.Ellsworth, Chinese Furniture. Hardwood Examples of the Ming and huanghuali wood and was more vulnerable to damage, thus making Ch’ing Dynasties, New York, 1971, p.86. the present pair particularly rare. A similar huanghuali ‘horseshoe-back’ armchair, late 16th/early 17th century, is illustrated by G.Wu Bruce, Ming Furniture, Hong Kong, 2008, p.10, no.1. Compare with a related huanghuali ‘horseshoe- back’ armchair, 17th/18th century, which was sold at Christie’s New York, 18 March 2015, lot 139.

A woodblock illustration from The Golden Lotus, Jin Ping Mei 《金瓶梅》插圖版畫

For details of the charges payable in addition to the final Hammer Price of each Lot 208 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 209 210 | BONHAMS 圈椅扶手五接，兩端出頭迴轉收尾。靠背板 上端開光浮雕雙螭龍紋，後腿上截出榫納入 圈形彎弧扶手，下穿過椅盤成為腿足，鵝脖 與前腿足亦相同造法。扶手與鵝脖間打槽嵌 入小角牙，扶手左右支以三彎聯幫棍。籐編 座面，椅盤以下三面用窪堂肚券口牙板。腿 間施步步高趕棖，踏腳棖及左右兩側管腳棖 下各安一素牙子。

此對黃花梨圈椅造型圓婉，線條流暢，通過 巧妙的楔釘榫連接硬木木料，構造出圓勁有 力的扶手曲線。這種曲面的形式或源自十一 世紀的木構建築，但當縮小至方寸之間，任 何輕微誤差都會謬以千里，更需工匠小心選 材，精工細作，才能確保器物美觀耐用。

除光素無飾的圈椅外，多數圈椅的後背板都 有相應裝飾；本例的浮雕雙螭龍或源自青 銅禮器紋飾，是當時文人階層的崇古思潮 在家具上的體現。見安思遠著，《Chinese Furniture: Hardwood Examples of the Ming and Early Ch’ing Dynasties》，紐約，1971 年，頁86。

一具十六世紀晚期至十七世紀早期黃花梨圈 椅，與本例相仿，見伍嘉恩著，《明式家 具》，香港，2008，頁10，編號1。另可參考 一件十七至十八世紀黃花梨圈椅，售於紐約 佳士得，2015年3月18日，拍品編號139。

THE H COLLECTION | 211 62Y A WELL-FIGURED HUANGHUALI BRUSHPOT, BITONG Highly regarded for its fine grain and its rich brown hues, huanghuali Qing Dynasty was considered, with zitan and jichimu, as one of the three most The vessel of slightly waisted cylindrical form, the thick walls rising valuable woods during the Qing dynasty. from a flat base, the rich patina enhancing the fluid dark brown grain. 16.5cm (6 1/2in) high. Compare with a related huanghuali brushpot, 18th century, which was sold at Christie’s Hong Kong, 28 November 2012, lot 2021. £4,000 - 6,000 CNY36,000 - 54,000 黃花梨整木鏇製，用料精當，身略修束，色潤古雅，木紋清晰，鬼臉 生動可見。

清 黃花梨筆筒 比較一件十八世紀黃花梨素面筆筒，售於香港佳士得，2012年11月28 日，拍品編號2021。 Provenance: An important European private collection

來源： 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 212 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 63 A ZITAN BRUSHPOT, BITONG Qing Dynasty The vessel with a cylindrical body defined by gently- curving sides, the base fitted with a central plug, the wood with a rich surface of rich amber hues and darker-brown tones flecked with characteristic short golden streaks. 13.5cm (5 2/8in) high.

£4,000 - 6,000 CNY36,000 - 54,000

清 紫檀筆筒

Provenance: An important European private collection

來源： 歐洲重要私人收藏

Compare with a similar zitan brushpot, Qing dynasty, Kangxi period, which was sold at Sotheby’s, 10 September 2019, lot 50.

比較一例與之相似的佛羅倫斯及赫伯特 • 歐雲伉儷 舊藏清康熙紫檀筆筒，售於紐約蘇富比，2019年9 月10日，拍品編號50。

64Y A HUANGHUALI BRUSHPOT, BITONG 18th/19th century The vessel of gently waisted cylindrical form, with thick walls rising from a flat base, the rich patina enhancing fluid chocolate-brown and amber streaks in the grain. 18.5cm (7 2/8in) high.

£5,000 - 8,000 CNY45,000 - 72,000

十八/十九世紀 黃花梨筆筒

Provenance: An important European private collection

來源： 歐洲重要私人收藏

Notable for its lively grain and the dense orange- brown colour of its precious huanghuali wood, this brushpot is a fine example of vessels which were an essential part of the scholar’s studio, holding the various brushes owned by a literatus.

Compare with two similar huanghuali brushpots, 17th/18th century, illustrated by G.Wu Bruce, Living with Ming. The Lu Ming Shi Collection, Hong Kong, 2000, pp.190-191, no.56.

黃花梨整木鏇製，身略修束，色潤古雅，木紋清 晰，鬼臉生動可見。此類素面黃花梨筆筒，用料精 當厚實且不加修飾，乃明清文人雅士追求的沖淡雅 緻，巧雕繁複的雕刻後鑲嵌作品不可比之。

比較兩例十七至十八世紀黃花梨筆筒，收錄於伍嘉 恩著，《侶明室家具圖集》，香港，2000年，頁 190-191，編號56。

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 213 65TP Y A RARE SET OF FOUR HUANGHUALI AND BURLWOOD Provenance: CONTINUOUS YOKEBACK ARMCHAIRS, NANGUANMAOYI An important European private collection 18th century Each with a cylindrical crestrail continuing to the back posts, over 來源： a central splat enclosing a reticulated panel enclosing designs of 歐洲重要私人收藏 blossoming prunus and magnolia issuing from jagged rocks, all above a burlwood fielded panel, the sinuous arms joining the front posts continuing through the square frame surrounding a mat seat, over a fretwork apron in front and plain spandrelled aprons on the sides, the legs joined by base stretchers. 111cm (43 6/8in) high x 55cm (21 5/8in) wide x 44cm (17 2/8in) deep (4).

£100,000 - 150,000 CNY900,000 - 1,400,000

十八世紀 黃花梨嵌癭木板南官帽椅 一組四張

For details of the charges payable in addition to the final Hammer Price of each Lot 214 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 215 This unusual set of chairs shares the same general construction as the Unlike the more traditional nanguanmaoyi seats, the present chairs ‘Southern official’s hat’ armchairs. However, they display a number of have no side rail. In addition, the back splat has a gentle S-curve and important variations which were probably made to accommodate the is formed from three sections: the top decorated with a reticulated aesthetic preference of the patron commissioning them. panel decorated with chilong and blossoming flowers and tendrils; the middle section inlaid with a burlwood panel; the lower section with an The ‘continuous yokeback’ armchair is considered one of the most arched apron. Finally, the open stretchers below the seats are round classic forms originating in the Ming dynasty. The enduring popularity and connected to the seat frame by pillar-shaped struts, lightening the of the form, probably a result of the elegant lines and balanced appearance of these seats. proportions, ensured its production in varying forms through the late Ming and most of the Qing dynasty. The crestrail of this type of seat Compare the shape of the present chairs with a related huanghuali continues only down to the back posts as opposed to extending ‘Southern official’s hat’ armchair, mid 17th/early 18th century, beyond them, like in the ‘officials’ hat’ version. displaying similar stretchers and three-part backsplat inlaid with a central burlwood panel, illustrated by Chu-Pak Lau, Classical Chinese The ‘Southern official’s hat’ seat, typically characterised by continuous Huanghuali Furniture from the Haven Collection, Hong Kong, 2016, back and arm rails, was first developed during the Ming dynasty. It p.98, no.17. The design may have been inspired by a 16th/17th was probably inspired by bamboo chair construction, where different century prototype depicted in a woodblock illustration of ‘Journey to stalks of bamboo were bent and bound together with natural fibres; the West’ Xiyouji, a Ming dynasty novel, ibid., p.98. Also compare the see R.D.Jacobsen and N.Grindley, Classical Chinese Furniture in the reticulated floral designs with those decorating a huanghuali ‘low-back’ Minneapolis Institute of Arts, Minneapolis, 1999, pl.9. armchair, Ming or Qing dynasty, illustrated by S.Handler, The Austere Luminosity of Chinese Classical Furniture, Los Angeles and London, 2001, p.80, fig.6.10.

216 | BONHAMS 搭腦和扶手皆不出頭，形式上屬南官帽椅。主要構件和格局保留了明 一件十七世紀中期至十八世紀早期黃花梨南官帽椅，具有與本例相似 式風貌，並根據當時的審美偏好調整了細節。扶手不設聯幫棍，搭腦 的三段攢靠背板和羅鍋棖，可資比對，見劉柱柏著，《晏如居藏明式 中段下彎，其下的三段攢靠背板上段分別透雕木蘭、梅紋及如意螭龍 黃花梨家具》，香港，2016年，頁98，編號17。攢靠背官帽椅子在明 紋，中段鑲癭木，下段亮腳。椅盤下的變形羅鍋棖釋出葉紋，與鏤雕 代書籍版畫插圖常見，十六至十七世紀應已有此類南官帽椅的原型， 的靠背板交相輝映。 見《西遊記》插圖版畫，出處同上，頁98。另有一具明或清黃花梨玫 瑰椅，收錄於S.Handler著，《Austere Luminosity of Chinese Classical 南官帽椅作為官帽椅的變體，是明式家具中最為經典的類型之一。 Furniture》，柏克萊，2001年，頁80，圖6.10，其上飾板可與本例靠 此類坐具或源自宋明時期的竹製家具；刊行於約1570年的《玉簪記》 背板上段的鏤雕紋牌相比對。 插圖版畫中就描繪了一對湘妃竹製高靠背椅，搭腦亦不出頭而向下彎 扣，見D.Jacobsen與N.Grindley著，《明尼阿波利斯藝術館藏中國古 典家具》，明尼阿波利斯，1999年，圖版9。南官帽椅線條優雅，比 例合度，晚明及清朝時期，承襲此設計的硬木家具逐漸成為一種經典 樣式並大量製作。

THE H COLLECTION | 217

66TP Y Ф A MAGNIFICENT HUANGHUALI SQUARE GAMES TABLE, QIZHUO 18th century The square panelled removable top with rounded edges, concealing a rectangular recess fitted with an ivory-inlaid shuanglu board and a wire-inlaid folding weiqi and xiangqi board and two circular apertures for gaming counters, all supported on a rounded waist above a drawer to each side and raised on round legs joined by humpback stretchers. 88cm (34 5/8in) high x 94cm (37in) wide x 92cm (33 1/2in) deep.

£700,000 - 1,000,000 CNY6,320,000 - 9,030,000

十八世紀 黃花梨活面棋桌

Provenance: Hei Hung-Lu, Hong Kong, late 1980s/early 1990s A European private collection Sotheby’s London, 11 November 2015, lot 12 An important European private collection

來源： 二十世紀八十年代末/九十年代初，香港古董商黑洪祿 歐洲私人舊藏 倫敦蘇富比，2015年11月11日，拍品編號12 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 220 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 221 The present table is particularly remarkable for the translucent Tables containing weiqi boards, such as the present example, were golden-honey colour of its prized huanghuali wood and for skilfully probably first created during the Tang dynasty (618-906), and became combining the clarity and simplicity of its form, characterised by the popular during the Song dynasty (960-1279), particularly during the use of cloud-shaped spandrels and horse-hoof feet, with a complex reign of the Xuanzong emperor. According to literary sources, ‘When arrangement of game board sets concealed within its boxwood the Emperor’s consort saw that he was losing, she untied one of her frame, which includes two compartments for storing game pieces miniature dogs, which promptly jumped onto the weiqi board and and four smaller hidden drawers. disarranged the pieces, to the Emperor’s delight’; see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, The exceptional huanghuali games table, 18th century, is an p.187; and also C.Mackenzie and I.Finkel, Asian Games: The Art of outstanding example of restrained elegance and construction dexterity. Contest, New York, 2004, pp.186-201. Games tables were particularly popular during the Ming and Qing dynasties. Whilst the table had a recreational aspect, it was also In the eighteenth century, game tables were frequently depicted required to double up as a functional dining table or domestic surface. in contemporary paintings and woodblock illustrations; see, for The table could easily fulfil both roles by simply replacing the top. In the example, the painting ‘Picking flowers by a pavilion’, Fang ting cai present example, the removable top conceals a rectangular recess for hua by Yao Wen-han (18th century), in the collection of the National a shuanglu (a Chinese version of backgammon) board, other gaming Palace Museum, Taipei, illustrated in New Visions at the Ch’ing Court. boards such as xiangqi and weiqi (Chinese equivalents of chess and Giuseppe Castiglione and Western-Style Trends, Taipei, 2007, no.32. checkers), as well as two cylindrical game piece cups. For a huanghuali games table of rectangular form, 17th century, see Games tables have a long history in China and were manufactured the example in the Philadelphia Museum of Art, which, like the present since at least the Warring States period (476-221 BC), when the example, has removable game boards but features giant’s-arm braces, highly entertaining divination game liubo, the favourite mental illustrated by R.H.Ellsworth, Chinese Furniture. Hardwood Examples relaxation of rulers, became popular and remained so until the end of the Ming and Early Ch’ing Dynasties, New York, 1971, pl.73. A of the Eastern Han dynasty (25-220 AD). Archaeological evidence slightly-earlier huanghuali games table, Ming dynasty, is illustrated by yielded several liubo boards from royal tomb complexes dating to G.Wu Bruce in Dreams of Chu Tan Chamber and the Romance with these periods; see J.Rawson, Mysteries of Ancient China, London, Huanghuali Woods: The Dr. S. Y. Yip Collection of Classic Chinese pp.159–161; and also R.H.Ellsworth, N.Grindley and A.Christy, Furniture, Hong Kong, 1991, pp.82-83. Chinese Furniture: One Hundred Examples from the Mimi and Raymond Hung Collection, New York, 1996, p.146. Other examples of huanghuali games tables include a recessed-leg table with removable top in the Minneapolis Institute of Arts, illustrated by R.D.Jacobsen and N.Grindley, Classical Chinese Furniture, Minneapolis, 1999, pp.114-117, no.37, and a zitan square games table, 17th century, from the T.T. Tsui Museum of Art, Hong Kong, illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, p.201.

A slightly smaller huanghuali games table, 18th century, was sold at Sotheby’s New York, 9-10 October 1987, lot 398. See also a rectangular example formerly in the collection of Robert Hatfield Ellsworth, which was sold at Christie’s New York, 17 March 2015, lot 44.

Image after H.Kinoshita, Art of China. Highlights from the Philadelphia Museum of Art, Philadelphia PA, 2018, p.147 H.Kinoshita，《Art of China. Highlights from the Philadelphia Museum of Art》，費城藝術博物館，2018年，頁147

222 | BONHAMS THE H COLLECTION | 223 ‘Picking flowers by a pavilion’, Fang ting cai hua by Yao Wen-han (18th century), detail; image courtesy of the National Palace Museum, Taipei 姚文瀚等（十八世紀），《山水樓臺畫冊 芳亭採花》（局部），圖片致謝台北故宮博物院

黃花梨木色澤明麗，木料呈現有如蜂蜜般的細膩材質；造型簡潔， 費城藝術博物館所藏一件十七世紀黃花梨長方棋桌，與本品同樣具有 有束腰，飾雲紋式角牙，足下內翻馬蹄；加之匠心獨運，活桌面下黃 可裝卸的棋盤，惟以霸王棖聯結，可資參考；見安思遠著，《Chinese 楊木框，內嵌圍棋、象棋用的方形雙面折疊棋盤，棋盤揭開後，下面 Furniture：Hardwood Examples of the Ming and Early Ch’ing 是低陷的雙陸棋盤，棋盤側鏇圓口棋子盒兩個，桌側四面各有一抽 Dynasties》，紐約，1971年，圖版73。另見一件明代黃花梨棋桌， 屜，小巧隱蔽。 較本品稍早，收錄於伍嘉恩著，《Dreams of Chu Tan Chamber and the Romance with Huanghuali Woods: The Dr. SY Yip Collection of 棋桌於中國歷史悠久，早在戰國時期，六博就是人們特別是權貴階 Classic Chinese Furniture》，香港，1991年，頁82-83。 層喜聞樂見的娛樂活動，並持續流行至東漢末期。此時期的皇家陵 墓中曾出土多件六博棋盤，見J.Rawson著，《Mysteries of Ancient 另有明尼阿波利斯美術館藏一例黃花梨夾頭榫活面棋桌，見R.D. China》，倫敦，1996年，頁159-161；以及安思遠、N.Grindley與 Jacobsen與N.Grindley著，《明尼阿波利斯藝術館藏中國古典家具》， A.Christy合著，《 Chinese Furniture: One Hundred Examples from 明尼阿波利斯，1999年，頁114-7，編號37；及香港徐展堂藝術 the Mimi and Raymond Hung Collection（洪氏所藏木器百圖）》， 館所藏一件十七世紀紫檀方桌式棋桌，見S.Handler著，《Austere 紐約，1996年，頁146。形如本品的圍棋棋桌或最早見於唐代，至 Luminosity of Chinese Classical Furniture》，伯克利，2001年，頁201。 宋代更為流行。唐人段成式所著《酉陽雜俎》就曾記述過唐玄宗李 隆基「康猧亂局」之軼事，「上（玄宗）夏日嘗與親王碁...... 貴妃 一件十八世紀黃花梨棋桌，較本品略小，售於紐約蘇富比，1987年 立於局前觀之，上數枰子將輸，貴妃放康國（唐時西域）猧子於坐 10月9-10日，拍品編號398；以及安思遠舊藏一件長方桌面黃花梨束 側，猧子乃上局，局子亂，上大悅」。詳見S.Handler著，《Austere 腰活面棋桌，售於紐約蘇富比，2015年3月17日，拍品編號44，可為 Luminosity of Chinese Classical Furniture》，伯克利，2001年，頁187； 比較。 及C.Mackenzie與I.Finkel著，《Asian Games: The Art of Contest》， 紐約，2004年，頁186-201。明清時期，棋桌愈發流行，多見方形設 計，桌面活板裝卸簡易，除對弈之功用外，亦可作為餐桌，甚為實 用。至十八世紀，棋桌時常出現於書畫及木刻版畫中，如台北故宮博 物院所藏，清姚文瀚等繪《山水樓臺畫冊 芳亭採花》，收錄於《新視 界: 郎世寧與清宮西洋風》，台北， 2007年，編號32。

224 | BONHAMS THE H COLLECTION | 225 67TP AN IMPERIAL TIANQI AND QIANGJIN POLYCHROME Notable for its elegant and sweeping form, the present stand has been LACQUER STAND meticulously decorated with intricate floral designs. Stands of similar Kangxi/Yongzheng form to the present example were used in both religious and secular Of square shape, the top finely incised and highlighted in shades of contexts to hold incense burners or flower vases. These objects were red, orange, green, blue and black within outlines incised in gold, with designed with great attention to detail and form, pleasing the eye from a central medallion enclosing blossoming lotus flowers interspersed any angle. For a detailed discussion about the form of incense stands, within meandering stems and bats, within further lotus sprays at the see S.Handler, Austere Luminosity of Chinese Classical Furniture, four corners, the stand with a narrow waist decorated with bats and Berkeley and Los Angeles, 2001, pp.295-302. floral scrolls within interlocking geometric designs, above a bombé apron and four gently-tapered legs terminating in hoof feet, all raised Polychrome lacquer became popular in the late Ming dynasty, either on a pedestal base. brush-painted or gold-engraved and coloured in the more laborious 47cm (18 1/2in) high x 37cm (14 1/2in) wide x 37cm (14 1/2in) deep. qiangjin-and-tianqi technique, such as on the present stand. While the qiangjin method involved incising gilt lines into the design, the tianqi £15,000 - 20,000 method featured incised outlines filled with different colours of lacquer. CNY140,000 - 180,000 The combination of the two techniques allowed craftsmen to achieve attractive shading effects in vibrant colours within clearly-defined shapes, particularly evident with the painterly scenes of blossoming 清康熙 雍正 御製填漆戧金纏枝蓮紋四足香几 / flowers on the top panels. Highly laborious and time-consuming, this technique was mostly reserved for smaller-sized objects, and only Provenance: rarely on larger furnishings such as the present lot. Ader Paris, Palais Galliera, 30 March 1965, lot 32 Madame Djahanguir Riahi, Paris The highly-auspicious designs on the present stand suggest religious Sotheby’s Paris, Madame Djahanguir Riahi, les oeuvres que j’ai associations concerning the attainment of Immortality. The ‘floating aimées, 6 July 2017, lot 54A landscape’ may have been conceived as the Daoist realm of Kunlun. An important European private collection The blossoming lotus flowers may have also evoked the transmutation of lacquer into gold, a Daoist process aimed at driving away malignant 來源： spirits and acquiring immortality. As a flower emerging from mud, 巴黎艾德拍賣行，加列拉宮， 年 月 日，拍品編號 1965 3 30 32 however, the lotus was regarded by Buddhists as symbolic of 巴黎 夫人舊藏 Djahanguir Riahi enlightenment and purity and may have also evoked the rebirth in the 巴黎苏富比，「 夫人私人珍藏專場」， 年 月 Djahanguir Riahi 2017 7 6 wondrous Pure Land of Buddha Amitabha. 日，拍品編號 54A 歐洲重要私人收藏 A related lacquer stand, Kangxi, is illustrated by H.Brinker and A.Lutz, Chinese Cloisonné . The Pierre Uldry Collection, London, 1989, p.53, fig.29.

Compare with a similar pair of qiangjin and tianqi stands, Kangxi, which was sold at Sotheby’s Paris, lot 55. See also a related polychrome lacquer incense stand, 18th century, which was sold at Bonhams London, 16 May 2019, lot 75.

香几木胎戧金彩漆，通身髹赭地。桌面長方倭角，四朵如意祥雲圍繞 「戧金」勾勒出花紋圖案的輪廓及枝葉的細部紋理；「填彩漆」則需 中心番蓮，周圍一圈及四角刻繪纏枝蓮及蝙蝠紋，以紅、綠、赭、黑 要在紋理內填入濃厚的色漆，充滿之後再經磨平，與原漆地平滑一 各色漆填飾。束腰四面鎪出炮仗洞，下承四腿，自肩部以下向外鼓出 體，色彩紛呈，與金色的邊框紋理碰撞出華麗的裝飾效果。這種工藝 後，直至下端，始向內捲轉，落在拖泥之上。通體飾番蓮、蝙蝠及拐 耗時耗力，多見於日用小件，如捧盒托盤一類，用於如本例大型家具 子龍紋，雕琢精細，富麗堂皇。 者，殊為珍罕。

香几形制多樣，常出現於明清書畫及版畫中。因常置於一室中心單獨 參考一例清康熙漆香几，收錄於H.Brinker與A.Lutz著，《Chinese 陳設或承托器物，香几在造型上沒有較強的方向性，裝飾設計的細 Cloisonné. The Pierre Uldry Collection》，倫敦，1989年，頁53， 節更需面面俱到，才能使觀者無論在何角度都能獲得視覺的愉悅。 編號29。 有關香几形制的詳細探討，見S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁295-302。 另有一對清康熙戧金填漆四足香几，售於巴黎蘇富比，2017年7月 6日，拍品編號55；及一件十八世紀彩漆描金香几，售於倫敦邦瀚 彩漆工藝於明末十分流行，嘉靖以來更有大量戧金彩漆家具存世。戧 斯，2019年5月16日，拍品編號75，可資比對。 金彩漆可細分「戧金填彩漆」和「戧金描彩漆」，兩種做法都需要用

For details of the charges payable in addition to the final Hammer Price of each Lot 226 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 227 68TP ANONYMOUS Cedars and Maple at Sunset, Edo Period (1615-1868), 18th/19th century A six-panel folding screen painted in ink, mineral pigments, and gofun (crushed calcified shell) on paper applied with gold leaf, depicting leafing branches of a maple tree partly rendered in the moriage relief technique, cedar trees at centre and right, and the sun setting behind a hill at left; unsigned. 368cm (145in) wide x 167cm (65 3/4in) high.

£10,000 - 15,000 CNY90,000 - 140,000

日本江戶時代，十八/十九世紀 楓林雪松圖 紙本設 色 金箔地六折屏風

Provenance: Naga Antiques, New York An important European private collection, acquired from the above in 2016

來源： 紐約古董商Naga Antiques 歐洲重要私人收藏，於2016年購自上者

For details of the charges payable in addition to the final Hammer Price of each Lot 228 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 229 69 A FINELY-CARVED CINNABAR LACQUER The term jiuru, meaning ‘nine wishes’, 蓋盒桃形，子母口，通體髹朱漆 ，盒內髹黑 PEACH-SHAPED BOX AND COVER also refers to boxes shaped as a peach, 漆。蓋面隨形開光，內雕山水亭台。盒底亦 Qianlong underscoring auspicious symbolism relating 桃形開光，雕蝙蝠一隻。蓋面及盒身邊沿於 The cover finely carved through thick layers to birthday wishes. Combined with the 六角形錦地之上交替分佈五蝠祥雲。此器朱 of cinnabar lacquer with a peach-shaped imagery of the peach (symbolic of longevity), 漆色澤肥厚鮮麗，紋飾繁複精細，極富立體 medallion depicting a landscape dotted with and the bat (conveying happiness), this 感，盡顯乾隆一朝的華美風尚。 pavilions and pine trees along a river bank, would have made the present vessel an the rounded sides of the cover and box appropriate birthday gift. Peach blossoms are 桃在中國傳統文化中的象徵意義源遠流長， embellished with hexagonal diaper enclosing mentioned in the ‘Book of Poetry’, Shijing, 無論是桃形用器還是裝飾主題都極受歡迎。 where they were treated as a symbol for the bats interspersed with clusters of vaporous 先秦古籍《山海經》記述神荼與鬱壘二神人 arrival of Spring. The ‘Record of the Peach ruyi clouds, the foot encircled with a band of 居東海度朔山桃樹下，閱領萬鬼，成為後世 Blossom Spring’ Taohua yuan Ji, by Tao Qian upright lappets surrounding key-fret borders 門神的原型，桃符也從而被附加了辟邪之功 (365-427) describes a fisherman entering a around a recessed base with a central bat on paradisiacal world through a peach orchard. 用；《詩經·桃夭》篇則以桃花喻女性之美 a diaper ground. At later times, peaches became associated 好，「桃花源」更是文人逸士理想世界的指 17cm (6 2/8in) long. (2). with Daoism and with man’s concern of 代。明清以來，以桃為長壽象徵的裝飾母題 attaining Immortality. Beautiful peaches were 十分流行，這與其在道教語境下長生不老之 £12,000 - 15,000 believed to grow in the luxurious garden of 寓意息息相關。蓋面及盒身邊沿雕飾五蝠， CNY110,000 - 140,000 the Queen Mother of the West, the main 意指「洪福齊天」，五蝠音同五福，即代表 Daoist deity, and Shoulao, also known as the 「高壽、康寧、富貴、好德、善終」，搭配 God of Longevity, is often depicted holding 壽桃形制，象徵福祿壽三喜兼備。 清乾隆 剔紅山水亭台桃式蓋盒 a peach. Compare with a similarly-shaped cinnabar lacquer peach-shaped box and 參考清宮舊藏一件清中期剔綠加彩渡海圖桃式 Provenance: cover, mid Qing period, decorated with a 盒，見《故宮博物院藏文物珍品大系：清代漆 Sotheby’s Paris, 12 June 2013, lot 56 central panel depicting the Immortal Zhang 器》，香港，2006年，圖版67。另見一例漆 An important European private collection Guolao crossing the sea, illustrated in The 器收藏世家李氏家族舊藏清乾隆剔紅桃式九如 Complete Collection of Treasures of the 寶盒，「大清乾隆年製」楷書款，售於香港佳 來源： Palace Museum. Lacquer Wares of the 士得，2012年11月28日，拍品編號2108。 巴黎蘇富比，2013年6月12日，拍品編號56 Qing Dynasty, Hong Kong, 2006, pl.67. A 歐洲重要私人收藏 related cinnabar lacquer peach-shaped box and cover, Qianlong six-character mark and of the period, decorated with an Immortal under a tree on a river bank, was sold at Christie’s Hong Kong, 28 November 2012, lot 2108.

For details of the charges payable in addition to the final Hammer Price of each Lot 230 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 70 A MUGHAL PALE GREEN JADE EWER This elegant jade wine ewer is of a rare but 痕都斯坦即指蒙兀兒帝國（1526-1857）； AND COVER known form. The Mughal Empire in India 1768年，乾隆皇帝親自撰《天竺五印度考 India, 18th century (1526-1857) left a legacy of high-quality worked 訛》一文，考證發音，定名「痕都斯坦」。 The pear-shaped body rising from a short foot, jades. The Qianlong emperor greatly admired 在蒙兀兒帝國治下，伊斯蘭玉器逐漸形成獨 carved in low relief with sprays of blossoming the so-called ‘Hindustan’ jades, and in 1768, 特的裝飾風格，並於十八世紀後期經新疆源 flowers surrounded by meandering leaf stems he wrote the Tianzhu wuyindu kaoe, a scholarly 源不斷貢入清廷，令乾隆皇帝讚歎不已。 beneath a band of pendent leaves, with text on the geography of Hindustan and the similar designs repeated on the domed cover derivation of its name. The area he identified 早期的伊斯蘭玉器造形多受金屬器、瓷器影 surrounding a lotus-bud-shaped finial, the body was in what is today India, with the city of Agra 響，本例細流纖長筆挺的造型或源於金屬 with an integral straight spout. at its centre. During the eighteenth century, 器。器身的淺浮雕花葉紋，據說是受蒙兀兒 15cm (6in) long. this area was part of the Mughal Empire and 帝國皇帝賈漢吉1620年造訪鮮花盛開的克什 thus the jades from this region are today often 米爾峽谷後之啟發；以冷硬的玉料讚頌自然 £6,000 - 8,000 referred to as ‘Mughal’ jades. The decoration 界蓬勃的生機，是為痕玉之獨特風格。 CNY54,000 - 72,000 of the present vessel may have been inspired by Emperor Jahangir’s visit to the beautiful 台北國立故宮博物院一例清宮舊藏十七至十 flower-filled valleys of Kashmir in 1620, which 八世紀蒙兀兒帝國玉單柄壺，紋飾相仿， 十八世紀 青白玉雕痕都斯坦式蓋壺 prompted the introduction of a new style of 見鄧淑蘋著，《國色天香：伊斯蘭玉器》， drawing on botanical designs. Compare with 台北，2007年，圖版96。 Provenance: a related jade ewer, 17th/18th century, in the An important European private collection collection of the National Palace Museum, 另對比一例印度十八世紀玉無柄壺，售於倫 Taipei, illustrated in Exquisite Beauty - Islamic 敦佳士得，2015年10月8日，拍品編號143。 來源： Jades, Taipei, 2007, pl.96. 歐洲重要私人收藏 A related white jade wine flask, India, 18th century, was sold at Christie’s London, 8 October 2015, lot 143.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 231 71 A MUGHAL-STYLE SPINACH-GREEN JADE BRUSHPOT, The foreign influence on the present vessel is identifiable by being so BITONG thinly carved, thin and translucent enough to allow the light to shine Probably Republic Period through the walls; and by the frequent use of petal and floral designs. The vessel of cylindrical shape standing on three ruyi feet, finely carved Such ‘Hindustan’ jade carvings, both the examples from the Mughal with vertical panels depicting intricate designs of large blossoming empire and the versions carved in China, were highly treasured, as flowers borne on an undulating foliate meander, all between bands of exemplified by the number and variety of examples in the Imperial curling leaves and petals, the stone of deep translucent emerald tone. collections in the National Palace Museum, Taipei and in the Palace 17.2cm (6 7/8in) high. Museum, Beijing.

£30,000 - 40,000 The design of acanthus leaves seen on the present brushpot CNY270,000 - 360,000 derives from classical European architecture, and was introduced into the Mughal jade-carving repertoire during the 17th century. Chrysanthemums on the other hand, symbolic of longevity and fertility, 或民國 痕都斯坦式碧玉花葉紋筆筒 have long been closely associated in China with Autumn and the hermetic poet Tao Qian (365-427 AD). Living during a turbulent period Provenance: in China, he retired in midlife to a small estate to live out his days in Sotheby’s Paris, 9 June 2010, lot 178 rustic obscurity, drinking wine and writing poetry. Private and quiet as An important European private collection his life was, his reputation grew steadily after his death, particularly for his association with chrysanthemums, which he grew in a small 來源： patch by the eastern fence of his retirement estate. Since then, 巴黎蘇富比，2010年6月9日，拍品編號178 chrysanthemums have come to symbolise the literatus ideal of tranquil 歐洲重要私人收藏 solitude in one’s Autumn years.

The present lot with its crisp floral carving and translucent stone Compare the designs of chrysanthemums and plants extending up displays distinct influence of Mughal jade-carving styles on Chinese from the base in low relief as seen on the present brushpot with the jades. This was due to the favour shown by the Qianlong emperor low-relief designs decorating a small jade lidded pot, Qing dynasty, to Indian (which he termed ‘Hindustan’) jades. Mughal jade vessels illustrated in the National Palace Museum, Exquisite Beauty - Islamic produced in India were renowned for their exceptional carving and Jades, Taipei, 2007, p.212, no.262. naturalistic designs. These objects were traded and gifted as tributes to China via Yarkand, in Central Asia. The Qianlong emperor greatly admired the fine quality of Mughal jade workmanship, and wrote poems praising Mughal pieces in his collection, describing them as ‘thin as paper’. Chinese carvers thereafter strove to imitate the Mughal style, combining Chinese decorative elements and symbolism such as the chrysanthemums decorating the handles.

痕都斯坦即指蒙兀兒帝國，其疆域包括今印度北部、巴基斯坦及阿富 花葉紋是痕都斯坦式玉器的主流紋飾。本例主體浮雕莨苕紋，源自歐 汗東部等地，經乾隆皇帝親自考證發音，定名「痕都斯坦」。在蒙兀 洲古典建築的邊緣卷葉紋飾，十七世紀左右引入伊斯蘭玉雕工藝。工 兒帝國治下，伊斯蘭玉器逐漸形成獨特的裝飾風格，並於十八世紀後 匠常於一件玉器的器心或外壁等部位，選擇不同的花種，配上長長短 期經新疆源源不斷貢入清廷，令乾隆皇帝大為激賞。乾隆皇帝認為 短的淺浮雕莨苕紋，使器物整體豐美優雅又富韻律感。而菊花紋飾則 薄、透、輕巧，是痕都斯坦玉工的絕技，多次賦詩盛讚這種雕刻精 意味長壽有徵、多子多福；又因其耐霜雪之特性而被賦予人格化的精 細、紋飾繁複的裝飾工藝，內務府亦設立專門仿製痕玉的作坊。中國 神。晉陶淵明不為五斗米而折腰，辭官歸田，淡泊明志；其「採菊東 工匠由此大量吸收痕玉工藝特點，結合中國傳統器形和裝飾主題， 籬下，悠然見南山」的逍遙適意，從此賦予了菊花堅韌而不流俗的文 創造出帶有西番風格的玉器，本品即為絕佳例證。 人氣節。

此類風格的一大特點是胎體輕薄、透明，由外透過器壁能看到器內盛 參考台北國立故宮博物院藏一例清痕都斯坦式玉雕蓋罐，同樣以菊花 裝的物體，由內透過器壁又能看到外壁上浮雕的花紋。台北國立故宮 及浮雕葉紋為飾，見鄧淑蘋著，《國色天香：伊斯蘭玉器》， 博物院和北京故宮博物院館藏清宮舊藏各式大量痕都斯坦式玉器， 台北，2007年，頁212，編號262。 彼時流行程度可見一斑。

For details of the charges payable in addition to the final Hammer Price of each Lot 232 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 233 72TP Y A VERY RARE HUANGHUALI SQUARE-BACKED ARMCHAIR, MEIGUIYI 18th century Of graceful proportions with the hard-cane seat framed by a straight crestrail above vertical spindles divided by ring struts, the backsplat set with a central round burlwood panel, the straight armrests with similar spindles and struts, continuing to the front posts, the aprons beneath the seat frame supported by interlacing rings, the legs joined with stretchers. 90cm (35 1/2in) high x 59.2cm (23 3/8in) wide x 45.3cm (17 7/8in) deep.

£60,000 - 80,000 CNY540,000 - 720,000

十八世紀 黃花梨直櫺嵌癭木玫瑰椅

Provenance: An important European private collection

來源： 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 234 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 235 Notable for its elegant form and proportions, and the combination of 主體圓材，靠背與扶手以挖煙袋鍋榫成框，框內以更細的圓材裝邊 the previous huanghuali and well-figured burlwood, this exceptionally 框，在搭腦及扶手橫材以下一寸多的部位施橫棖，橫棖以下安直櫺， rare chair is one of the rarest and finest surviving examples of its type. 呈梳背式，橫棖以上安單環卡子花；靠背中心兩根直櫺上部加嵌癭木 圓板。籐編座面，椅盤下三面亦安設用圓材造成的券口並施直棖，棖 Chairs constructed with a low rectangular back, such as the present 上安方環卡子花。腿間施步步高趕棖，踏腳棖及左右兩側管腳棖下各 example, were referred to as either ‘rose chairs’, meiguiyi, or ‘writing 安一素牙子。 chairs’, wenyi. These seats were the smallest of the standard chair designs in Chinese furniture, making them appropriate for both indoor 玫瑰椅靠背和扶手都比較低矮，坐盤略窄，且靠背、扶手與椅面之間 and outdoor use. The sense of elegance and lightness, conveyed by 相互垂直。一說因其尺寸嬌小，極適合閨閣之中，而稱「玫瑰椅」； the use of humpback stretchers with pillar-shaped struts above the 江南地區亦稱「文椅」，或與明清版畫中常見該椅出現在文房擺設有 seat frame, encouraged portable and functional ease. In addition, the 關。玫瑰椅用材單細，形態方正精巧，是明清極為流行的椅式之一。 straight back and arms conveyed a sense of austerity to the scholar 明清畫本中可以看到玫瑰椅往往放在桌案的兩邊，對面而設；或不用 sitting in them and would fit neatly under the window of a scholar’s 桌案，雙雙並列；或不規則地斜對著，擺法靈活多變，宜作多方用 studio, without obstructing the outside view. 途。又因為其椅背與扶手高度相差無幾，頗為適合在室內臨窗陳設， 椅背不高過窗台，配合桌案使用又不高過桌沿，不至阻擋視線，令人 Smaller and less formal than the ‘yokeback’ or ‘horseshoe-back’ 賞心悅目。 armchair, low-back armchairs were often more ornately decorated, displaying decorative frames and stretchers on the back panels, such 玫瑰椅造型輕巧，相較於圈椅或官帽椅更顯閒適，周身裝飾也往往更 as the present example. The top rail and arms curve smoothly into the 加華麗。其靠背與扶手的頂端橫材通過複雜的挖煙袋鍋榫與前後腿相 posts, imitating the flexibility of bamboo by means of complex mortise- 連接，在硬木材料上仿造出了竹製家具的柔韌感。此種椅式的原型可 and-tenon joints. This design was probably inspired by a low-back 以追溯至宋式矮靠背扶手椅；日本京都南禪寺藏南宋馬公顯作《藥山 armchair produced during the Song dynasty, an example of which 李翱問答圖》中，禪師即坐於一竹椅上，竹椅主體的靠背與扶手高度 is depicted in a twelfth century painting by Ma Gongxian (act.1131- 相同，形如玫瑰椅，惟加設一截靠背，以支撐頭頸部。 1162). Here Li Ao (d.ca. 844), a Confucian scholar, is seeking instruction from Yaoshan Weiyan (751-834), a Chan master, who is 形如本例的直欞玫瑰椅更是借鑒了竹製傢具的特點，並與當時造園門 seated on a low bamboo chair which resembles the construction of a 窗流行的「柳條式」門窗隔圖案相似。美國明尼阿波利斯藝術學院藏 meiguiyi, with the addition of a back rest. 一對近似的黃花梨梳背椅，見D.Jacobsen與N.Grindley著，《明尼阿 波利斯藝術館藏中國古典家具》，明尼阿波利斯，1999年，頁68-69 The form of the present chair was alternatively referred to as tushou ，編號16。 shubeiyi, or spindle-back armchair, in reference to the tall posts set between the back and arm rails. The use of fine and densely-grained 美國明尼阿波利斯藝術學院藏一具十七世紀黃花梨梳背椅，館藏編號 huanghuali to imitate bamboo was popular in the Ming and Qing 98.76.1，或為本例直櫺玫瑰椅的原型，可為參考。 dynasties. For a further discussion about chairs of this form, see R.D.Jacobsen and N.Grindley, Classical Chinese Furniture in the Minneapolis Institute of Arts, Minneapolis, 1999, pp.68-9, no.16, where the authors also illustrate a related pair of huanghuali chairs.

Meiguiyi armchairs also served as informal seats for women as well as sedan chairs and were frequently depicted in paintings and prints dating to the Ming and Qing dynasties. For example, the ‘Literary Gathering in the Apricot Garden’, painted by the court artist Xie Huan (act.1426-1452), depicts ‘The Three Yangs’ (scholars of the Hanlin Academy) beside bamboo and hardwood low-back armchairs. Ming dynasty painting by Dai Jin (1388-1462) depicts Zhong Kui, the ‘Demon Queller’, seated on a low-back armchair decorated with circular designs; see S.Handler, ‘Rose, Bamboo and the Low-Back Armchair’, in Chinese Furniture: Selected Articles from Orientations, 1984-1999, Hong Kong, 1999, pp.250-256; see also Wang Shixiang, ‘Development of Furniture Design and Construction from the Song to the Ming’, ibid., p.44.

Compare with a related huanghuali ‘spindle-back’ armchair, 17th century, in the Minneapolis Institute of Art, Minneapolis, MN, acc. no.98.76.1, the type of which may have served as a prototype for the present example.

236 | BONHAMS

73TP Y A HUANGHUALI TWO-DRAWER ALTAR COFFER, LIANERCHU The present altar coffer is notable for its elegant proportions and Qing Dynasty for the fine grain and rich honey-colour of the wood. Its design The rectangular top with two panels enclosed in a mitered frame and was inspired by coffers produced during the Ming dynasty, which set with everted flanges to either short end, over shaped spandrels displayed an outstanding choice of huanghuali timber and exceptional flanking two drawers, each framed with a scrolling-edge panel, over craftsmanship. This is aptly demonstrated in the restrained balance a wide three-section panel and plain spandrelled apron supported on allowing the superb timber the pride of place within the powerful straight legs of rectangular section with beading to the inside edge, the geometric design formed by the careful balance between the drawers, circular brass lockplates with bail handles. legs, top and beading. 159cm (62 1/2in) long x 88.5cm (34 6/8in) high x 57cm (22 1/2in) deep. Coffers played a prominent part in Ming and Qing dynasty interiors due to their impressive size and were used mostly for the storage of items £25,000 - 35,000 such as bedding and clothes. A coffer with drawers is depicted in a CNY230,000 - 320,000 woodblock print in the ‘Classic of Lu Ban Jing, Lu Ban Jing, a Ming architectural manual, illustrated by K.Ruitenbeek, Carpentry & Building 清 黃花梨帶翹頭聯二櫥 in Late Imperial China: A Study of the Fifteenth-Century Carpenter’s Manual Lu Ban Jing, 1993, The Netherlands, p.20, vol.2, p.43. Here, Provenance: the coffer, bearing a mirror stand with an openwork panel, is depicted An important European private collection in a lady’s dressing room.

來源： Compare with a three-drawer coffer of similar proportions and 歐洲重要私人收藏 openwork dragon spandrels in Ming Furniture, Ltd., 1987, p.15, no.12 illustrated on the front cover. See, also, a three-drawer altar coffer illustrated by R.H.Ellsworth, Chinese Hardwood Furniture: Examples From the Ming and Ch’ing Dynasties, New York, 1971, p.163, pl.61.

Compare with a related huanghuali three-drawer coffer, circa 1550- 1600, in the Victoria and Albert Museum, London, the type of which may have served as the inspiration source for the present example, illustrated by C.Clunas, Chinese Furniture, London, 1997, p.84.

櫥面以榫卯攢框平鑲二拼面心，兩端翹頭。櫥面下兩具抽屜臉貼壺門 參考一件聯三櫥，比例及裝飾風格可與本例比對，見《Ming Furniture 式券口，悶倉立牆中加兩根短柱，分三段裝板。牙條光素，兩側掛牙 Ltd.》，紐約，1987年，頁15，編號12及圖錄封面。另見一例收錄於 曲線不繁，與屜上券口飾板遙相呼應。腿足方材，四腿八挓，厚重而 安思遠著，《Chinese Furniture: Hardwood Examples of the Ming and 不失挺拔。 Early Ch’ing Dynasties》，紐約，1971年，頁163，圖版61。維多利 亞與阿爾伯特博物館館藏一例約1550至1600年聯三櫥，見柯律格著 櫥具形如本例，抽屜之下設一空間封閉的「悶倉」的，統稱「悶戶 《Chinese Furniture》，倫敦，1997年，頁84，可資比對。 櫥」；棖間加設立牆裝兩個抽屜的即為聯二櫥。此類櫥具既可陳設 物品，又可用於貯藏，在明清時期極為流行，也是舊時必備的嫁妝 之一。明《魯班經匠家鏡》插圖版畫中描繪了一件類似家具，上置 鏡台，擺放於閨閣之中；見K.Ruitenbeek著，《Carpentry & Building in Late Imperial China: A Study of the Fifteenth-Century Carpenter’s Manual Lu Ban Jing》，卷二，荷蘭，1993年，頁20，頁43。

For details of the charges payable in addition to the final Hammer Price of each Lot 238 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 239 74 A GOLD-SPLASHED BRONZE INCENSE BURNER, GUI The shape of the present incense burner appears to have been Xuande four-character mark, Qing Dynasty directly inspired by a ritual bronze food vessel, gui, employed to Of bombé form decorated with a stylised ruyi band beneath a waisted present sacrificial offerings to the ancestors during the Shang and neck decorated with a twisted-rope pattern, the sides with a pair of Zhou dynasties. s-shaped handles beneath a channelled mouthrim, decorated overall with irregular gold splashes. Compare with two related gold-splashed bronze incense burners, 10cm (4in) wide. gui, 17th century, in the National Palace Museum, Taipei, illustrated by C.K.Chen, A Special Exhibition of Incense Burner and Perfumers £2,000 - 3,000 Throughout the Dynasties, Taipei, 1994, pp.196-197, nos.51 and 52. CNY18,000 - 27,000 爐型仿商周時期重要禮器簋。對比台北國立故宮博物院館藏兩例十七 世紀銅灑金簋式爐，收錄於陳擎光著，《故宮歷代香具圖錄》， 清 銅灑金簋式爐 台北，1994年，頁196-197，編號51與52。 「宣德年製」楷書橫款

Provenance: Sotheby’s London, 13 May 2009, lot 239 (part lot) An important European private collection

來源： 倫敦蘇富比，2009年5月13日，拍品編號239（部分） 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 240 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

75

75 76 A GOLD-SPLASHED BRONZE INCENSE The shape of this bronze incense burner is A LARGE ARCHAISTIC BRONZE BURNER, GUI inspired by a late Shang or early Zhou dynasty HEXAGONAL VASE, HU Xuande seal mark, 18th century bronze food vessel, gui. The origin of the Qing Dynasty The vessel of archaistic gui shape, the bombé gold-splashed decoration on bronze vessels The vessel of hexagonal form tapering sides flanked by two handles issuing from remains a source of speculation. It has been to a flaring foot, decorated on the body animal masks, the base cast with a Xuande suggested by scholars as possibly taking in shallow relief with a band depicting four-character mark, the bronze with a dark place during the Shang and Zhou periods, continuous designs of taotie masks framed brown patina dotted with irregular gold when the appearance of gold-splashing on by symmetrically confronted kui dragons, all splashes. archaic bronze vessels was regarded as an reserved on leiwen grounds and separated by 21cm (8 2/8in) wide. accidental result of uneven patination of the raised vertical flanges, the shoulders encircled bronze vessel. Compare with a gold-splashed with a similar band of archaistic designs. £6,000 - 8,000 bronze incense burner,17th century, featuring 61cm (21in) high. CNY54,000 - 72,000 a very similar body to the present lot, which was sold at Christie’s London, 5 November £6,000 - 8,000 2019, lot 82. CNY54,000 - 72,000 十八世紀 銅灑金獸耳簋式爐 「宣德年製」篆书款 有清一代，仿古之風盛行，乾隆皇帝諭令將內 府庋藏的青銅器分門別類，編成《西清古鑑》 清 仿古饕餮夔龍紋六方壺 Provenance: 等譜錄類圖書，引領一代好古風潮。本品爐型 An important European private collection 仿商周時期重要禮器簋，侈口，束頸，圓鼓腹 Provenance: 下垂，圈足微撇。頸飾雙獸耳，彎曲有度。通 An important European private collection 來源： 體灑金，參差錯落，分佈自然。爐底減地陽文 歐洲重要私人收藏 「宣德年製」四字篆書款。一件十七世紀銅灑 來源： 金蚰耳簋式爐，售於倫敦佳士得，2019年11 歐洲重要私人收藏 月5日，拍品編號82，可為參考。

For details of the charges payable in addition to the final Hammer Price of each Lot 242 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. Notable for its large proportion and the meticulous archaistic designs, the 六方造型，侈口，鼓腹，圈足外撇。肩部飾一周浮雕饕餮紋，以雷紋 present vase belongs to a group of vessels inspired by celebrated ancient 填底。腹部一周紋飾以扉棱區隔為六面，每面飾相似風格饕餮紋及夔 traditions while being firmly rooted in the modernity of the Qing dynasty. 龍紋，皆以雷紋填底，為古樸敦厚的器身更添靈動精巧。清代皇室承 The Qing emperors proposed to ‘restore ancient ways’, referring to 接了明代的宮廷收藏，其中包括大量高古銅器；並依循宋代以來文人 the view of ancient culture as having intrinsic qualities of sincerity, 雅士的使用方式，將青銅器融入居家空間的日常陳設，尤以乾隆一朝 simplicity and happy exuberance. The Qianlong emperor, in particular, 為盛。乾隆十四年，乾隆皇帝諭令將內府庋藏的鼎、尊、彝等青銅器 was fond of adapting archaic shapes into contemporary designs and 分門別類，仿效《考古圖》、《宣和博古圖》體例薈輯成《西清古 instructed the court to collect drawings of antiquities, such as the 鑑》，成為當時有史以來規模最大的古銅器圖譜。見張麗端著，《宮 ‘Catalogue of Xiqing Antiquities’ Xi Qing Gu Jian, which were provided 廷之雅：清代仿古及畫意玉器特展圖錄》，台北，1997年，頁49-50。 to the craftsmen for inspiration; see Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the 相似造型的器物在同時期官窯瓷器、琺瑯器中也有傳世。參考一件清 Ch’ing Court, Taipei, 1997, pp.49-50. 宮舊藏清雍正仿官窯貫耳六方瓶，見《故宮博物院藏文物珍品全集： 顏色釉》，香港，1999年，圖版204；以及兩件掐絲琺瑯出戟尊， Compare the shape of the present vase with a large hexagonal 以出戟將器身分割為六面，見《故宮博物院藏品大系：琺瑯器編》， guan-type hu vase, Yongzheng mark and period, in the Qing Court 北京，2011年，編號15-16。 Collection, illustrated in The Complete Collection of Treasures of the Palace Museum. Monochrome Porcelain, Hong Kong, 1999, pl.204. See also two large cloisonné enamel vases, early Qing dynasty, decorated with archaistic designs, illustrated in The Compendium of Collections in the Palace Museum: Enamels 2 Cloisonné in the Qing Dynasty, Beijing, 2011, nos.15-16.

76

THE H COLLECTION | 243 77TP Y A FINE PAIR OF HUANGHUALI HORSESHOE-BACK ARMCHAIRS, QUANYI 18th century Each chair with curving toprail sloping down to the arms supported on serpentine side-posts terminating in a curved hook beyond the corner posts set with shaped spandrels, the backsplat carved with a ruyi cartouche enclosing the Shou character surrounded by five bats, the back corner posts continuing below the rectangular frame set with a mat seat to the back legs joined by three straight stretchers and a footrest, the front legs with a cusped arched apron carved with foliate scrolls extending from the beaded edge. 102cm (40 1/8in) high x 59.5cm (23 1/2in) wide x 47cm (18 6/8in) deep. (2).

£40,000 - 60,000 CNY360,000 - 540,000

十八世紀 黃花梨浮雕五福捧壽圈椅成對

Provenance: An important European private collection

來源： 歐洲重要私人收藏

Although the original version of their design may be traced over a 圈椅扶手五接。靠背板上端浮雕五蝠捧壽，後腿上截出榫納入圈形彎 thousand years earlier, quanyi armchairs remain strikingly timeless in 弧扶手，下穿過椅盤成為腿足。鵝脖上與扶手相接，下穿過椅盤成為 the simplicity and balance of their lines. Known as ‘horseshoe-back 前腿足，扶手左右支以三彎聯幫棍。籐編座面，椅盤下三面券口短牙 chairs’ quanyi, these seats display fluidity in the design, achieved 條，沿輪廓線起陽線如意云紋。腿間施步步高趕棖，踏腳棖及左右兩 through the continuous curved crest rail that also functioned as an 側管腳棖下各安一素牙子。 armrest. They were used in dining halls, scholars’ studios and halls dedicated to receive guests and were normally reserved for the 圈椅質量輕便，造型圓融，是明清時期最為經典的家用坐具之一， highest-ranking members of Chinese society; see C.Clunas, Chinese 並垂範至今。常見於明清兩代的木刻版畫中，並適用於公堂或居家各 Furniture, London, 1988, p.24. 類場合，供社會高階成員坐憩。有關圈椅用途的詳細論述可見柯律格 著，《Chinese Furniture》，倫敦，1988年，頁24。古代工匠通過巧 This elegant design owes its inspiration to chairs of nearly-identical 妙的楔釘榫連接硬木木料，復刻出竹篾彎曲的效果，傳達出豐盈且平 shape made from stalks of bamboo, which were bent to form a ‘U’ 衡的圓潤之美。圈椅的月牙扶手圓而細，楔釘榫任何構件的輕微誤差 shape and bound together using natural fibres. The design of these 都會被相鄰的構件放大，尤須造得精緻，才能確保器物美觀耐用。 seats, praised for their lightness and strong appearance, was eventually transferred to hardwood, and so cabinet makers created elegant 此對圈椅後背板木紋緻密，雕工精細。除素圈椅外，大多圈椅都如 versions through novel and ingenious joinery techniques. In order to 本例，在後背板和券口牙板處進行裝飾。安思遠認為，此種複古 create the curved back, members were initially fitted together with a cut- 的紋飾設計是為晚明至康熙時期的創新，見安思遠著，《Chinese out to accommodate a tapered wood pin that would lock them firmly in Furniture：Hardwood Examples of the Ming and Early Ch’ing place when inserted. Once all members were joined, a lacquer coat was Dynasties》，紐約，1971年，頁86。安氏進一步認為，此類券口牙 applied to the surface crest rail to make all the joints virtually invisible. 板可在唐代桌案裝飾中找到相似之處；對比奈良正倉院所藏一例，收 錄於S.Handler著，《Austere Luminosity of Chinese Classical Furniture》， Chairs of this design are recorded either left undecorated, or carved 柏克萊，2001年，頁244 ，圖版12.6。 on the splats and aprons with raised motifs, such as the present piece. These motifs are discussed by Robert Hatfield Ellsworth in Chinese 參考一組十七世紀黃花梨圈椅，造型紋飾可與本例比對，售於香港蘇 Furniture. Hardwood Examples of the Ming and Ch’ing Dynasties, New 富比，2020年10月9日，拍品編號95。 York, 1971, p.86, who notes that they are an innovation attributable to the late Ming and Kangxi period. He further observes the similarities between the curvilinear apron on chairs of this type and that found much earlier on Tang-period tables, such as the example in the Shōsōin Treasure House, Nara, illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, pl.12.6.

Compare the form and design of the present chairs with a set of four related huanghuali quanyi seats, 17th century, which was sold at Sotheby’s Hong Kong, 9 October 2020, lot 95.

For details of the charges payable in addition to the final Hammer Price of each Lot 244 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 245 Lieutenant-Colonel T.S. Cox graduated from Sandhurst Military Academy in 1892 and was commissioned in 1894 into the 16th Indian Cavalry, The Bengal Lancers. His noteworthy military service included in 1897, Tochi Field Force, N.W. Frontier; and in 1900, the China Expeditionary Force during the Boxer Rebellion, when he was awarded the US Military Order of the Dragon. In 1901 he was seconded as Advisor to the Chinese Government and awarded an Imperial decoration by Shanqi, Prince Su (1866-1922). In 1903 he was elected to the Royal Geographical Society. In 1903 he served as Captain in the Indian Army; between 1904–1907, he was posted in the D.M.O. War Office, London, the Balkans, Asia Minor, Somaliland, Abyssinia, Russian Central Asia, and Ottoman Middle East; in 1911 he was awarded the King George V Delhi Coronation Durbar medal. Between 1912-1913 he was posted in the Middle East and Central Asia. In 1915, he took part in the Gallipoli Campaign and in 1916 transferred to command the 37th Dogras. In 1917 he served in the Mesopotamian campaign and was wounded whilst serving in the Aden Field Force. In 1920 he served with the Waziristan Field Force, NW Frontier; in 1921 he transferred to command the 3rd Madras Regiment and in 1925 he retired from the Indian Army as Lieutenant-Colonel. Lieutenant-Colonel T.S. Cox

78 A BOLT OF SILK YELLOW-GROUND BROCADE The inscription reads: ‘蘇州織造臣奉曾’, which may be translated as Late Qing Dynasty ‘Made by the Ministers of the Suzhou weavers’. The long bolt woven from gilt and polychrome silk threads in shades of green with intricate octagonal diaper designs enhanced with Suzhou was an important weaving centre, especially during the Ming interlocking, zigzag and wave patterns on a rich yellow ground, one and Qing dynasties, when Imperial workshops were established there end with a seven-character inscription. to produce silk fabrics for the highest-ranking members of society. Silks 1420cm (559in) long x 71.5cm (28 1/8in) wide. from the Imperial and official workshops were mainly used for Imperial attire, palace and temple furnishings, presentations and dress for the £7,000 - 10,000 officials. It is recorded that, by the 18th century, Suzhou employed over CNY63,000 - 90,000 four thousand workers and operated thousands of looms; see J.Mailey, Embroidery of Imperial China, New York, 1978, p.12.

清晚期 明黃錦地團壽紋緞匹料 For a detailed discussion about silk weaving in Suzhou, see 「蘇州織造臣奉曾」楷書繡款 M.Dusenbury, Flowers, Dragons & Pine Trees: Asian Textiles in the Spencer Museum of Art, New York, 2004. Provenance: Lieutenant-Colonel T.S. Cox, and thence by descent Compare with a related silk brocade panel, late 19th century, in the Bonhams London, 12 May 2016, lot 256 Minneapolis Institute of Art, Minneapolis, illustrated by R.Jacobsen, An important European private collection Imperial Silks. Ch’ing Imperial Textiles in the Minneapolis Institute of Art, Minneapolis MS, vo.2, p.1140, no.572. 來源：

T.S. Cox中校舊藏，並由後人保存 蘇州織造是明清宮廷所設專為「上用」、「官用」製作綾羅綢緞的織 倫敦邦瀚斯，2016年5月12日，拍品編號256 造機構，直屬清宮總管內務府管轄，管理機戶織匠織造皇家服飾、宮 歐洲重要私人收藏 廟陳設、及官員補服所用之緞匹。據記載，十八世紀，蘇州織造所轄 工匠四千餘名，織機千計；見J.Mailey著，《Embroidery of Imperial China》，紐約，1978年，頁12。

有關蘇州織造之詳述，參考M.Dusenbury著，《Flowers, Dragons & Pine Trees: Asian Textiles in the Spencer Museum of Art》， 紐約，2004年。

比較明尼阿波利斯美術館藏一例十九世紀晚期匹料，收錄於 R.Jacobsen著，《Imperial Silks. Ch’ing Imperial Textiles in the Minneapolis Institute of Art》，卷二，2000年，明尼阿波利斯， 頁1140，編號572。

For details of the charges payable in addition to the final Hammer Price of each Lot 246 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. (detail) 79 A BOLT OF SILK FUCHSIA-GROUND BROCADE Late Qing Dynasty The long bolt woven from polychrome and gilt silk threads with intricate octagonal diaper designs enriched with interlocking, zigzag and wave patterns all on a fuchsia ground; together with two related sections woven with a seven-character inscription. 976cm (384 3/8in) wide x 72cm (28 3/8in) long. (3).

£8,000 - 12,000 CNY72,000 - 110,000

清晚期 紅錦地團壽紋緞匹料 「蘇州織造臣奉曾」楷書繡款

Provenance: Lieutenant-Colonel T.S. Cox, and thence by descent Bonhams London, 12 May 2016, lot 255 An important European private collection

來源： T.S. Cox中校舊藏，並由後人保存 倫敦邦瀚斯，2016年5月12日，拍品編號255 歐洲重要私人收藏

The inscription reads: ‘蘇州織造臣奉曾’, which may be translated as 中國歷代都有為皇室營造服飾用品的專門機構，明清沿襲元代，於江 ‘Made by the Ministers of the Suzhou weavers’. 寧營建皇家織造，後又陸續營建蘇州織造和杭州織造，合稱「江南三 織造」，專為「上用」、「官用」製作綾羅綢緞。 The Imperial court established a weaving and dyeing administration in Suzhou during the Ming and Qing dynasties, which was in charge 有關蘇州織造之詳述，參考M.Dusenbury著，《Flowers, Dragons of weaving silk fabrics for the highest-ranking members of society. & Pine Trees: Asian Textiles in the Spencer Museum of Art》， The products included fabrics, Imperial robes, official costumes, and 紐約，2004年。 garments for daily use as well as for Imperial weddings and birthdays. 比較明尼阿波利斯美術館館藏一例十九世紀晚期匹料，收錄於 For a detailed discussion about silk weaving in Suzhou, see R.Jacobsen著，《Imperial Silks. Ch’ing Imperial Textiles in the M.Dusenbury, Flowers, Dragons & Pine Trees: Asian Textiles in the Minneapolis Institute of Art》，卷二，2000年，明尼阿波利斯， Spencer Museum of Art, New York, 2004. 頁1140，編號572。

Compare with a related silk brocade panel, late 19th century, in the Minneapolis Institute of Art, Minneapolis, illustrated by R.Jacobsen, Imperial Silks. Ch’ing Imperial Textiles in the Minneapolis Institute of Art, Minneapolis MS, vo.2, p.1140, no.572.

For details of the charges payable in addition to the final Hammer Price of each Lot 248 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. (detail) 80Y A LARGE HUANGHUALI BRUSHPOT, BITONG Qing Dynasty/Republic Period The brushpot of subtly-tapered cylindrical form, the precious wood of an attractive golden hue, the natural grain with some scattered ‘ghost face’ striations, the base fitted with a circular central plug. 24cm (9 1/2in) diam.

£6,000 - 8,000 CNY54,000 - 72,000

清/民國 黃花梨大筆筒

Provenance: An important European private collection

來源： 歐洲重要私人收藏

A related huanghuali brushpot, 17th/18th century, is illustrated by M.Flacks, Custodians of the Scholar’s Way. Chinese Scholar’s Objects in Precious Woods, New York, 2014, p.132.

Compare with a related large huanghuali brushpot, 18th century, which was sold at Christie’s Hong Kong, 30 May 2012, lot 4088.

黃花梨用材碩大，素身無工。木紋行雲流水，疏朗有致，鬼臉生動， 包漿溫潤，極具文雅之氣。

比較一例十七/十八世紀黃花梨大筆筒，收錄於M.Flacks著， 《Custodians of the Scholar’s Way. Chinese Scholar’s Objects in Precious Woods》，紐約，2014年，頁132。另見一例十八世紀黃花 梨大筆筒，售於香港佳士得，2012年5月30日，拍品編號4088。

81 A LARGE BAMBOO ‘SIXTEEN LUOHAN’ BRUSHPOT, BITONG Late Qing Dynasty The exterior finely carved in varying levels of relief with a continuous depiction of sixteen Luohan figures within a mountainscape dotted with craggy rockwork, towering pine and wutong trees, all above crashing waves, the interior and base lacquered in black, the bamboo of reddish-brown colour with a glossy patina. 20cm (7 7/8in) high.

£3,000 - 5,000 CNY27,000 - 45,000

清晚期 竹雕十六羅漢大筆筒

Provenance: An important European private collection

來源： 歐洲重要私人收藏

Luohans possessed great wisdom, supernatural powers, courage and the ability to ward off evil. They were enlightened beings who acted as worldly conduits to the state of infinitely-expanded consciousness granted by their enlightenment. Although numbers vary in Buddhist iconography, eighteen was eventually established as the standard Chinese grouping which became popular in later Chinese art, appearing in a wide variety of media.

羅漢為梵語音譯，又譯阿羅訶。佛經所載十六羅漢，為釋迦牟尼的得 道弟子，傳入中國後，逐漸演變為十八羅漢。本品雕刻精巧，包漿滋 潤。以透雕及浮雕技法，於外壁雕就十八羅漢，或坐或立，三五成 群，動靜有致，清晚期竹雕技法之圓熟可見一斑。

For details of the charges payable in addition to the final Hammer Price of each Lot 250 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 82TP Y The present pair displays excellent proportions and exemplifies the A FINE PAIR OF HUANGHUALI WAISTED CORNER-LEG elegance of undecorated Chinese hardwood furniture at its best. STOOLS, FANGDENG 17th/18th century The lines are pure, the form simple and restrained. For a general Each fitted with a soft cane seat set within a plain square frame, discussion about the evolution of stools throughout Chinese history, the whole supported by square-section legs joined by hump-back see S.Handler, Austere Luminosity of Chinese Classical Furniture, stretchers and terminating in hoof feet. Berkeley and London, 2001, pp.82-102; see also Wang Shixang, 58cm (22 7/8in) square x 51cm (20in) high. (2). Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, vol.1, Hong Kong, 1990, pp.27-33.

£20,000 - 30,000 A similar huanghuali corner-leg stool, 17th century, is illustrated by CNY180,000 - 270,000 Wang Shixiang, Connoisseurship of Chinese Furniture, vol.2, Hong Kong, 2016, p.19, no.A3 and vol.1, pp.27-31. See also a pair of similar 十七/十八世紀 黃花梨四面平羅鍋棖方凳成對 huanghuali stools, late Ming dynasty, which was sold at Sotheby’s Hong Kong, 7 October 2015, lot 134. Provenance: An important European private collection 凳面攢框裝軟屜，中部微微下垂的邊抹以粽角榫和四足相聯結，呈四 面平式。羅鍋棖以格肩榫與腿足相交。四足下端略向內兜轉，馬蹄高 來源： 翻。整體綫條爽利，簡潔內斂。不同於通常見棱見角的粽角榫，本例 歐洲重要私人收藏 非常少見的使用方材而全身倒棱，體現圓渾的意趣。同時雖然本例並 無牙條，但邊抹中部微微弧形下垂，殊為別緻。 Surviving examples of stools made in the late Ming and early Qing period include a variety of styles, mostly with great similarity to table designs 參考一件十七世紀黃花梨方凳，收錄於王世襄著，「明式家具研究」， dating to the same period. The present pair of stools, characterised by a 卷二，香港，2016年，頁19，編號A3。另比較一對明晚期黃花梨方 recessed waist, hump-back shaped stretcher and hoof feet, is a popular 凳，售於香港蘇富比，2015年10月7日，拍品編號134。 form perfected during the Ming dynasty.The ranking of seats during the Ming period was hierarchical with chairs serving as more formal seats and stools used in more relaxed gatherings. This classic design of the present pair is typical of the Ming period. Stools were usually made in sets and pairs but easily became separated over time.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 251 83TP Y A FINE PAIR OF HUANGHUALI HORSESHOE-BACK ARMCHAIRS, QUANYI Qing Dynasty Each three-section curved horseshoe top rail supported by a two-section back splat fitted with plain well-figured panels and flanked by continuous back rails run through the seat, C-curved side posts and recessed front posts under the projecting hand rests, all joined to a rectangular mat seat butted at the front to a straight beaded apron and U-shaped spandrels, above carved brackets supporting the foot rest and stepped stretchers. 97cm (38 1/8in) high x 56.8cm (22 3/8in) wide x 47cm (18 1/2in) deep. (2).

£30,000 - 40,000 CNY270,000 - 360,000

清 黃花梨圈椅成對

Provenance: Bonhams San Francisco, 23 June 2015, lot 23 An important European private collection

來源： 舊金山邦瀚斯，2015年6月23日，拍品編號23 歐洲重要私人收藏

The present pair of chairs displays exceptional grace and finesse, 扶手三接，兩端出頭迴轉收尾，下由兩根後腿、兩根鵝脖及聯幫棍支 conveyed by the elegant curve of the crest rail and the gracefully- 承。靠背板三段攢框裝板造成，上中兩段僅以陽面方形為飾，下段亮 sweeping hook handles. 腳。前腿不穿過椅盤與鵝脖相連，而呈現側腳顯著的效果。

Three-sectioned crestrails are rarer than the more common chairs 圈椅之名，蓋因其圓靠背狀如圈而得來。宋人稱之為「栲栳樣」，原 constructed with five-section crestrails. They demanded longer 意指用竹篾或柳條編成的大圓筐，與之形似。圈椅的後背和扶手一順 sections of timber to achieve the dramatic curves of the arms and 而下，坐靠時不僅肘部有所倚托，腋下一段臂膀也得到支承，分外舒 would have resulted in a significant amount of wastage, thus indicating 適。此對黃花梨圈椅造型豐滿勁健，線條簡練流暢，通過巧妙的楔釘 the high-ranking position of the patron who commissioned this 榫連接硬木木料，構造出圓勁有力的扶手曲線。 armchair. For a detailed discussion about the sophisticated joinery employed by Chinese craftsmen to construct the curved rails of 圈椅圓形的扶手造法有三接和五接之分。三接的做法可以減少兩處榫 horseshoe-back armchairs, see C.Evarts, ‘Continuous Horseshoe 卯結合，但須選取較大較長的木料才能製成，對材料的要求和損耗都 Arms And Half-Lapped Pressure Peg Joins’, Journal of The Classical 大大增加，從側面反映了圈椅原主人的雄厚財力和社會地位。關於工 Chinese Furniture Society, 1991, pp.14-18. 匠製作圈椅扶手榫卯造法的詳細論述，可見柯惕思著，〈Continuous Horseshoe Arms And Half-Lapped Pressure Peg Joins〉，收錄於 The term quanyi, used to refer to the shape of the present seat, literally 《Journal of The Classical Chinese Furniture Society》，1991年， translates as ‘chair with a circular back’ or ‘circular chair’. During 頁14-18。 the Song dynasty, this design was known as kaolaoyang, referring to a large round basket made from split bamboo. Highly popular 一具十七世紀黃花梨圈椅，同樣採用三段攢成靠背板，或為本例原型 for their lightweight, sturdy and strong appearance, in later times 與之比對。見安思遠著，《Chinese Hardwood Furniture in Hawaiian cabinetmakers cleverly adapted this bamboo design to hardwood Collections》，檀香山，1996年，頁82，編號66。 furniture by creating ingenious joinery techniques. See C.Evarts, ‘Continuous Horseshoe Arms And Half-Lapped Pressure Peg Joins’, Journal of The Classical Chinese Furniture Society, 1991, pp.14-18.

Compare with a related huanghuali horseshoe-back armchair, 17th century, displaying a three-section backsplat, the type of which may have served as a prototype for the present pair, illustrated by R.H.Ellsworth, Chinese Hardwood Furniture in Hawaiian Collections, Honolulu, 1996, p.82, no.66.

For details of the charges payable in addition to the final Hammer Price of each Lot 252 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 253 84 A GOLD-SPLASHED BRONZE LOBED INCENSE BURNER, The unusual archaistic form of the present incense burner, modified LIDING into an hexagonal lobed body, may have been based on an earlier Xuande six-character mark, Qing Dynasty design introduced during the later phases of the Ming dynasty The compressed body of hexalobed form raised on three low feet and as variations to the classic forms of earlier periods; see P.Moss, set with two upright loop handles on the rim, the exterior decorated Documentary Chinese Works of Art in Scholar’s Taste, London, 1983, with irregular splashes of gold, the base with an apocryphal Xuande p.232, where he mentions that a variety of unusual shapes displaying six-character mark. highly individualistic features were created during the later decades of 15.5cm (6 1/8in) wide. the Ming dynasty.

£6,000 - 8,000 本品造型獨到，氣韻古雅，整體呈六棱式，並以動感的線條鑄出花瓣 CNY54,000 - 72,000 層疊的效果。其原型應為明後期基於經典爐式的變形爐型，承襲了明 式仿古設計，但下呈三隻直立乳足等細節又是清朝式樣。有關明晚期 宣德款銅爐的詳細論述，可參考P.Moss著，《Documentary Chinese 清 銅灑金立耳爐 Works of Art in Scholar’s Taste》，倫敦，1983年，頁232。 「大明宣德年製」楷書款

Provenance: Sotheby’s Paris, 9 June 2010, lot 151 An important European private collection

來源： 巴黎蘇富比，2010年6月9日，拍品編號151 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 254 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 85 A GOLD-SPLASHED BRONZE INCENSE The origin of gold splashes on bronze is 侈口，束頸，圓鼓腹下垂，圈足外撇。爐身 BURNER, GUI unclear. A possible moment of inspiration for 兩側置雙蚰耳，起自頸部，收於腹部。通體 Xuande six-character mark, 17th/18th century the present vessel may have been the Ming 灑金，參差錯落，妙得神韻。爐底中央鑄減 The vessel of bombé form supported on dynasty. This is suggested by a line drawing 地陽文「大明宣德年製」六字楷書款。 a short spreading foot, cast with a pair of of a gold-splashed incense burner in the loop handles, the bronze patinated to a ‘Illustrated Catalogue of of the Ritual Vessels 本品所用的灑金工藝或創於明代，較傳統 warm chocolate tone liberally decorated with of the Xuande Period’ Xuande Yiqi Tupu. The 的鎏金工藝工序繁複許多，但起源尚不明 irregular gold splashes, the base cast with a work purports to be the wording of an Imperial 晰。《宣德彝器圖譜》繪有一件灑金銅爐， Xuande six-character mark. decree of 1428 ordering bronzes for the 可資證明。《宣德彝器圖譜》據傳編撰於 19cm (7 1/2in) wide. palace. Many scholars, however, have argued 1428年，然而也有學者認為其成書時間或 that the this work may have been published at 晚於明代。參見R.Kerr著，《Later Chinese £5,000 - 8,000 a later stage than the Ming dynasty; see R.Kerr, Bronzes》，倫敦，1990年，頁18。 CNY45,000 - 72,000 Later Chinese Bronzes, London, 1990, p.18. 參考一件十七至十八世紀銅灑金簋式爐， Compare with a similar gold-splashed bronze 「大明宣德年製」款，收錄於S.Moss， 十七 十八世紀 銅灑金蚰龍耳簋式爐 / incense burner, Xuande six-character mark, 《The Second Bronze Age. Later Chinee 「大明宣德年製」楷書款 17th-18th century, illustrated by S.Moss, The Metalwork》，1991年，編號56。另有一件 Second Bronze Age. Later Chinee Metalwork, 十七世紀銅灑金蚰龍耳簋式爐，形制大小皆 Provenance: London, 1991, no.56. 似本例，且同樣鑄有宣德仿款，售於倫敦佳 An important European private collection 士得，2019年11月5日，拍品編號82，可資 See also a gold-splashed bronze incense 比對。 來源： burner censer, Xuande six-character mark, 歐洲重要私人收藏 17th century, of similar size and shape to the present lot, which was sold at Christie’s London, 5 November 2019, lot 82.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 255 86 XU BEIHONG (1895-1953) 徐悲鴻，中國現代畫家、美術教育家，以其開創性的風格改良了傳統 Galloping Horse 中國畫形式，被尊為中國現代美術的奠基者。 Ink on paper, inscribed and signed Beihong, with one seal of the artist, dated thirty-first year of the Republic of China (1942), framed and glazed. 自二十世紀三十年代，徐悲鴻探索出大寫意馬的筆法，至本畫作創作 58.5cm (23in) high x 42.5cm (16 6/8in) wide. 之時已是駕輕就熟，恣意揮灑。畫中的馬從遠處疾馳而來，四肢騰 空，目視前方，充滿鼓舞人心的力量。悲鴻先生以馬之精神喻人之精 £100,000 - 150,000 神，借物言志，以此抒發愛國情感。 CNY900,000 - 1,400,000 徐悲鴻1895年生於江蘇宜興，自幼隨父習詩文書畫。1915年隻身赴 滬，後結識康有為，深受其變革中國畫思想的影響，並身體力行之， 徐悲鴻 奔馬 一九四二年作 紙本水墨 鏡框裝裱 終成一大流派。

款識：卅一年冬至，悲鴻渝州遣興。 徐悲鴻一生致力於中西融合，以傳統筆墨技法傳達西方寫實主義造型 鈐印：悲鴻 規律。一如此例，以濃淡水墨率筆勾勒加大寫意渲染造型，而精確的 解剖結構和透視技法則體現了其紮實的寫實功底；惟橫掃出的鬃毛及 Provenance: 馬尾相對飛動，應是畫家主觀視角之呈現。在戰火連綿的年代，悲鴻 Lillian Chu Finnerty (1920-2010), and thence by descent 先生為籌款四處奔走。他筆下的奔馬，筆墨酣暢淋漓，盡抒胸臆，疾 Bonhams Hong Kong, 28 November 2015, lot 173 風勁草，無疆不羈，令人觀之振奮，以喚起民眾頑強拼搏，堅韌不拔 An important European private collection 之精神。

來源： 紐約大都會藝術博物館藏一幅林語堂舊藏徐悲鴻作《天馬圖》，收錄於 李佩恩（1920-2010年）收藏，後由家族繼承 劉晞儀著，《Straddling East and West: Lin Yutang, a Modern Literatus》 香港邦瀚斯，2015年11月28日，拍品編號173 ，紐約，2007年，頁52，可為參考。另可比較一幅構圖相似的《奔馬 歐洲重要私人收藏 圖》，售於香港佳士得，2014年5月27日，拍品編號1258。

Xu Beihong is widely recognised as the father of modern Chinese Xu employed freehand strokes, only outlining the critical parts, such as painting, both for his innovative ink works that revitalised the traditional the nose, the chest and the hooves. Xu Beihong studied the anatomy of Chinese form, and for his willingness to embrace Western techniques. horses and observed their postures and expressions in great detail; the shape of the large muscles at the neck, breast and back is accentuated Winning high acclaim for their bold and lively styles, the horse with ink washes executed in various tones, giving life to a remarkably paintings by Xu Beihong were highly admired amongst collectors and robust figure, whilst, at the same time, reinstating Xu Beihong’s position connoisseurs for their strength and vivacity, whilst also expressing Xu’s as a leader of one of the first generation of innovative artists seeking to desire to show his own feelings of patriotism. reinvigorate the long tradition of Chinese aesthetics.

Born in Yixing, Jiangsu Province, in 1895, Xu grew up in an artistic family Xu’s powerful and passionate images of horses, a traditional symbol and showed talent at an early age. In 1915, he moved to Shanghai, then of Chinese martial spirit, were intended to inspire patriotic resistance a melting pot of Chinese and Western cultures, to begin his studies. during the Sino-Japanese War (1937–1945). There he met Kang Youwei, the scholar and political reformer, who became his mentor and greatly influenced Xu’s thinking about the need See a related ink on paper depiction of a ‘Heavenly Horse’ by Xu to incorporate Western practices and ideas into Chinese art. Beihong, in the Metropolitan Museum of Art, New York, published by Shi-yee Liu, Straddling East and West: Lin Yutang, a Modern Literatus, Throughout his life, Xu Beihong championed the revitalisation of New York, 2007, p.52. Chinese painting through an integration of Western-style realism and Chinese brush techniques. Here, using sharp tonal contrasts Compare with a similar ink on paper painting of a galloping horse by between black ink and white paper, Xu’s swift rendition of the noble Xu Beihong, which was sold at Christie’s Hong Kong, 27 May 2014, steed embodies the spirit of traditional ‘ink play’. The horse’s natural lot 1258. pose is deftly captured in abbreviated brushwork, however, the horse’s accurate anatomy and the convincing foreshortening of its body reflect Xu’s solid grounding in Western academic art. The powerful demeanour of the unleashed unmounted animal may convey a Western influence, but its mane and tail, blowing unnaturally in opposite directions, testify to the artist’s ultimately subjective approach.

For details of the charges payable in addition to the final Hammer Price of each Lot 256 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 257 87 A CARVED WOOD NOH MASK OF KO-OMOTE (‘LITTLE FACE’) The Noh Theatre began around the 14th century as a ritual offering Anonymous, Edo Period (1615-1868), probably 19th century in Japanese temples and shrines. Among sixty primary designs in Chiefly representing an ingénue (actually the ghost of a young woman), Noh masks, Ko-Omote, as shown here represents a girl in her teens, the fleshy, smiling countenance characteristically delineated with a and she is the prototype for over twenty other onna-men (masks of slight double chin, high eyebrows and downturned eyelids, unsigned; women), each varying subtly from the innocence of this mask, through with a stand. which evolved into a wide range of female roles; where in the Noh Play 21.3cm (8½in) high. (2). a skilled actor can imbue an impassive expression with subtle emotion according to his movements. £5,000 - 6,000 CNY45,000 - 54,000

日本江戶時代，或十九世紀 能面 小面

Provenance: An important European private collection

來源： 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 258 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 88TP ANONYMOUS Brushwood Fence Beneath Fruiting Vine, Edo Period (1615-1868), 17th/18th century A two-panel folding screen painted in ink and silver on paper applied with gold and silver leaf, depicting a brushwood fence on a hill beneath fruiting vines and foliage; unsigned. 150cm (59in) high x 150cm (59in) wide.

£7,000 - 10,000 CNY63,000 - 90,000

日本江戶時代，十七/十八世紀 藤曼植物圖 紙本設色 銀箔地雙折屏風

Provenance: An important European private collection

來源： 歐洲重要私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE H COLLECTION | 259

Chronology

NEOLITHIC CULTURES

Cishan-Peiligang c. 6500-5000 BC Sui 589-618 Central Yangshao c. 5000-3000 BC Tang 618-906 Gansu Yangshao c. 3000-1500 BC Five Dynasties 907-960 Hemadu c. 5000-3000 BC Liao 907-1125 Daxi c. 5000-3000 BC Song Majiabang c. 5000-3500 BC Northern Song 960-1126 Dawenkou c. 4300-2400 BC Southern Song 1127-1279 Songze c. 4000-2500 BC Jin 1115-1234 Hongshan c. 3800-2700 BC Yuan 1279-1368 Liangzhu c. 3300-2250 BC Ming Longshan c. 3000-1700 BC Hongwu 1368-1398 Qijia c. 2250-1900 BC Jianwen 1399-1402 Yongle 1403-1424 EARLY DYNASTIES Hongxi 1425 Xuande 1426-1435 Shang c. 1500-1050 BC Zhengtong 1436-1449 Western Zhou 1050-771 BC Jingtai 1450-1456 Eastern Zhou Tianshun 1457-1464 Spring & Autumn 770-475 BC Chenghua 1465-1487 Warring States 475-221 BC Hongzhi 1488-1505 Zhengde 1506-1521 IMPERIAL CHINA Jiajing 1522-1566 Longqing 1567-1572 Qin 221-207 BC Wanli 1573-1620 Han Taichang 1620 Western Han 206 BC-AD 9 Tianqi 1621-1627 Xin AD 9-25 Chongzhen 1628-1644 Eastern Han AD 25-220 Qing Three Kingdoms Shunzhi 1644-1661 Shu (Han) 221-263 Kangxi 1662-1722 Wei 220-265 Yongzheng 1723-1735 Wu 222-280 Qianlong 1736-1795 Southern dynasties (Six Dynasties) Jiaqing 1796-1820 Western Jin 265-316 Daoguang 1821-1850 Eastern Jin 317-420 Xianfeng 1851-1861 Liu Song 420-479 Tongzhi 1862-1874 Southern Qi 479-502 Guangxu 1875-1908 Liang 502-557 Xuantong 1909-1911 Chen 557-589 Northern dynasties REPUBLICAN CHINA Northern Wei 386-535 Eastern Wei 534-550 Republic 1912-1949 Western Wei 535-557 People’s Republic 1949- Northern Qi 550-577 Northern Zhou 557-581 Roger Keverne Ltd: Moving On New Bond Street, London | 11 May (Part I); 7 June 2021 (Part II – final part)

ALL LOTS TO BE SOLD AT NO RESERVE

Bonhams is honoured to offer the entire contents wide range of Chinese ceramics, archaic and later ENQUIRIES of Roger Keverne Ltd. in two dedicated single- bronzes, jades, cloisonné and painted enamel +44 (0) 20 7468 5888 owner Chinese art auctions to be held in New and other works of art in which the distinguished [email protected] Bond St, London, with the first part to be held on Chinese art dealer Roger Keverne specialised for bonhams.com/chineseart 11 May and the second and final part to be held over 50 years. These two sales will be available Prices shown include buyer’s premium. Details can be found at bonhams.com on 7 June 2021. Over 800 lots will celebrate the both online and as printed catalogues. NOTICE TO BIDDERS This notice is addressed by Bonhams to any person who may be Prices below and above the Estimates, so Estimates should not be solving any disputes which may arise in relation to bids made at the interested in a Lot, and to all persons participating in the auction relied on as an indication of the actual selling price or value of a Lot. Sale. At some Sales, for example, jewellery Sales, we may use screens process including auction attendees, Bidders and potential Bidders Estimates are in the currency of the Sale. on which images of the Lots will be projected. This service is provided (including any eventual Buyer of the Lot). For ease of reference we refer Condition Reports to assist viewing at the Sale. The image on the screen should be to such persons as “Bidders” or “you”. Our List of Definitions and In respect of most Lots, you may ask Bonhams for a Condition Report treated as an indication only of the current Lot. 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The Condition You must complete and deliver to us one of our Bidding Forms, either a notice displayed at the Sale venue and you should read them as well. Report represents Bonhams’ reasonable opinion as to the Lot’s general our Bidder Registration Form, Absentee Bidding Form or Telephone Announcements affecting the Sale may also be given out orally before condition in the terms stated in the particular report, and Bonhams Bidding Form in order to bid at our Sales. and during the Sale without prior written notice. You should be alert to does not represent or guarantee that a Condition Report includes all If you are a new client at Bonhams or have not recently updated your the possibility of changes and ask in advance of bidding if there have aspects of the internal or external condition of the Lot. Neither does the registration details with us, you must pre-register to bid at least two been any. Seller owe or agree to owe you as a Bidder or Buyer any obligation or working days before the Sale at which you wish to bid. You will be 1. OUR ROLE duty in respect of this free report about a Lot, which is available for your required to provide government-issued proof of identity and residence, In its role as Auctioneer of Lots, Bonhams acts solely for and in the own inspection or for inspection by an expert instructed by you. and if you are a company, your certificate of incorporation or equivalent interests of the Seller. Bonhams’ job is to sell the Lot at the highest The Seller’s responsibility to you documentation with your name and registered address, government price obtainable at the Sale to a Bidder. Bonhams does not act for The Seller does not make or agree to make any representation of fact issued proof of your current address, documentary proof of your Buyers or Bidders in this role and does not give advice to Buyers or or contractual promise, Guarantee or warranty and undertakes no beneficial owners and directors, and proof of authority to transact. Bidders. When it or its staff make statements about a Lot or, if obligation or duty, whether in contract or in tort (other than to the We may also request a financial reference and /or deposit from you Bonhams provides a Condition Report on a Lot it is doing that on eventual Buyer as set out above), in respect of the accuracy or before allowing you to bid. behalf of the Seller of the Lot. Bidders and Buyers who are themselves completeness of any statement or representation made by him or on We reserve the rights at our discretion to request further information in not expert in the Lots are strongly advised to seek and obtain his behalf, which is in any way descriptive of any Lot or as to the order to complete our client identification and to decline to register any independent advice on the Lots and their value before bidding for anticipated or likely selling price of any Lot. Other than as set out person as a Bidder, and to decline to accept their bids if they have them. The Seller has authorised Bonhams to sell the Lot as its agent on above, no statement or representation in any way descriptive of a Lot been so registered. We also reserve the rights to postpone completion its behalf and, save where we expressly make it clear to the contrary, or any Estimate is incorporated into any Contract for Sale between a of the Sale of any Lot at our discretion while we complete our Bonhams acts only as agent for the Seller. Any statement or Seller and a Buyer. registration and identification enquiries, and to cancel the Sale of any representation we make in respect of a Lot is made on the Seller’s Bonhams’ responsibility to you Lot if you are in breach of your warranties as Buyer, or if we consider behalf and, unless Bonhams sells a Lot as principal, not on our behalf You have the opportunity of examining the Lot if you want to and the that such Sale would be unlawful or otherwise cause liabilities for the and any Contract for Sale is between the Buyer and the Seller and not Contract for Sale for a Lot is with the Seller and not with Bonhams; Seller or Bonhams or be detrimental to Bonhams’ reputation. with us. If Bonhams sells a Lot as principal this will either be stated in Bonhams acts as the Seller’s agent only (unless Bonhams sells the Lot Bidding in person the Catalogue or an announcement to that effect will be made by the as principal). So long as you have pre-registered to bid or have updated your Auctioneer, or it will be stated in a notice at the Sale or an insert in the Bonhams undertakes no obligation to you to examine, investigate or existing registration recently, you should come to our Bidder registration Catalogue. carry out any tests, either in sufficient depth or at all, on each Lot to desk at the Sale venue and fill out a Registration and Bidding Form on Bonhams does not owe or undertake or agree to any duty or establish the accuracy or otherwise of any Descriptions or opinions (or, if possible, before) the day of the Sale. The bidding number system responsibility to you in contract or tort (whether direct, collateral, given by Bonhams, or by any person on Bonhams’ behalf, whether in is sometimes referred to as “paddle bidding”. You will be issued with a express, implied or otherwise). If you successfully bid for a Lot and buy the Catalogue or elsewhere. large card (a “paddle”) with a printed number on it. This will be it, at that stage Bonhams does enter into an agreement with you as the You should not suppose that such examinations, investigations or tests attributed to you for the purposes of the Sale. Should you be a Buyer. The terms of that contract are set out in our Buyer’s Agreement, have occurred. successful Bidder you will need to ensure that your number can be which you will find at Appendix 2 at the back of the Catalogue, and this Bonhams does not make or agree to make any representation of fact, clearly seen by the Auctioneer and that it is your number which is will govern Bonhams’ relationship with the Buyer. and undertakes no obligation or duty (whether in contract or tort) in identified as the Buyer’s. You should not let anyone else use your 2. LOTS respect of the accuracy or completeness of any statement or paddle as all Lots will be invoiced to the name and address given on Subject to the Contractual Description printed in bold letters in the representation made by Bonhams or on Bonhams’ behalf which is in your Bidder Registration Form. Once an invoice is issued it will not be Entry about the Lot in the Catalogue (see paragraph 3 below), Lots are any way descriptive of any Lot or as to the anticipated or likely selling changed. If there is any doubt as to the Hammer Price of, or whether sold to the Buyer on an “as is” basis, with all faults and imperfections. price of any Lot. No statement or representation by Bonhams or on its you are the successful Bidder of, a particular Lot, you must draw this to Illustrations and photographs contained in the Catalogue (other than behalf in any way descriptive of any Lot or any Estimate is incorporated the attention of the Auctioneer before the next Lot is offered for Sale. At photographs forming part of the Contractual Description) or elsewhere into our Buyer’s Agreement. the end of the Sale, or when you have finished bidding please return of any Lots are for identification purposes only. A photograph or Alterations your paddle to the Bidder registration desk. illustration may not reflect an accurate reproduction of the colour(s) or Descriptions and Estimates may be amended at Bonhams’ discretion Bidding by telephone true condition of the Lot. Lots are available for inspection prior to the from time to time by notice given orally or in If you wish to bid at the Sale by telephone, and have pre-registered to Sale and it is for you to satisfy yourself as to each and every aspect of writing before or during a Sale. bid or have updated your existing registration details recently, please a Lot, including its authorship, attribution, condition, provenance, THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST FORM complete a Registration and Bidding Form, which is available from our history, background, authenticity, style, period, age, suitability, quality, YOUR OWN OPINION IN RELATION TO IT. YOU ARE STRONGLY offices or in the Catalogue. Please then return it to the office roadworthiness (if relevant), origin, value and estimated selling price ADVISED TO EXAMINE ANY LOT OR HAVE IT EXAMINED ON YOUR responsible for the Sale at least 24 hours in advance of the Sale. It is (including the Hammer Price). It is your responsibility to examine any BEHALF BEFORE THE SALE. your responsibility to check with our Bids Office that your bid has been Lot in which you are interested. It should be remembered that the 4. CONDUCT OF THE SALE received. Telephone calls will be recorded. The telephone bidding actual condition of a Lot may not be as good as that indicated by its Our Sales are public auctions which persons may attend and you facility is a discretionary service offered at no additional charge and outward appearance. In particular, parts may have been replaced or should take the opportunity to do so. We reserve the right at our sole may not be available in relation to all Lots. We will not be responsible renewed and Lots may not be authentic or of satisfactory quality; the discretion to refuse admission to our premises or to any Sale and to for bidding on your behalf if you are unavailable at the time of the Sale inside of a Lot may not be visible and may not be original or may be remove any person from our premises and Sales, without stating a or if the telephone connection is interrupted during bidding. Please damaged, as for example where it is covered by upholstery or material. reason. We have complete discretion as to whether the Sale proceeds, contact us for further details. Given the age of many Lots they may have been damaged and/or whether any Lot is included in the Sale, the manner in which the Sale is Bidding by post or fax repaired and you should not assume that a Lot is in good condition. conducted and we may offer Lots for Sale in any order we choose Absentee Bidding Forms can be found in the back of this Catalogue Electronic or mechanical items or parts are sold for their artistic, historic notwithstanding the numbers given to Lots in the Catalogue. You and should be completed and sent to the office responsible for the or cultural interest and may not operate or may not comply with current should therefore check the date and starting time of the Sale, whether Sale, once you have pre-registered to bid or have updated your statutory requirements. You should not assume that electrical items there have been any withdrawals or late entries. Remember that existing registration details recently. It is in your interests to return your designed to operate on mains electricity will be suitable for connection withdrawals and late entries may affect the time at which a Lot you are form as soon as possible, as if two or more Bidders submit identical to the mains electricity supply and you should obtain a report from a interested is put up for Sale. We have complete discretion in which to bids for a Lot, the first bid received takes preference. In any event, all qualified electrician on their status before doing so. Such items which refuse any bid, to nominate any bidding increment we consider bids should be received at least 24 hours before the start of the Sale. are unsuitable for connection are sold as items of interest for display appropriate, to divide any Lot, to combine two or more Lots, to Please check your Absentee Bidding Form carefully before returning it purposes only. If you yourself do not have expertise regarding a Lot, withdraw any Lot from a Sale and, before the Sale has been closed, to to us, fully completed and signed by you. It is your responsibility to you should consult someone who does to advise you. We can assist in put up any Lot for auction again. Auction speeds can exceed 100 Lots check with our Bids Office that your bid has been received. This arranging facilities for you to carry out or have carried out more detailed to the hour and bidding increments are generally about 10%; however, additional service is complimentary and is confidential. Such bids are inspections and tests. Please ask our staff for details. these do vary from Sale to Sale and from Auctioneer to Auctioneer. made at your own risk and we cannot accept liability for our failure to Any person who damages a Lot will be held liable for the Please check with the department organising the Sale for advice on receive and/or place any such bids. All bids made on your behalf will be loss caused. this. Where a Reserve has been applied to a Lot, the Auctioneer may, made at the lowest level possible subject to Reserves and other bids 3. DESCRIPTIONS OF LOTS AND ESTIMATES in his absolute discretion, place bids (up to an amount not equalling or made for the Lot. Where appropriate your bids will be rounded down to Contractual Description of a Lot exceeding such Reserve) on behalf of the Seller. We are not the nearest amount consistent with the Auctioneer’s bidding The Catalogue contains an Entry about each Lot. Each Lot is sold by responsible to you in respect of the presence or absence of any increments. New Bidders must also provide proof of identity and its respective Seller to the Buyer of the Lot as corresponding only with Reserve in respect of any Lot. If there is a Reserve it will be no higher address when submitting bids. Failure to do this will result in your bid that part of the Entry which is printed in bold letters and (except for the than the lower figure for any Estimate in the Catalogue, assuming that not being placed. colour, which may be inaccurately reproduced) with any photograph of the currency of the Reserve has not fluctuated adversely against the Bidding via the internet the Lot in the Catalogue. The remainder of the Entry, which is not currency of the Estimate. The Buyer will be the Bidder who makes the Please visit our Website at http://www.bonhams.com for printed in bold letters, represents Bonhams’ opinion (given on behalf of highest bid acceptable to the Auctioneer for any Lot (subject to any details of how to bid via the internet. the Seller) about the Lot only and is not part of the Contractual applicable Reserve) to whom the Lot is knocked down by the Bonhams will not be liable for service delays, interruptions or other Description in accordance with which the Lot is sold by the Seller. Auctioneer at the fall of the Auctioneer’s hammer. Any dispute as to the failures to make a bid caused by losses of internet connection, fault or Estimates highest acceptable bid will be settled by the Auctioneer in his absolute failure with the website or bidding process, or malfunction of any In most cases, an Estimate is printed beside the Entry. Estimates are discretion. All bids tendered will relate to the actual Lot number software or system, computer or mobile device. only an expression of Bonhams’ opinion made on behalf of the Seller of announced by the Auctioneer. An electronic currency converter may be Bidding through an agent the range where Bonhams thinks the Hammer Price for the Lot is likely used at the Sale. This equipment is provided as a general guide as to Bids will be treated as placed exclusively by and on behalf of the to fall; it is not an Estimate of value. It does not take into account any the equivalent amount in certain currencies of a given bid. We do not person named on the Bidding Form unless otherwise agreed by us in VAT or Buyer’s Premium payable or any other fees payable by the accept any responsibility for any errors which may occur in the use of writing in advance of the Sale. If you wish to bid on behalf of another Buyer, which are detailed in paragraph 7 of the Notice to Bidders, the currency converter. We may use video cameras to record the Sale person (your principal) you must complete the pre-registration below. Prices depend upon bidding and lots can sell for Hammer and may record telephone calls for reasons of security and to assist in requirements set out above both on your own behalf and with full

NTB/MAIN/V1/11.2020 NOTICE TO BIDDERS details of your principal, and we will require written confirmation from 8. VAT Sale of any Lot if you are in breach of your warranties as Buyer, if we This notice is addressed by Bonhams to any person who may be Prices below and above the Estimates, so Estimates should not be solving any disputes which may arise in relation to bids made at the the principal confirming your authority to bid. The prevailing rate of VAT at the time of going to press is 20%, but this consider that such Sale would be unlawful or otherwise cause liabilities interested in a Lot, and to all persons participating in the auction relied on as an indication of the actual selling price or value of a Lot. Sale. At some Sales, for example, jewellery Sales, we may use screens You are specifically referred to your due diligence requirements is subject to government change and the rate payable will be the rate for the Seller or Bonhams, or would be detrimental to Bonhams’ process including auction attendees, Bidders and potential Bidders Estimates are in the currency of the Sale. on which images of the Lots will be projected. This service is provided concerning your principal and their source of funds, and the in force on the date of the Sale. reputation. (including any eventual Buyer of the Lot). For ease of reference we refer Condition Reports to assist viewing at the Sale. The image on the screen should be warranties you give in the event you are the Buyer, which are The following symbols, shown beside the Lot number, are used to 10. COLLECTION AND STORAGE to such persons as “Bidders” or “you”. Our List of Definitions and In respect of most Lots, you may ask Bonhams for a Condition Report treated as an indication only of the current Lot. It should be noted that contained in paragraph 3 of the Buyer’s Agreement, set out at denote that VAT is due on the Hammer Price and Buyer’s Premium: The Buyer of a Lot will not be allowed to collect it until payment in full Glossary is incorporated into this Notice to Bidders. It is at Appendix 3 on the Lot’s general physical condition. If you do so, this will be all bids tendered will relate to the actual Lot number announced by Appendix 2 at the back of the Catalogue. † VAT at the prevailing rate on Hammer Price and and in cleared funds has been made (unless we have made a special at the back of the Catalogue. Where words and phrases are used in provided by Bonhams on behalf of the Seller free of charge. As this is the Auctioneer. We do not accept any responsibility for any errors Nevertheless, as the Bidding Form explains, any person placing a bid Buyer’s Premium arrangement with the Buyer). For collection and removal of purchased this notice which are in the List of Definitions, they are printed in italics. offered additionally and without charge, Bonhams is not entering into a which may occur in the use of the screen. as agent on behalf of another (whether or not he has disclosed that Ω VAT on imported items at the prevailing rate on Hammer Price Lots, please refer to Sale Information at the front of the Catalogue. Our IMPORTANT: Additional information applicable to the Sale may be set contract with you in respect of the Condition Report and accordingly 5. BIDDING fact) will be jointly and severally liable with the principal to the Seller and and Buyer’s Premium offices are open 9.00am – 5pm Monday to Friday. Details relating to to Bonhams under any contract resulting from the acceptance of a bid. VAT on imported items at a preferential rate of 5% on Hammer the collection of a Lot, the storage of a Lot and our Storage Contractor out in the Catalogue for the Sale, in an insert in the Catalogue and/or in does not assume responsibility to you in respect of it. The Condition You must complete and deliver to us one of our Bidding Forms, either * a notice displayed at the Sale venue and you should read them as well. Report represents Bonhams’ reasonable opinion as to the Lot’s general our Bidder Registration Form, Absentee Bidding Form or Telephone Equally, please let us know if you intend to nominate another person to Price and the prevailing rate on Buyer’s Premium after the Sale are set out in the Catalogue. Announcements affecting the Sale may also be given out orally before condition in the terms stated in the particular report, and Bonhams Bidding Form in order to bid at our Sales. bid on your behalf at the Sale unless this is to be carried out by us G Gold bullion exempt from VAT on the Hammer Price and subject 11. SHIPPING and during the Sale without prior written notice. You should be alert to does not represent or guarantee that a Condition Report includes all If you are a new client at Bonhams or have not recently updated your pursuant to a Telephone or Absentee Bidding Form that you have to VAT at the prevailing rate on the Buyer’s Premium For information and estimates on domestic and international shipping the possibility of changes and ask in advance of bidding if there have aspects of the internal or external condition of the Lot. Neither does the registration details with us, you must pre-register to bid at least two completed. If we do not approve the agency arrangements in writing • Zero rated for VAT, no VAT will be added to the Hammer Price or as well as export licenses please contact been any. Seller owe or agree to owe you as a Bidder or Buyer any obligation or working days before the Sale at which you wish to bid. You will be before the Sale, we are entitled to assume that the person bidding at the Buyer’s Premium Alban Shipping on +44 (0) 1582 493 099 1. OUR ROLE duty in respect of this free report about a Lot, which is available for your required to provide government-issued proof of identity and residence, the Sale is bidding on his own behalf. Accordingly, the person bidding a Buyers from within the EU: VAT is payable at the prevailing rate [email protected] In its role as Auctioneer of Lots, Bonhams acts solely for and in the own inspection or for inspection by an expert instructed by you. and if you are a company, your certificate of incorporation or equivalent at the Sale will be the Buyer and will be liable to pay the Hammer Price on just the Buyer’s Premium (NOT the Hammer Price). Buyers 12. EXPORT/TRADE RESTRICTIONS interests of the Seller. Bonhams’ job is to sell the Lot at the highest The Seller’s responsibility to you documentation with your name and registered address, government and Buyer’s Premium and associated charges. If we approve the from outside the EU: VAT is payable at the prevailing rate on It is your sole responsibility to comply with all export and import price obtainable at the Sale to a Bidder. Bonhams does not act for The Seller does not make or agree to make any representation of fact issued proof of your current address, documentary proof of your identity of your client in advance, we will be in a position to address the both Hammer Price and Buyer’s Premium. If a Buyer, having regulations relating to your purchases and also to obtain any relevant Buyers or Bidders in this role and does not give advice to Buyers or or contractual promise, Guarantee or warranty and undertakes no beneficial owners and directors, and proof of authority to transact. invoice to your principal rather than you. We will require proof of the registered under a non-EU address, decides that the item is not export and/or import licence(s). Export licences are issued by Arts Bidders. When it or its staff make statements about a Lot or, if obligation or duty, whether in contract or in tort (other than to the We may also request a financial reference and /or deposit from you agent’s client’s identity and residence in advance of any bids made by to be exported from the EU, then he should advise Bonhams Council England and application forms can be obtained from its Bonhams provides a Condition Report on a Lot it is doing that on eventual Buyer as set out above), in respect of the accuracy or before allowing you to bid. the agent on his behalf. Please refer to our Conditions of Business and immediately. Export Licensing Unit. The detailed provisions of the export licensing behalf of the Seller of the Lot. Bidders and Buyers who are themselves completeness of any statement or representation made by him or on We reserve the rights at our discretion to request further information in contact our Customer Services Department for further details. In all other instances no VAT will be charged on the Hammer Price, arrangements can be found on the ACE website http://www. not expert in the Lots are strongly advised to seek and obtain his behalf, which is in any way descriptive of any Lot or as to the order to complete our client identification and to decline to register any Bonhams undertakes Customer Due Diligence (CDD) into its Sellers and but VAT at the prevailing rate will be added to Buyer’s Premium which artscouncil.org.uk/what-we-do/supporting-museums/cultural-property/ independent advice on the Lots and their value before bidding for anticipated or likely selling price of any Lot. Other than as set out person as a Bidder, and to decline to accept their bids if they have Buyers as required by the Money Laundering, Terrorist Financing and will be invoiced on a VAT inclusive basis. export-controls/export-licensing/ or by phoning ACE on +44 (0)20 them. The Seller has authorised Bonhams to sell the Lot as its agent on above, no statement or representation in any way descriptive of a Lot been so registered. We also reserve the rights to postpone completion Transfer of Funds (Information on the Payer) Regulations 2017 (“the 9. PAYMENT 7973 5188. The need for import licences varies from country to country its behalf and, save where we expressly make it clear to the contrary, or any Estimate is incorporated into any Contract for Sale between a of the Sale of any Lot at our discretion while we complete our Regulations”). Bonhams’ interpretation of the Regulations and Treasury It is of critical importance that you ensure that you have readily available and you should acquaint yourself with all relevant local requirements Bonhams acts only as agent for the Seller. Any statement or Seller and a Buyer. registration and identification enquiries, and to cancel the Sale of any Approved industry Guidance is that CDD under the Regulations is not funds to pay the Purchase Price and the Buyer’s Premium (plus VAT and provisions. The refusal of any import or export licence(s) or representation we make in respect of a Lot is made on the Seller’s Bonhams’ responsibility to you Lot if you are in breach of your warranties as Buyer, or if we consider required by Buyers into Sellers at Bonhams auctions or vice versa. and any other charges and Expenses to us)in full before making a bid any delay in obtaining such licence(s) shall not permit the rescission behalf and, unless Bonhams sells a Lot as principal, not on our behalf You have the opportunity of examining the Lot if you want to and the that such Sale would be unlawful or otherwise cause liabilities for the 6. CONTRACTS BETWEEN THE BUYER AND SELLER AND THE for the Lot. If you are a successful Bidder, payment will be due to us by of any Sale nor allow any delay in making full payment for the Lot. and any Contract for Sale is between the Buyer and the Seller and not Contract for Sale for a Lot is with the Seller and not with Bonhams; Seller or Bonhams or be detrimental to Bonhams’ reputation. BUYER AND BONHAMS 4.30 pm on the second working day after the Sale so that all sums are Generally, please contact our shipping department before the Sale if with us. If Bonhams sells a Lot as principal this will either be stated in Bonhams acts as the Seller’s agent only (unless Bonhams sells the Lot Bidding in person On the Lot being knocked down to the Buyer, a Contract for Sale of cleared by the eighth working day after the Sale. Payments made by you require assistance in relation to export regulations. the Catalogue or an announcement to that effect will be made by the as principal). So long as you have pre-registered to bid or have updated your the Lot will be entered into between the Seller and the Buyer on the anyone other than the registered Buyer will not be accepted. Bonhams 13. CITES REGULATIONS Auctioneer, or it will be stated in a notice at the Sale or an insert in the Bonhams undertakes no obligation to you to examine, investigate or existing registration recently, you should come to our Bidder registration terms of the Contract for Sale set out in Appendix 1 at the back of the reserves the right to vary the terms of payment at any time. Please be aware that all Lots marked with the symbol Y are subject to Catalogue. carry out any tests, either in sufficient depth or at all, on each Lot to desk at the Sale venue and fill out a Registration and Bidding Form on Catalogue. You will be liable to pay the Purchase Price, which is the Bonhams’ preferred payment method is by bank transfer. CITES regulations when exporting these items outside the EU. These Bonhams does not owe or undertake or agree to any duty or establish the accuracy or otherwise of any Descriptions or opinions (or, if possible, before) the day of the Sale. The bidding number system Hammer Price plus any applicable VAT. At the same time, a separate You may electronically transfer funds to our Account. If you do so, please regulations may be found at responsibility to you in contract or tort (whether direct, collateral, given by Bonhams, or by any person on Bonhams’ behalf, whether in is sometimes referred to as “paddle bidding”. You will be issued with a contract is also entered into between us as Auctioneers and the Buyer. quote your paddle number and invoice number as the reference. Our http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or may be express, implied or otherwise). If you successfully bid for a Lot and buy the Catalogue or elsewhere. large card (a “paddle”) with a printed number on it. This will be This is our Buyer’s Agreement, the terms of which are set out in Account details are as follows: requested from: it, at that stage Bonhams does enter into an agreement with you as the You should not suppose that such examinations, investigations or tests attributed to you for the purposes of the Sale. Should you be a Appendix 2 at the back of the Catalogue. Please read the terms of the Animal Health and Veterinary Laboratories Agency (AHVLA) Wildlife Buyer. The terms of that contract are set out in our Buyer’s Agreement, have occurred. successful Bidder you will need to ensure that your number can be Contract for Sale and our Buyer’s Agreement contained in the Bank: National Westminster Bank Plc Licensing which you will find at Appendix 2 at the back of the Catalogue, and this Bonhams does not make or agree to make any representation of fact, clearly seen by the Auctioneer and that it is your number which is Catalogue in case you are the successful Bidder including the Address: PO Box 4RY Floor 1, Zone 17, Temple Quay House will govern Bonhams’ relationship with the Buyer. and undertakes no obligation or duty (whether in contract or tort) in identified as the Buyer’s. You should not let anyone else use your warranties as to your status and source of funds. We may change the 250 Regent Street 2 The Square, Temple Quay respect of the accuracy or completeness of any statement or paddle as all Lots will be invoiced to the name and address given on terms of either or both of these agreements in advance of their being London W1A 4RY 2. LOTS BRISTOL BS1 6EB Subject to the Contractual Description printed in bold letters in the representation made by Bonhams or on Bonhams’ behalf which is in your Bidder Registration Form. Once an invoice is issued it will not be entered into, by setting out different terms in the Catalogue and/or by Account Name: Bonhams 1793 Limited Tel: +44 (0) 117 372 8774 Entry about the Lot in the Catalogue (see paragraph 3 below), Lots are any way descriptive of any Lot or as to the anticipated or likely selling changed. If there is any doubt as to the Hammer Price of, or whether placing an insert in the Catalogue and/or by notices at the Sale venue Account Number: 25563009 The refusal of any CITES licence or permit and any delay in obtaining sold to the Buyer on an “as is” basis, with all faults and imperfections. price of any Lot. No statement or representation by Bonhams or on its you are the successful Bidder of, a particular Lot, you must draw this to and/or by oral announcements before and during the Sale. It is your Sort Code: 56-00-27 such licences or permits shall not give rise to the rescission or Illustrations and photographs contained in the Catalogue (other than behalf in any way descriptive of any Lot or any Estimate is incorporated the attention of the Auctioneer before the next Lot is offered for Sale At responsibility to ensure you are aware of the up to date terms of the IBAN Number: GB 33 NWBK 560027 25563009 . cancellation of any Sale, nor allow any delay in making full payment photographs forming part of the Contractual Description) or elsewhere into our Buyer’s Agreement. the end of the Sale, or when you have finished bidding please return Buyer’s Agreement for this Sale. for the Lot. of any Lots are for identification purposes only. A photograph or Alterations your paddle to the Bidder registration desk. 7. BUYER’S PREMIUM AND OTHER CHARGES PAYABLE BY If paying by bank transfer, the amount received after the 14. THE SELLERS AND/OR BONHAMS’ LIABILITY illustration may not reflect an accurate reproduction of the colour(s) or Descriptions and Estimates may be amended at Bonhams’ discretion THE BUYER deduction of any bank fees and/or conversion of the currency of Bidding by telephone Other than any liability of the Seller to the Buyer of a Lot under the true condition of the Lot. Lots are available for inspection prior to the from time to time by notice given orally or in If you wish to bid at the Sale by telephone, and have pre-registered to Under the Buyer’s Agreement, a premium (the Buyer’s Premium) is payment to pounds sterling must not be less than the sterling amount Contract for Sale, neither we nor the Seller are liable (whether in Sale and it is for you to satisfy yourself as to each and every aspect of writing before or during a Sale. bid or have updated your existing registration details recently, please payable to us by the Buyer in accordance with the terms of the Buyer’s payable, as set out on the invoice. negligence or otherwise) for any error or misdescription or omission a Lot, including its authorship, attribution, condition, provenance, THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST FORM complete a Registration and Bidding Form, which is available from our Agreement and at rates set out below, calculated by reference to the in any Description of a Lot or any Estimate in respect of it, whether history, background, authenticity, style, period, age, suitability, quality, YOUR OWN OPINION IN RELATION TO IT. YOU ARE STRONGLY offices or in the Catalogue. Please then return it to the office Hammer Price and payable in addition to it. Payment may also be made by one of the following methods: contained in the Catalogue or otherwise, whether given orally or in roadworthiness (if relevant), origin, value and estimated selling price ADVISED TO EXAMINE ANY LOT OR HAVE IT EXAMINED ON YOUR responsible for the Sale at least 24 hours in advance of the Sale. It is writing and whether given before or during the Sale. Neither we nor the (including the Hammer Price). It is your responsibility to examine any BEHALF BEFORE THE SALE. your responsibility to check with our Bids Office that your bid has been For this Sale the following rates of Buyer’s Premium will be payable by Sterling personal cheque drawn on a UK branch of a bank or Seller will be liable for any loss of Business, profits, revenue or income, Lot in which you are interested. It should be remembered that the received. Telephone calls will be recorded. The telephone bidding Buyers on each Lot purchased: building society: all cheques must be cleared before you can collect 4. CONDUCT OF THE SALE or for loss of reputation, or for disruption to Business or wasted time on actual condition of a Lot may not be as good as that indicated by its Our Sales are public auctions which persons may attend and you facility is a discretionary service offered at no additional charge and your purchases and should be made payable to Bonhams 1793 the part of management or staff, or for indirect losses or consequential outward appearance. In particular, parts may have been replaced or should take the opportunity to do so. We reserve the right at our sole may not be available in relation to all Lots. We will not be responsible 27.5% of the Hammer Price on the first £10,000; plus Limited. damages of any kind, irrespective in any case of the nature, volume or renewed and Lots may not be authentic or of satisfactory quality; the discretion to refuse admission to our premises or to any Sale and to for bidding on your behalf if you are unavailable at the time of the Sale 25% of the Hammer Price from £10,001 and up to £450,000; plus source of the loss or damage alleged to be suffered, and irrespective inside of a Lot may not be visible and may not be original or may be remove any person from our premises and Sales, without stating a or if the telephone connection is interrupted during bidding. Please 20% of the Hammer Price from £450,001 and up to £4,500,000; plus Cash: you may pay for Lots purchased by you at this Sale of whether the said loss or damage is caused by or claimed in respect damaged, as for example where it is covered by upholstery or material. reason. We have complete discretion as to whether the Sale proceeds, contact us for further details. 14.5% of the Hammer Price above £4,500,000 with notes or coins in the currency in which the Sale is conducted of any negligence, other tort, breach of contract (if any) or statutory Given the age of many Lots they may have been damaged and/or whether any Lot is included in the Sale, the manner in which the Sale is (but not any other currency) provided that the total amount payable Bidding by post or fax duty, restitutionary claim or otherwise. In any circumstances where repaired and you should not assume that a Lot is in good condition. conducted and we may offer Lots for Sale in any order we choose Absentee Bidding Forms can be found in the back of this Catalogue Storage and handling charges may also be payable by the Buyer by you in respect of all Lots purchased by you at the Sale does not we and/or the Seller are liable in relation to any Lot or any Description Electronic or mechanical items or parts are sold for their artistic, historic notwithstanding the numbers given to Lots in the Catalogue. You and should be completed and sent to the office responsible for the as detailed on the specific Sale Information page at the front of the exceed £3,000, or the equivalent in the currency in which the Sale is or Estimate made of any Lot, or the conduct of any Sale in relation or cultural interest and may not operate or may not comply with current should therefore check the date and starting time of the Sale, whether Sale, once you have pre-registered to bid or have updated your catalogue. conducted, at the time when payment is made. If the amount payable to any Lot, whether in damages, for an indemnity or contribution, statutory requirements. You should not assume that electrical items there have been any withdrawals or late entries. Remember that existing registration details recently. It is in your interests to return your by you for Lots exceeds that sum, the balance must be paid otherwise or for a restitutionary remedy or otherwise, our and/or the Seller’s designed to operate on mains electricity will be suitable for connection withdrawals and late entries may affect the time at which a Lot you are form as soon as possible, as if two or more Bidders submit identical The Buyer’s Premium and all other charges payable to us by the Buyer than in coins or notes; this limit applies to both payment at our liability (combined, if both we and the Seller are liable) will be limited to the mains electricity supply and you should obtain a report from a interested is put up for Sale. We have complete discretion in which to bids for a Lot, the first bid received takes preference. In any event, all are subject to VAT at the prevailing rate, currently 20%. premises and direct deposit into our bank account. to payment of a sum which will not exceed by way of maximum the qualified electrician on their status before doing so. Such items which refuse any bid, to nominate any bidding increment we consider bids should be received at least 24 hours before the start of the Sale. amount of the Purchase Price of the Lot irrespective in any case of are unsuitable for connection are sold as items of interest for display appropriate, to divide any Lot, to combine two or more Lots, to Please check your Absentee Bidding Form carefully before returning it VAT may also be payable on the Hammer Price of the Lot, where Debit cards issued in the name of the Buyer (including China Union the nature, volume or source of any loss or damage alleged to be purposes only. If you yourself do not have expertise regarding a Lot, withdraw any Lot from a Sale and, before the Sale has been closed, to to us, fully completed and signed by you. It is your responsibility to indicated by a symbol beside the Lot number. See paragraph 8 below Pay (CUP) cards and debit cards issued by Visa and MasterCard suffered or sum claimed as due, and irrespective of whether the liability you should consult someone who does to advise you. We can assist in put up any Lot for auction again. Auction speeds can exceed 100 Lots check with our Bids Office that your bid has been received. This for details. There is no limit on payment value if payment is made in person only). arises from any negligence, other tort, breach of contract (if any) or arranging facilities for you to carry out or have carried out more detailed to the hour and bidding increments are generally about 10%; however, additional service is complimentary and is confidential. Such bids are using Chip & Pin verification. statutory duty or otherwise. Nothing set out above will be construed inspections and tests. Please ask our staff for details. these do vary from Sale to Sale and from Auctioneer to Auctioneer. made at your own risk and we cannot accept liability for our failure to On certain Lots, which will be marked “AR” in the Catalogue and as excluding or restricting (whether directly or indirectly) our liability or Any person who damages a Lot will be held liable for the Please check with the department organising the Sale for advice on receive and/or place any such bids. All bids made on your behalf will be which are sold for a Hammer Price of €1,000 or greater (converted into may also be accepted up to £5,000, subject to Payment by telephone excluding or restricting any person’s rights or remedies in respect of (i) loss caused. this. Where a Reserve has been applied to a Lot, the Auctioneer may, made at the lowest level possible subject to Reserves and other bids the currency of the Sale using the European Central Bank Reference appropriate verification procedures, although this facility is not available fraud, or (ii) death or personal injury caused by our negligence (or by in his absolute discretion, place bids (up to an amount not equalling or made for the Lot. Where appropriate your bids will be rounded down to rate prevailing on the date of the Sale), the Additional Premium will for first time buyers. If the amount payable by you for Lots exceeds that 3. DESCRIPTIONS OF LOTS AND ESTIMATES the negligence of any person under our control or for whom we are exceeding such Reserve) on behalf of the Seller. We are not the nearest amount consistent with the Auctioneer’s bidding be payable to us by the Buyer to cover our Expenses relating to the sum, the balance must be paid by other means. Contractual Description of a Lot legally responsible), or (iii) acts or omissions for which we are liable The Catalogue contains an Entry about each Lot. Each Lot is sold by responsible to you in respect of the presence or absence of any increments. New Bidders must also provide proof of identity and payment of royalties under the Artists Resale Right Regulations 2006. under the Occupiers Liability Act 1957, or (iv) any other liability to the its respective Seller to the Buyer of the Lot as corresponding only with Reserve in respect of any Lot. If there is a Reserve it will be no higher address when submitting bids. Failure to do this will result in your bid The Additional Premium will be a percentage of the amount of the Credit cards issued in the name of the Buyer (including China Union extent the same may not be excluded or restricted as a matter of law that part of the Entry which is printed in bold letters and (except for the than the lower figure for any Estimate in the Catalogue, assuming that not being placed. Hammer Price calculated in accordance with the table below, and shall Pay (CUP) cards and credit cards issued by Visa and MasterCard or (v) our undertakings under paragraphs 9 (in relation to specialist colour, which may be inaccurately reproduced) with any photograph of the currency of the Reserve has not fluctuated adversely against the not exceed €12,500 (converted into the currency of the Sale using Bidding via the internet only). There is a £5,000 limit on payment value if payment is made in Stamp or Book Sales only) and 10 of the Buyer’s Agreement. The same the Lot in the Catalogue. The remainder of the Entry, which is not currency of the Estimate. The Buyer will be the Bidder who makes the Please visit our Website at http://www.bonhams.com for the European Central Bank Reference rate prevailing on the date of person using Chip & Pin verification. applies in respect of the Seller, as if references to us in this paragraph printed in bold letters, represents Bonhams’ opinion (given on behalf of highest bid acceptable to the Auctioneer for any Lot (subject to any details of how to bid via the internet. the Sale). were substituted with references to the Seller. the Seller) about the Lot only and is not part of the Contractual applicable Reserve) to whom the Lot is knocked down by the Bonhams will not be liable for service delays, interruptions or other It may be advisable to notify your debit or credit card provider of your 15. BOOKS Description in accordance with which the Lot is sold by the Seller. Auctioneer at the fall of the Auctioneer’s hammer. Any dispute as to the failures to make a bid caused by losses of internet connection, fault or Hammer Price Percentage amount intended purchase in advance to reduce delays caused by us having to As stated above, all Lots are sold on an “as is” basis, subject to all highest acceptable bid will be settled by the Auctioneer in his absolute failure with the website or bidding process, or malfunction of any From €0 to €50,000 4% Estimates seek authority when you come to pay. faults, imperfections and errors of Description save as set out below. In most cases, an Estimate is printed beside the Entry. Estimates are discretion. All bids tendered will relate to the actual Lot number software or system, computer or mobile device. From €50,000.01 to €200,000 3% However, you will be entitled to reject a Book in the circumstances set only an expression of Bonhams’ opinion made on behalf of the Seller of announced by the Auctioneer. An electronic currency converter may be From €200,000.01 to €350,000 1% Bidding through an agent Note: only one debit or credit card may be used for payment of an out in paragraph 11 of the Buyers Agreement. Please note that Lots the range where Bonhams thinks the Hammer Price for the Lot is likely used at the Sale. This equipment is provided as a general guide as to Bids will be treated as placed exclusively by and on behalf of the From €350,000.01 to €500,000 0.5% account balance. If you have any questions with regards to card comprising printed Books, unframed maps and bound manuscripts are to fall; it is not an Estimate of value. It does not take into account any the equivalent amount in certain currencies of a given bid. We do not person named on the Bidding Form unless otherwise agreed by us in Exceeding €500,000 0.25% payments, please contact our Customer Services Department. not liable to VAT on the Buyer’s Premium. VAT or Buyer’s Premium payable or any other fees payable by the accept any responsibility for any errors which may occur in the use of writing in advance of the Sale. If you wish to bid on behalf of another We reserve the rights to investigate and identify the source of any funds 16. CLOCKS AND WATCHES Buyer, which are detailed in paragraph 7 of the Notice to Bidders, the currency converter. We may use video cameras to record the Sale person (your principal) you must complete the pre-registration received by us, to postpone completion of the sale of any Lot at our All Lots are sold “as is”, and the absence of any reference to the below. Prices depend upon bidding and lots can sell for Hammer and may record telephone calls for reasons of security and to assist in requirements set out above both on your own behalf and with full discretion while we complete our investigations, and to cancel the condition of a clock or watch does not imply that the Lot is in good

NTB/MAIN/V1/11.2020 NTB/MAIN/V1/11.2020 condition and without defects, repairs or restorations. Most clocks to retain their appearance. Bidders should be aware that Estimates Please see the Contract for Sale printed in this Catalogue. Because and watches have been repaired in the course of their normal lifetime assume that gemstones may have been subjected to such treatments. of the difficulty in determining whether an item of glass has been and may now incorporate parts not original to them. Furthermore, A number of laboratories issue certificates that give more detailed repolished, in our Catalogues reference is only made to visible chips Bonhams makes no representation or warranty that any clock or watch Descriptions of gemstones. However there may not be consensus and cracks. No mention is made of repolishing, severe or otherwise. is in working order. As clocks and watches often contain fine and between different laboratories on the degrees, or types of treatment for 23. VEHICLES complex mechanisms, Bidders should be aware that a general service, any particular gemstone. In the event that Bonhams has been given or The Veteran Car Club of Great Britain change of battery or further repair work, for which the Buyer is solely has obtained certificates for any Lot in the Sale these certificates will be Dating Plates and Certificates responsible, may be necessary. disclosed in the Catalogue. Although, as a matter of policy, Bonhams When mention is made of a Veteran Car Club Dating Plate or Dating 17. FIREARMS – PROOF, CONDITION AND CERTIFICATION endeavours to provide certificates from recognised laboratories for Certificate in this Catalogue, it should be borne in mind that the Veteran Proof of Firearms certain gemstones, it is not feasible to obtain certificates for each Lot. Car Club of Great Britain using the services of Veteran Car Company The term “proof exemption” indicates that a firearm has been examined In the event that no certificate is published in the Catalogue, Bidders Ltd, does from time to time, review cars already dated and, in some at a Proof House, but not proved, as either (a) it was deemed of should assume that the gemstones may have been treated. Neither instances, where fresh evidence becomes available, the review can result interest and not intended for use, or (b) ammunition was not available. Bonhams nor the Seller accepts any liability for contradictions or in an alteration of date. Whilst the Club and Veteran Car Company Ltd In either case, the firearm must be regarded as unsafe to fire unless differing certificates obtained by Buyers on any Lots subsequent to make every effort to ensure accuracy, the date shown on the Dating subsequently proved. Firearms proved for Black Powder should not be the Sale. Plate or Dating Certificate cannot be guaranteed as correct and intending used with smokeless ammunition. Estimated Weights purchasers should make their own enquiries as to the date of the car. The term “Certificate of Unprovability” indicates that a firearm has been If a stone(s) weight appears within the body of the Description in capital 24. WINE examined at a Proof House and is deemed both unsuitable for proof letters, the stone(s) has been unmounted and weighed by Bonhams. Lots which are lying under Bond and those liable to VAT may not be and use. Reproof is required before any such firearm is to be used. If the weight of the stone(s) is stated to be approximate and does not available for immediate collection. Guns Sold as Parts appear in capital letters, the stone(s) has been assessed by us within Examining the wines Barrels of guns sold as parts will only be made available for sleeving its/their settings, and the stated weight is a statement of our opinion It is occasionally possible to provide a pre-Sale tasting for larger and measurements once rendered unserviceable according to the Gun only. This information is given as a guide and Bidders should satisfy parcels (as defined below). This is generally limited to more recent and Barrel Proof Act of 1968 to 1978 and the Rules of Proof. themselves with regard to this information as to its accuracy. everyday drinking wines. Please contact the department for details. Condition of Firearms Signatures It is not our policy to inspect every unopened case. In the case of wines Comment in this Catalogue is restricted, in general, to exceptional 1. A diamond brooch, by Kutchinsky older than 20 years the boxes will usually have been opened and levels condition and to those defects that might affect the immediate safety of When the maker’s name appears in the title, in Bonhams’ opinion the and appearance noted in the Catalogue where necessary. You should a firearm in normal use. An intending Bidder unable to make technical piece is by that maker. make proper allowance for variations in ullage levels and conditions of examinations and assessments is recommended to seek advice from a 2. A diamond brooch, signed Kutchinsky corks, capsules and labels. gunmaker or from a modern firearms specialist. All prospective Bidders Has a signature that, in Bonhams’ opinion, is authentic but may contain Corks and Ullages are advised to consult the ˚ of bore and wall-thickness measurements gemstones that are not original, or the piece may have been altered. Ullage refers to the space between the base of the cork and the wine. posted in the saleroom and available from the department. Bidders 3. A diamond brooch, mounted by Kutchinsky Ullage levels for Bordeaux shaped bottles are only normally noted should note that guns are stripped only where there is a strong Has been created by the jeweller, in Bonhams’ opinion, but using when below the neck and for Burgundy, Alsace, German and Cognac indication of a mechanical malfunction. Stripping is not, otherwise, stones or designs supplied by the client. shaped bottles when greater than 4 centimetres (cm). Acceptable undertaken. Guns intended for use should be stripped and cleaned 20. PHOTOGRAPHS ullage levels increase with age; generally acceptable levels are as beforehand. Hammer guns should have their rebound mechanisms Explanation of Catalogue Terms follows: checked before use. The safety mechanisms of all guns must be tested • “Bill Brandt”: in our opinion a work by the artist. Under 15 years old – into neck or less than 4cm before use. All measurements are approximate. • “Attributed to Bill Brandt”: in our opinion probably a work by the 15 to 30 years old – top shoulder (ts) or up to 5cm Original Gun Specifications Derived from Gunmakers artist, but less certainty to authorship is expressed than in the Over 30 years old – high shoulder (hs) or up to 6cm The Sporting Gun Department endeavours to confirm a gun’s original preceding category. It should be noted that ullages may change between publication specification and date of manufacture with makers who hold their • “Signed and/or titled and/or dated and/or inscribed”: in our opinion of the Catalogue and the Sale and that corks may fail as a result of original records. the signature and/or title and/or date and/or inscription are in the transporting the wine. We will only accept responsibility for Descriptions Licensing Requirements artist’s hand. of condition at the time of publication of the Catalogue and cannot Firearms Act 1968 as amended • “Signed and/or titled and/or dated and/or inscribed in another accept responsibility for any loss resulting from failure of corks either Bonhams is constantly reviewing its procedures and would remind hand”: in our opinion the signature and/or title and/or date and/or before or after this point. you that, in the case of firearms or shotguns subject to certification, inscription have been added by Options to buy parcels to conform with current legislation, Bonhams is required to see, as another hand. A parcel is a number of Lots of identical size of the same wine, bottle appropriate, your original registered firearms dealer’s certificate / shot • The date given is that of the image (negative). Where no further size and Description. The Buyer of any of these Lots has the option gun certificate / firearm certificate / museum firearms licence / Section date is given, this indicates that the photographic print is vintage to accept some or all of the remaining Lots in the parcel at the same 5 authority or import licence (or details of any exemption from which (the term “vintage” may also be included in the Lot Description). A price, although such options will be at the Auctioneer’s sole discretion. you may benefit, for instance Crown servant status) for the firearm(s) vintage photograph is one which was made within approximately Absentee Bidders are, therefore, advised to bid on the first Lot in a you have purchased prior to taking full payment of the amount 5-10 years of the negative. Where a second, later date appears, parcel. shown on your invoice. Should you not already be in possession of this refers to the date of printing. Where the exact printing date is Wines in Bond such an authority or exemption, you are required to initially pay a not known, but understood to be later, “printed later” will appear in Wines lying in Bond are marked Δ. All Lots sold under Bond, and deposit of 95% of the total invoice with the balance of 5% payable on the Lot Description. which the Buyer wishes to remain under Bond, will be invoiced without presentation of your valid certificate or licence showing your authority • Unless otherwise specified, dimensions given are those of the piece VAT or Duty on the Hammer Price. If the Buyer wishes to take the Lot to hold the firearm(s) concerned. of paper on which the image is printed, including any margins. as Duty paid, UK Excise Duty and VAT will be added to the Hammer Please be advised that if a successful Bidder is then unable to produce Some photographs may appear in the Catalogue without margins Price on the invoice. the correct paperwork, the Lot(s) will be reoffered by Bonhams in the illustrated. Buyers must notify Bonhams at the time of the sale whether they wish next appropriate Sale, on standard terms for Sellers, and you will be • All photographs are sold unframed unless stated in the Lot to take their wines under Bond or Duty paid. If a Lot is taken under responsible for any loss incurred by Bonhams on the original Sale to Description. Bond, the Buyer will be responsible for all VAT, Duty, clearance and you. 21. PICTURES other charges that may be payable thereon. In the case of RFD certificates and Section 5 authorities, we wish Explanation of Catalogue Terms Buyers outside the UK must be aware that any forwarding agent to keep an up-to-date copy on file. Please supply us with a Fax or The following terms used in the Catalogue have the following meanings appointed to export their purchases must have a movement certificate photocopy. It would be helpful if you could send us an updated copy but are subject to the general provisions relating to Descriptions for Lots to be released under Bond. whenever your certificate or authority is renewed or changed. contained in the Contract for Sale: Bottling Details and Case Terms Lots marked ‘S1´ and bearing red labels are Section 1 firearms and • “Jacopo Bassano”: in our opinion a work by the artist. When the The following terms used in the Catalogue have the following require a valid British Firearms certificate, RFD Licence or import artist’s forename(s) is not known, a series of asterisks, followed by meanings: licence. the surname of the artist, whether preceded by an initial or not, CB – Château bottled Lots marked ‘S2’ and bearing blue labels are Section 2 firearms and indicates that in our opinion the work is by the artist named; DB – Domaine bottled require a valid British Shotgun certificate, RFD licence or import licence. • “Attributed to Jacopo Bassano”: in our opinion probably a work by EstB – Estate bottled Lots marked ‘S5´ and bearing specially marked red labels are Section the artist but less certainty as to authorship is expressed than in the BB – Bordeaux bottled 5 prohibited firearms and require a valid Section 5 Authority or import preceding category; BE – Belgian bottled licence. • “Studio/Workshop of Jacopo Bassano”: in our opinion a work by FB – French bottled Lots marked with a ‘S58´ and bearing yellow labels are for obsolete an unknown hand in a studio of the artist which may or may not GB – German bottled calibres and no licence is required unless ammunition is held. have been executed under the artist’s direction; OB – Oporto bottled Unmarked Lots require no licence. • “Circle of Jacopo Bassano”: in our opinion a work by a hand closely UK – United Kingdom bottled Please do not hesitate to contact the Modern Sporting Gun associated with a named artist but not necessarily his pupil; owc – original wooden case Department should you have any queries. • “Follower of Jacopo Bassano”: in our opinion a work by a painter iwc – individual wooden case Taxidermy and Related Items working in the artist’s style, contemporary or nearly contemporary, oc – original carton On behalf of the Seller of these articles, Bonhams undertakes to but not necessarily his pupil; SYMBOLS comply fully with Cites and DEFRA regulations. Buyers are advised • “Manner of Jacopo Bassano”: in our opinion a work in the style of THE FOLLOWING SYMBOLS ARE USED TO DENOTE to inform themselves of all such regulations and should expect the the artist and of a later date; Y Subject to CITES regulations when exporting these items outside exportation of items to take some time to arrange. • “After Jacopo Bassano”: in our opinion, a copy of a known work of the EU, see clause 13. 18. FURNITURE the artist; TP Objects displayed with a TP will be located at the Cadogan Upholstered Furniture • “Signed and/or dated and/or inscribed”: in our opinion the signature Tate warehouse and will only be available for collection from this Whilst we take every care in cataloguing furniture which has been and/or date and/or inscription are from the hand of the artist; location. upholstered we offer no Guarantee as to the originality • “Bears a signature and/or date and/or inscription”: in our opinion W Objects displayed with a w will be located in the Bonhams of the wood covered by fabric or upholstery. the signature and/or date and/or inscription have been added by Warehouse and will only be available for collection from this 19. JEWELLERY another hand. location. Gemstones 22. PORCELAIN AND GLASS Δ Wines lying in Bond. Historically many gemstones have been subjected to a variety of Damage and Restoration AR An Additional Premium will be payable to us by the Buyer to treatments to enhance their appearance. Sapphires and rubies are For your guidance, in our Catalogues we attempt to detail, as far cover our Expenses relating to payment of royalties under the routinely heat treated to improve their colour and clarity, similarly as practicable, all significant defects, cracks and restoration. Such Artists Resale Right Regulations 2006. See clause 7 for details. emeralds are frequently treated with oils or resin for the same purpose. practicable Descriptions of damage cannot be definitive, and in ○ The Seller has been guaranteed a minimum price for the Lot, Other treatments such as staining, irradiation or coating may have providing Condition Reports, we cannot Guarantee that there are no either by Bonhams or a third party. This may take the form of an been used on other gemstones. These treatments may be permanent, other defects present which have not been mentioned. Bidders should irrevocable bid by a third party, who may make a financial gain on whilst others may need special care or re-treatment over the years satisfy themselves by inspection, as to the condition of each Lot.

NTB/MAIN/V1/11.2020 a successful Sale or a financial loss if unsuccessful. or Bonhams and whether made prior to or during the Sale, is not 8.1.2 to resell the Lot by auction, private treaty or any other means on ▲ Bonhams owns the Lot either wholly or partially or may otherwise part of the Contractual Description upon which the Lot is sold. giving seven days’ written notice to you of the intention to resell; have an economic interest. 3.2 Except as provided in paragraph 2.1.5, the Seller does 8.1.3 to retain possession of the Lot; Ф This lot contains or is made of ivory. The United States not make or give and does not agree to make or give any 8.1.4 to remove and store the Lot at your expense; Government has banned the import of ivory into contractual promise, undertaking, obligation, guarantee, 8.1.5 to take legal proceedings against you for any sum due under the the USA. warranty, or representation of fact, or undertake any duty of Contract for Sale and/or damages for breach of contract; •, †, *, G, Ω, a see clause 8, VAT, for details. care, in relation to any Description of the Lot or any Estimate 8.1.6 to be paid interest on any monies due (after as well as before DATA PROTECTION – USE OF YOUR INFORMATION in relation to it, nor of the accuracy or completeness of any judgement or order) at the annual rate of 5% per annum above Where we obtain any personal information about you, we shall only Description or Estimate which may have been Bonhams. No the base rate of National Westminster Bank Plc from time to use it in accordance with the terms of our Privacy Policy (subject to such Description or Estimate is incorporated into this Contract time to be calculated on a daily basis from the date upon which any additional specific consent(s) you may have given at the time for Sale. such monies become payable until the date of actual payment; your information was disclosed). A copy of our Privacy Policy can be 4 FITNESS FOR PURPOSE AND SATISFACTORY QUALITY 8.1.7 to repossess the Lot (or any part thereof) which has not become found on our Website www.bonhams.com or requested by post from 4.1 The Seller does not make and does not agree to make any your property, and for this purpose (unless the Buyer buys the Customer Services Department, 101 New Bond Street, London, W1S contractual promise, undertaking, obligation, guarantee, Lot as a Consumer from the Seller selling in the course of a 1SR or by email from [email protected] warranty, or representation of fact in relation to the satisfactory Business) you hereby grant an irrevocable licence to the Seller quality of the Lot or its fitness for any purpose. by himself and to his servants or agents to enter upon all or APPENDIX 1 4.2 The Seller will not be liable for any breach of any undertaking, any of your premises (with or without vehicles) during normal whether implied by the Sale of Goods Act 1979 or otherwise, Business hours to take possession of the Lot or part thereof; BUYERS SALE CONTRACT WITH SELLER as to the satisfactory quality of the Lot or its fitness for any 8.1.8 to retain possession of any other property sold to you by the purpose. Seller at the Sale or any other auction or by private treaty until IMPORTANT: These terms may be changed in advance of the 5 RISK, PROPERTY AND TITLE all sums due under the Contract for Sale shall have been paid in Sale of the Lot to you, by the setting out of different terms 5.1 Risk in the Lot passes to you after 7 days from the day upon full in cleared funds; in the Catalogue for the Sale and/or by placing an insert in which it is knocked down to you on the fall of the Auctioneer’s 8.1.9 to retain possession of, and on three months’ written notice the Catalogue and/or by notices at the Sale venue and/or on hammer in respect of the Lot, or upon collection of the Lot to sell, Without Reserve, any of your other property in the Bonhams’ website, and/or by oral announcements before and if earlier. The Seller will not be responsible thereafter for the possession of the Seller and/or of Bonhams (as bailee for the during the Sale at the Sale venue. You should be alert to this Lot prior to you collecting it from Bonhams or the Storage Seller) for any purpose (including, without limitation, other goods possibility of changes and ask in advance of bidding if there Contractor, with whom you have separate contract(s) as Buyer. sold to you) and to apply any monies due to you as a result of have been any. You will indemnify the Seller and keep the Seller fully indemnified such Sale in satisfaction or part satisfaction of any amounts Under this contract the Seller’s liability in respect of the quality from and against all claims, proceedings, costs, expenses owed to the Seller or to Bonhams; and of the Lot, it’s fitness for any purpose and its conformity with and losses arising in respect of any injury, loss and damage 8.1.10 so long as such goods remain in the possession of the Seller any Description is limited. You are strongly advised to examine caused to the Lot beyond 7 days from the day of the fall of the or Bonhams as its bailee, to rescind the contract for the Sale of the Lot for yourself and/or obtain an independent examination Auctioneer’s hammer until you obtain full title to it. any other goods sold to you by the Seller at the Sale or at any of it before you buy it. 5.2 Title to the Lot remains in and is retained by the Seller until: (i) the other auction or by private treaty and apply any monies received 1 THE CONTRACT Purchase Price and all other sums payable by you to Bonhams from you in respect of such goods in part or full satisfaction of 1.1 These terms and the relevant terms for Bidders and Buyers in in relation to the Lot have been paid in full to and received in any amounts owed to the Seller or to Bonhams by you. the Notice to Bidders govern the Contract for Sale of the Lot by cleared funds by Bonhams, and (ii) Bonhams has completed its 8.2 You agree to indemnify the Seller against all legal and other the Seller to the Buyer. investigations pursuant to clause 3.11 of the Buyer’s Agreement costs of enforcement, all losses and other expenses and costs 1.2 The Definitions and Glossary contained in Appendix 3 in the with Bonhams set out in Appendix 2 in the catalogue. (including any monies payable to Bonhams in order to obtain Catalogue are incorporated into this Contract for Sale and a 6 PAYMENT the release of the Lot) incurred by the Seller (whether or not separate copy can also be provided by Bonhams on request. 6.1 Your obligation to pay the Purchase Price arises when the Lot is court proceedings will have been issued) as a result of Bonhams Where words and phrases are used which are in the List of knocked down to you on the fall of the Auctioneer’s hammer in taking steps under this paragraph 8 on a full indemnity basis Definitions, they are printed in italics. respect of the Lot. together with interest thereon (after as well as before judgement 1.3 The Seller sells the Lot as the principal to the Contract for Sale, 6.2 Time will be of the essence in relation to payment of the or order) at the rate specified in paragraph 8.1.6 from the date such contract being made between the Seller and you through Purchase Price and all other sums payable by you to Bonhams. upon which the Seller becomes liable to pay the same until Bonhams which acts in the sole capacity as the Seller’s agent Unless agreed in writing with you by Bonhams on the Seller’s payment by you. and not as an additional principal. However, if the Catalogue behalf (in which case you must comply with the terms of that 8.3 On any resale of the Lot under paragraph 8.1.2, the Seller will states that Bonhams sells the Lot as principal, or such a agreement), all such sums must be paid to Bonhams by you in account to you in respect of any balance remaining from any statement is made by an announcement by the Auctioneer, the currency in which the Sale was conducted by not later than monies received by him or on his behalf in respect of the Lot, or by a notice at the Sale, or an insert in the Catalogue, then 4.30pm on the second working day following the Sale and you after the payment of all sums due to the Seller and to Bonhams, Bonhams is the Seller for the purposes of this agreement. must ensure that the funds are cleared by the seventh working within 28 days of receipt of such monies by him or on his behalf. 1.4 The contract is made on the fall of the Auctioneer’s hammer in day after the Sale. Payment must be made to Bonhams by one 9 THE SELLER’S LIABILITY respect of the Lot when it is knocked down to you. of the methods stated in the Notice to Bidders unless otherwise 9.1 The Seller will not be liable for any injury, loss or damage caused 2 SELLER’S WARRANTIES AND UNDERTAKINGS agreed with you in writing by Bonhams. If you do not pay in full by the Lot after the fall of the Auctioneer’s hammer in respect of 2.1 The Seller undertakes to you that: any sums due in accordance with this paragraph, the Seller will the Lot. 2.1.1 the Seller is the owner of the Lot or is duly authorised to sell the have the rights set out in paragraph 8 below. 9.2 Subject to paragraph 9.3 below, except for breach of the Lot by the owner; 7 COLLECTION OF THE LOT express undertaking provided in paragraph 2.1.5, the Seller 2.1.2 save as disclosed in the Entry for the Lot in the Catalogue, the 7.1 Unless otherwise agreed in writing with you by Bonhams, will not be liable for any breach of any term that the Lot will Seller sells the Lot with full title guarantee or, where the Seller the Lot will be released to you or to your order only when: (i) correspond with any Description applied to it by or on behalf of is an executor, trustee, liquidator, receiver or administrator, with Bonhams has received cleared funds to the amount of the the Seller, whether implied by the Sale of Goods Act 1979 or whatever right, title or interest he may have in the Lot; full Purchase Price and all other sums owed by you to the otherwise. 2.1.3 except where the Sale is by an executor, trustee, liquidator, Seller and to Bonhams and (ii) Bonhams has completed its 9.3 Unless the Seller sells the Lot in the course of a Business and receiver or administrator the Seller is both legally entitled to investigations pursuant to clause 3.11 of the Buyer’s Agreement the Buyer buys it as a Consumer, sell the Lot, and legally capable of conferring on you quiet with Bonhams set out in Appendix 2 in the catalogue. 9.3.1 the Seller will not be liable (whether in negligence, other tort, possession of the Lot and that the Sale conforms in every 7.2 The Seller is entitled to withhold possession from you of any breach of contract or statutory duty or in restitution or under the respect with the terms implied by the Sale of Goods Act 1979, other Lot he has sold to you at the same or at any other Sale Misrepresentation Act 1967, or in any other way) for any lack of Sections 12(1) and 12(2) (see the Definitions and Glossary); and whether currently in Bonhams’ possession or not, until conformity with, or inaccuracy, error, misdescription or omission 2.1.4 the Seller has complied with all requirements, legal or otherwise, payment in full and in cleared funds of the Purchase Price and in any Description of the Lot or any Entry or Estimate in relation relating to any export or import of the Lot, and all duties and all other sums due to the Seller and/or Bonhams in respect of to the Lot made by or on behalf of the Seller (whether made in taxes in respect of the export or import of the Lot have (unless the Lot. writing, including in the Catalogue, or on the Website, or orally, stated to the contrary in the Catalogue or announced by the 7.3 You should note that Bonhams has reserved the right not to or by conduct or otherwise) and whether made before or after Auctioneer) been paid and, so far as the Seller is aware, all third release the Lot to you until its investigations under paragraph this agreement or prior to or during the Sale; parties have complied with such requirements in the past; 3.11 of the Buyers’ Agreement set out in Appendix 2 have been 9.3.2 the Seller will not be liable for any loss of Business, Business 2.1.5 items consigned for sale by the Seller are not connected with or completed to Bonhams’ satisfaction. profits or revenue or income or for loss of reputation or for derived from any criminal activity, including without limitation tax 7.4 You will collect and remove the Lot at your own expense disruption to Business or wasted time on the part of the Buyer evasion, money laundering, terrorist financing or breach of any from Bonhams’ custody and/ or control or from the Storage or of the Buyer’s management or staff or, for any indirect losses applicable international trade sanctions; Contractor’s custody in accordance with Bonhams’ instructions or consequential damages of any kind, irrespective in any case 2.1.6 subject to any alterations expressly identified as such made by or requirements. of the nature, volume or source of the loss or damage alleged to announcement or notice at the Sale venue or by the Notice to 7.5 You will be wholly responsible for packing, handling and be suffered, and irrespective of whether the said loss or damage Bidders or by an insert in the Catalogue or on the Bonhams transport of the Lot on collection and for complying with all is caused by or claimed in respect of any negligence, other website, the Lot corresponds with the Contractual Description import or export regulations in connection with the Lot. tort, breach of contract, statutory duty, restitutionary claim or of the Lot, being that part of the Entry about the Lot in the 7.6 You will be wholly responsible for any removal, storage or other otherwise; Catalogue which is in bold letters and (except for colour) with charges or expenses incurred by the Seller if you do not remove 9.3.3 in any circumstances where the Seller is liable to you in respect any photograph of the Lot in the Catalogue. the Lot in accordance with this paragraph 7 and will indemnify of the Lot, or any act, omission, statement, or representation 3 DESCRIPTIONS OF THE LOT the Seller against all charges, costs, including any legal costs in respect of it, or this agreement or its performance, and 3.1 Paragraph 2.1.5 sets out what is the Contractual Description and fees, expenses and losses suffered by the Seller by reason whether in damages, for an indemnity or contribution or for of the Lot. In particular, the Lot is not sold as corresponding of your failure to remove the Lot including any charges due a restitutionary remedy or in any way whatsoever, the Seller’s with any part of the Entry in the Catalogue which is not printed under any Storage Contract. All such sums due to the Seller will liability will be limited to payment of a sum which will not exceed in bold letters, the remainder of which Entry merely sets out be payable on demand. by way of maximum the amount of the Purchase Price of the (on the Seller’s behalf) Bonhams’ opinion about the Lot and 8 FAILURE TO PAY FOR THE LOT Lot irrespective in any case of the nature, volume or source which is not part of the Contractual Description upon which 8.1 If the Purchase Price for a Lot is not paid to Bonhams in full in of any loss or damage alleged to be suffered or sum claimed the Lot is sold. Any statement or representation other than that accordance with the Contract for Sale, the Seller will be entitled, as due, and irrespective of whether the liability arises from part of the Entry referred to in paragraph 2.1.5 (together with with the prior written agreement of Bonhams but without further any negligence, other tort, breach of contract, statutory duty, any express alteration to it as referred to in paragraph 2.1.5), notice to you, to exercise one or more of the following rights bailee’s duty, restitutionary claim or otherwise. including any Description or Estimate, whether made orally or in (whether through Bonhams or otherwise): 9.4 Nothing set out in paragraphs 9.1 to 9.3 above will be writing, including in the Catalogue or on Bonhams’ Website, or by 8.1.1 to terminate immediately the Contract for Sale of the Lot for construed as excluding or restricting (whether directly or conduct, or otherwise, and whether by or on behalf of the Seller your breach of contract; indirectly) any person’s liability or excluding or restricting any

NTB/MAIN/V1/11.2020 person’s rights or remedies in respect of (i) fraud, or (ii) death are used in this agreement, they are printed in italics. Reference under investigation for neither have been charged nor convicted or personal injury caused by the Seller’s negligence (or any is made in this agreement to information printed in the Notice to in connection with any criminal activity. person under the Seller’s control or for whom the Seller is legally Bidders, printed in the Catalogue for the Sale, and where such 3.10 Where you are acting as agent for another party (“your responsible), or (iii) acts or omissions for which the Seller is liable information is referred to it is incorporated into this agreement. Principal”), you undertake and warrant that: under the Occupiers Liability Act 1957, or (iv) any other liability 1.3 Except as specified in paragraph 4 of the Notice to Bidders the 3.10.1 you have conducted suitable customer due diligence into to the extent the same may not be excluded or restricted as a Contract for Sale of the Lot between you and the Seller is made your Principal under applicable Sanctions and Anti-Money matter of law. on the fall of the Auctioneer’s hammer in respect of the Lot, Laundering laws and regulations; 10 MISCELLANEOUS when it is knocked down to you. At that moment a separate 3.10.2 your Principal is not a Sanctioned Party and not owned, partially 10.1 You may not assign either the benefit or burden of the Contract contract is also made between you and Bonhams on the terms owned or controlled by a Sanctioned Party, and you have no for Sale. in this Buyer’s Agreement. reason to suspect that your Principal has been charged or 10.2 The Seller’s failure or delay in enforcing or exercising any power 1.4 We act as agents for the Seller and are not answerable or convicted with, money laundering, terrorism or other crimes; or right under the Contract for Sale will not operate or be personally responsible to you for any breach of contract or other 3.10.3 funds used for your or your Principal’s purchase are not deemed to operate as a waiver of his rights under it except to default by the Seller, unless Bonhams sells the Lot as principal. connected with or derived from any criminal activity, including the extent of any express waiver given to you in writing. Any 1.5 Our personal obligations to you are governed by this agreement without limitation tax evasion, money laundering or terrorist such waiver will not affect the Seller’s ability subsequently to and we agree, subject to the terms below, to the following financing; enforce any right arising under the Contract for Sale. obligations: 3.10.4 items purchased by you and your Principal through Bonhams 10.3 If either party to the Contract for Sale is prevented from 1.5.1 we will, until the date and time specified in the Notice to Bidders are not being purchased or to be used in any way connected performing that party’s respective obligations under the Contract or otherwise notified to you, store the Lot in accordance with with or to facilitate breaches of applicable Tax, Anti-Money for Sale by circumstances beyond its reasonable control or paragraph 5; Laundering or Anti-Terrorism laws and regulations; and if performance of its obligations would by reason of such 1.5.2 subject to any power of the Seller or us to refuse to release 3.10.5 that you consent to Bonhams relying upon your customer due circumstances give rise to a significantly increased financial the Lot to you, we will release the Lot to you in accordance diligence, undertaking to retain records of your due diligence cost to it, that party will not, for so long as such circumstances with paragraph 4 once you have paid to us, in cleared funds, for at least 5 years and to make such due diligence records prevail, be required to perform such obligations. This paragraph everything due to us and the Seller and following completion of available for inspection by an independent auditor in the event does not apply to the obligations imposed on you by paragraph our enquiries pursuant to paragraph 3.11; we request you to do so. 6. 1.5.3 we will provide guarantees in the terms set out in paragraphs 9 3.11 We reserve the rights to make enquiries about any person 10.4 Any notice or other communication to be given under the and 10. transacting with us and to identify the source of any funds Contract for Sale must be in writing and may be delivered by 1.6 We do not make or give and do not agree to make or give received from you. In the event we have not completed our hand or sent by first class post or air mail or fax transmission, if to any contractual promise, undertaking, obligation, Guarantee, investigations in respect of anti-terrorism financing, anti-money the Seller, addressed c/o Bonhams at its address or fax number warranty, representation of fact in relation to any Description laundering or other financial and identity checks concerning in the Catalogue (marked for the attention of the Company of the Lot or any Estimate in relation to it, nor of the accuracy either you or the Seller, to our satisfaction at our discretion, Secretary), and if to you to the address or fax number of the or completeness of any Description or Estimate which may we shall be entitled to retain Lots and/or proceeds of Sale, Buyer given in the Bidding Form (unless notice of any change of have been made by us or on our behalf or by or on behalf postpone or cancel any sale and to take any other actions address is given in writing). It is the responsibility of the sender of the Seller (whether made orally or in writing, including in required or permitted under applicable law, without liability to of the notice or communication to ensure that it is received in a the Catalogue or on Bonhams’ Website, or by conduct, or you. legible form within any applicable time period. otherwise), and whether made before or after this agreement or 4 COLLECTION OF THE LOT 10.5 If any term or any part of any term of the Contract for Sale prior to or during the Sale. No such Description or Estimate is 4.1 Subject to any power of the Seller or us to refuse to release is held to be unenforceable or invalid, such unenforceability incorporated into this agreement between you and us. Any such the Lot to you, once you have paid to us, in cleared funds, or invalidity will not affect the enforceability and validity of the Description or Estimate, if made by us or on our behalf, was everything due to the Seller and to us, and once we have remaining terms or the remainder of the relevant term. (unless Bonhams itself sells the Lot as principal) made as agent completed our investigations under paragraph 3.11, we will 10.6 References in the Contract for Sale to Bonhams will, where on behalf of the Seller. release the Lot to you or as you may direct us in writing. The appropriate, include reference to Bonhams’ officers, employees 2 PERFORMANCE OF THE CONTRACT FOR SALE Lot will only be released on production of a buyer collection and agents and to any subsidiary of Bonhams Holdings Limited You undertake to us personally that you will observe and comply document, obtained from our cashier’s office. and to its officers, employees and agents. with all your obligations and undertakings to the Seller under the 4.2 You must collect and remove the Lot at your own expense by 10.7 The headings used in the Contract for Sale are for convenience Contract for Sale in respect of the Lot. the date and time specified in the Notice to Bidders, or if no only and will not affect its interpretation. 3 PAYMENT AND BUYER WARRANTIES date is specified, by 4.30pm on the seventh day after the Sale. 10.8 In the Contract for Sale “including” means “including, without 3.1 Unless agreed in writing between you and us or as otherwise 4.3 For the period referred to in paragraph 4.2, the Lot can be limitation”. set out in the Notice to Bidders, you must pay to us by not later collected from the address referred to in the Notice to Bidders 10.9 References to the singular will include reference to the plural than 4.30pm on the second working day following the Sale: for collection on the days and times specified in the Notice to (and vice versa) and reference to any one gender will include 3.1.1 the Purchase Price for the Lot; Bidders. Thereafter, the Lot may be removed elsewhere for reference to the other genders. 3.1.2 a Buyer’s Premium in accordance with the rates set out in the storage and you must enquire from us as to when and where 10.10 Reference to a numbered paragraph is to a paragraph of the Notice to Bidders on each lot, and you can collect it, although this information will usually be set Contract for Sale. 3.1.3 if the Lot is marked [AR], an Additional Premium which is out in the Notice to Bidders. 10.11 Save as expressly provided in paragraph 10.12 nothing in the calculated and payable in accordance with the Notice to 4.4 If you have not collected the Lot by the date specified in the Contract for Sale confers (or purports to confer) on any person Bidders together with VAT on that sum if applicable so that all Notice to Bidders, you authorise us, acting in this instance as who is not a party to the Contract for Sale any benefit conferred sums due to us are cleared funds by the seventh working day your agent and on your behalf, to enter into a contract (the by, or the right to enforce any term of, the Contract for Sale. after the Sale. “Storage Contract”) with the Storage Contractor for the storage 10.12 Where the Contract for Sale confers an immunity from, and/or 3.2 You must also pay us on demand any Expenses payable of the Lot on the then current standard terms and conditions an exclusion or restriction of, the responsibility and/or liability pursuant to this agreement. agreed between Bonhams and the Storage Contractor (copies of the Seller, it will also operate in favour and for the benefit of 3.3 All payments to us must be made in the currency in which the of which are available on request). If the Lot is stored at our Bonhams, Bonhams’ holding company and the subsidiaries Sale was conducted, using, unless otherwise agreed by us in premises storage fees at our current daily rates (currently a of such holding company and the successors and assigns of writing, one of the methods of payment set out in the Notice to minimum of £3 plus VAT per Lot per day) will be payable from Bonhams and of such companies and of any officer, employee Bidders. Our invoices will only be addressed to the registered the expiry of the period referred to in paragraph 4.2. These and agent of Bonhams and such companies, each of whom Bidder unless the Bidder is acting as an agent for a named storage fees form part of our Expenses. will be entitled to rely on the relevant immunity and/or exclusion principal and we have approved that arrangement, in which 4.5 Until you have paid the Purchase Price and any Expenses in and/or restriction within and for the purposes of Contracts case we will address the invoice to the principal. full the Lot will either be held by us as agent on behalf of the (Rights of Third Parties) Act 1999, which enables the benefit of 3.4 Unless otherwise stated in this agreement all sums payable to Seller or held by the Storage Contractor as agent on behalf of a contract to be extended to a person who is not a party to the us will be subject to VAT at the appropriate rate and VAT will be the Seller and ourselves on the terms contained in the Storage contract, and generally at law. payable by you on all such sums. Contract. 11 GOVERNING LAW 3.5 We may deduct and retain for our own benefit from the monies 4.6 You undertake to comply with the terms of any Storage All transactions to which the Contract for Sale applies and paid by you to us the Buyer’s Premium, the Commission Contract and in particular to pay the charges (and all costs of all connected matters will be governed by and construed in payable by the Seller in respect of the Lot, any Expenses and moving the Lot into storage) due under any Storage Contract. accordance with the laws of that part of the United Kingdom VAT and any interest earned and/or incurred until payment to You acknowledge and agree that you will not be able to collect where the Sale takes place and the Seller and you each submit the Seller. the Lot from the Storage Contractor’s premises until you have to the exclusive jurisdiction of the courts of that part of the 3.6 Time will be of the essence in relation to any payment payable paid the Purchase Price, any Expenses and all charges due United Kingdom, save that the Seller may bring proceedings to us. If you do not pay the Purchase Price, or any other sum under the Storage Contract. against you in any other court of competent jurisdiction to due to us in accordance with this paragraph 3, we will have the 4.7 You will be wholly responsible for packing, handling and the extent permitted by the laws of the relevant jurisdiction. rights set out in paragraph 7 below. transport of the Lot on collection and for complying with all Bonhams has a complaints procedure in place. 3.7 Where a number of Lots have been knocked down to you, any import or export regulations in connection with the Lot. monies we receive from you will be applied firstly pro-rata to pay 4.8 You will be wholly responsible for any removal, storage, or other APPENDIX 2 the Purchase Price of each Lot and secondly pro-rata to pay all charges for any Lot not removed in accordance with paragraph amounts due to Bonhams. 4.2, payable at our current rates, and any Expenses we incur BUYER’S AGREEMENT WITH BONHAMS 3.8 You warrant that neither you nor - if you are a company, (including any charges due under the Storage Contract), all of IMPORTANT: These terms may be changed in advance of the Sale your directors, officers or your owner or their directors or which must be paid by you on demand and in any event before of the Lot to you, by the setting out of different terms in the shareholders - are an individual or an entity that is, or is owned any collection of the Lot by you or on your behalf. Catalogue for the Sale and/or by placing an insert in the or controlled by individuals or entities that are: 5 STORING THE LOT Catalogue and/or by notices at the Sale venue and/or by oral 3.8.1 the subject of any sanctions administered or enforced by the We agree to store the Lot until the earlier of your removal of the announcements before and during the Sale at the Sale venue. U.S. Department of the Treasury’s Office of Foreign Assets Lot or until the time and date set out in the Notice to Bidders, You should be alert to this possibility of changes and ask in Control, the U.S. Departure of State, the United Nations Security on the Sale Information Page or at the back of the catalogue (or advance of bidding if there have been any. Council, the European Union, Her Majesty’s Treasury, or other if no date is specified, by 4.30pm on the seventh day after the 1 THE CONTRACT relevant sanctions authority (“Sanctions” and a “Sanctioned Sale) and, subject to paragraphs 3, 6 and 10, to be responsible 1.1 These terms govern the contract between Bonhams personally Party”); or as bailee to you for damage to or the loss or destruction of the and the Buyer, being the person to whom a Lot has been 3.8.2 located, organised or resident in a country or territory that is, Lot (notwithstanding that it is not your property before payment knocked down by the Auctioneer. or whose government is, the subject of Sanctions, including of the Purchase Price). If you do not collect the Lot before the 1.2 The Definitions and Glossary contained in Appendix 3 to the without limitation, Iran, North Korea, Sudan and Syria. time and date set out in the Notice to Bidders (or if no date Catalogue for the Sale are incorporated into this agreement and 3.9 You warrant that the funds being used for your purchase have is specified, by 4.30pm on the seventh day after the Sale) we a separate copy can also be provided by us on request. Where no link with criminal activity including without limitation money may remove the Lot to another location, the details of which words and phrases which are defined in the List of Definitions laundering, tax evasion or terrorist financing, and that you not will usually be set out in the relevant section of the Catalogue. If

NTB/MAIN/V1/11.2020 you have not paid for the Lot in accordance with paragraph 3, 8.1.1 retain the Lot to investigate any question raised or reasonably where we are liable to you in respect of a Lot, or any act, and the Lot is moved to any third party’s premises, the Lot will expected by us to be raised in relation to the Lot; and/or omission, statement, representation in respect of it, or this be held by such third party strictly to Bonhams’ order and we 8.1.2 deliver the Lot to a person other than you; and/or agreement or its performance, and whether in damages, for an will retain our lien over the Lot until we have been paid in full in 8.1.3 commence interpleader proceedings or seek any other order of indemnity or contribution or for a restitutionary remedy or in any accordance with paragraph 3. any court, mediator, arbitrator or government body; and/or way whatsoever, our liability will be limited to payment of a sum 6 RESPONSIBILITY FOR THE LOT 8.1.4 require an indemnity and/or security from you in return for which will not exceed by way of maximum the amount of the 6.1 Title (ownership) in the Lot passes to you (i) on payment of pursuing a course of action agreed to by you. Purchase Price of the Lot plus Buyer’s Premium (less any sum the Purchase Price to us in full in cleared funds and (ii) when 8.2 The discretion referred to in paragraph 8.1: you may be entitled to recover from the Seller) irrespective in investigations have been completed to our satisfaction under 8.2.1 may be exercised at any time during which we have actual or any case of the nature, volume or source of any loss or damage paragraph 3.11. constructive possession of the Lot, or at any time after such alleged to be suffered or sum claimed as due, and irrespective 6.2 Please note however, that under the Contract for Sale, the risk in possession, where the cessation of such possession has of whether the liability arises from negligence, other tort, breach the Lot passes to you after 7 days from the day upon which occurred by reason of any decision, order or ruling of any court, of contract, statutory duty, bailee’s duty, a restitutionary claim it is knocked down to you or upon collection of the Lot if mediator, arbitrator or government body; and or otherwise. earlier, and you are advised to obtain insurance in respect of the 8.2.2 will not be exercised unless we believe that there exists a You may wish to protect yourself against loss by obtaining insurance. Lot as soon as possible after the Sale. serious prospect of a good arguable case in favour of the claim. 10.4 Nothing set out above will be construed as excluding or 7 FAILURE TO PAY OR TO REMOVE THE LOT AND PART 9 FORGERIES restricting (whether directly or indirectly) any person’s liability PAYMENTS 9.1 We undertake a personal responsibility for any Forgery in or excluding or restricting any person’s rights or remedies in 7.1 If all sums payable to us are not so paid in full at the time they accordance with the terms of this paragraph 9. respect of (i) fraud, or (ii) death or personal injury caused by our are due and/or the Lot is not removed in accordance with 9.2 Paragraph 9 applies only if: negligence (or any person under our control or for whom we are this agreement, we will (without further notice to you unless 9.2.1 your name appears as the named person to whom the original legally responsible), or (iii) acts or omissions for which we are otherwise provided below), be entitled to exercise one or more invoice was made out by us in respect of the Lot and that liable under the Occupiers Liability Act 1957, or (iv) any other of the following rights (without prejudice to any rights we may invoice has been paid; and liability to the extent the same may not be excluded or restricted exercise on behalf of the Seller): 9.2.2 you notify us in writing as soon as reasonably practicable after as a matter of law, or (v) under our undertaking in paragraph 9 7.1.1 to terminate this agreement immediately for your breach of you have become aware that the Lot is or may be a Forgery, of these conditions. contract; and in any event within one year after the Sale, that the Lot is a 11 BOOKS MISSING TEXT OR ILLUSTRATIONS 7.1.2 to retain possession of the Lot; Forgery; and Where the Lot is made up wholly of a Book or Books and 7.1.3 to remove, and/or store the Lot at your expense; 9.2.3 within one month after such notification has been given, you any Book does not contain text or illustrations (in either case 7.1.4 to take legal proceedings against you for payment of any sums return the Lot to us in the same condition as it was at the time referred to as a “non-conforming Lot”), we undertake a personal payable to us by you (including the Purchase Price) and/or of the Sale, accompanied by written evidence that the Lot is responsibility for such a non-conforming Lot in accordance with damages for breach of contract; a Forgery and details of the Sale and Lot number sufficient to the terms of this paragraph, if: 7.1.5 to be paid interest on any monies due to us (after as well as identify the Lot. the original invoice was made out by us to you in respect of the before judgement or order) at the annual rate of 5% per annum 9.3 Paragraph 9 will not apply in respect of a Forgery if: Lot and that invoice has been paid; and above the base lending rate of National Westminster Bank Plc 9.3.1 the Entry in relation to the Lot contained in the Catalogue you notify us in writing as soon as reasonably practicable after from time to time to be calculated on a daily basis from the reflected the then accepted general opinion of scholars and you have become aware that the Lot is or may be a non- date upon which such monies become payable until the date of experts or fairly indicated that there was a conflict of such conforming Lot, and in any event within 20 days after the Sale actual payment; opinion or reflected the then current opinion of an expert (or such longer period as we may agree in writing) that the Lot is 7.1.6 to repossess the Lot (or any part thereof) which has not become acknowledged to be a leading expert in the relevant field; or a non-conforming Lot; and your property, and for this purpose (unless you buy the Lot as 9.3.2 it can be established that the Lot is a Forgery only by means of within 20 days of the date of the relevant Sale (or such longer a Consumer) you hereby grant an irrevocable licence to us, by a process not generally accepted for use until after the date on period as we may agree in writing) you return the Lot to us in the ourselves, our servants or agents, to enter upon all or any of which the Catalogue was published or by means of a process same condition as it was at the time of the Sale, accompanied by your premises (with or without vehicles) during normal business which it was unreasonable in all the circumstances for us to written evidence that the Lot is a non-conforming Lot and details hours to take possession of any Lot or part thereof; have employed. of the Sale and Lot number sufficient to identify the Lot.but not if: 7.1.7 to sell the Lot Without Reserve by auction, private treaty or any 9.4 You authorise us to carry out such processes and tests on the Entry in the Catalogue in respect of the Lot indicates that the other means on giving you three months’ written notice of our the Lot as we in our absolute discretion consider necessary to rights given by this paragraph do not apply to it; or intention to do so; satisfy ourselves that the Lot is or is not a Forgery. the Entry in the Catalogue in respect of the Lot reflected the 7.1.8 to retain possession of any of your other property in our 9.5 If we are satisfied that a Lot is a Forgery we will (as principal) then accepted general opinion of scholars and experts or fairly possession for any purpose (including, without limitation, other purchase the Lot from you and you will transfer the title to the indicated that there was a conflict of such opinion; or goods sold to you or with us for Sale) until all sums due to us Lot in question to us, with full title guarantee, free from any liens, it can be established that the Lot is a non-conforming Lot only have been paid in full; charges, encumbrances and adverse claims, in accordance with by means of a process not generally accepted for use until after 7.1.9 to apply any monies received from you for any purpose whether the provisions of Sections 12(1) and 12(2) of the Sale of Goods the date on which the Catalogue was published or by means of at the time of your default or at any time thereafter in payment Act 1979 and we will pay to you an amount equal to the sum of a process which it was unreasonable in all the circumstances for or part payment of any sums due to us by you under this the Purchase Price, Buyer’s Premium, VAT and Expenses paid us to have employed; or agreement; by you in respect of the Lot. the Lot comprises atlases, maps, autographs, manuscripts, 7.1.10 on three months’ written notice to sell, Without Reserve, any of 9.6 The benefit of paragraph 9 is personal to, and incapable of extra illustrated books, music or periodical publications; or your other property in our possession or under our control for assignment by, you. the Lot was listed in the Catalogue under “collections” or any purpose (including other goods sold to you or with us for 9.7 If you sell or otherwise dispose of your interest in the Lot, all “collections and various” or the Lot was stated in the Catalogue Sale) and to apply any monies due to you as a result of such rights and benefits under this paragraph 9 will cease. to comprise or contain a collection, issue or Books which are Sale in payment or part payment of any amounts owed to us; 9.8 Paragraph 9 does not apply to a Lot made up of or including a undescribed or the missing text or illustrations are referred to 7.1.11 refuse to allow you to register for a future Sale or to reject a bid Chinese painting or Chinese paintings, a motor vehicle or motor or the relevant parts of the Book contain blanks, half titles or from you at any future Sale or to require you to pay a deposit vehicles, a Stamp or Stamps or a Book or Books. advertisements. before any bid is accepted by us at any future Sale in which 10 OUR LIABILITY If we are reasonably satisfied that a Lot is a non- conforming case we will be entitled to apply such deposit in payment or part 10.1 We will not be liable whether in negligence, other tort, breach Lot, we will (as principal) purchase the Lot from you and you payment, as the case may be, of the Purchase Price of any Lot of contract or statutory duty or in restitution or under the will transfer the title to the Lot in question to us, with full title of which you are the Buyer. Misrepresentation Act 1967 or in any other way for lack of guarantee, free from any liens, charges, encumbrances and 7.1.12 having made reasonable efforts to inform you, to release your conformity with or any inaccuracy, error, misdescription or adverse claims and we will pay to you an amount equal to the name and address to the Seller, so they might take appropriate omission in any Description of the Lot or any Entry or Estimate sum of the Purchase Price and Buyer’s Premium paid by you in steps to recover the amounts due and legal costs associated in respect of it, made by us or on our behalf or by or on respect of the Lot. with such steps. behalf of the Seller (whether made in writing, including in the The benefit of paragraph 10 is personal to, and incapable of 7.2 You agree to indemnify us against all legal and other costs, all Catalogue, or on the Bonhams’ Website, or orally, or by conduct assignment by, you and if you sell or otherwise dispose of your losses and all other Expenses (whether or not court proceedings or otherwise) and whether made before or after this agreement interest in the Lot, all rights and benefits under this paragraph will have been issued) incurred by us as a result of our taking or prior to or during the Sale. will cease. steps under this paragraph 7 on a full indemnity basis together 10.2 Our duty to you while the Lot is at your risk and/or your property 12 MISCELLANEOUS with interest thereon (after as well as before judgement or order) and in our custody and/or control is to exercise reasonable care 12.1 You may not assign either the benefit or burden of this agreement. at the rate specified in paragraph 7.1.5 from the date upon in relation to it, but we will not be responsible for damage to the 12.2 Our failure or delay in enforcing or exercising any power or right which we become liable to pay the same until payment by you. Lot or to other persons or things caused by: under this agreement will not operate or be deemed to operate 7.3 If you pay us only part of the sums due to us such payment 10.2.1 handling the Lot if it was affected at the time of Sale to you by as a waiver of our rights under it except to the extent of any shall be applied firstly to the Purchase Price of the Lot (or woodworm and any damage is caused as a result of it being express waiver given to you in writing. Any such waiver will not where you have purchased more than one Lot pro-rata towards affected by woodworm; or affect our ability subsequently to enforce any right arising under the Purchase Price of each Lot) and secondly to the Buyer’s 10.2.2 changes in atmospheric pressure; nor will we be liable for: this agreement. Premium (or where you have purchased more than one Lot 10.2.3 damage to tension stringed musical instruments; or 12.3 If either party to this agreement is prevented from performing pro-rata to the Buyer’s Premium on each Lot) and thirdly to any 10.2.4 damage to gilded picture frames, plaster picture frames or that party’s respective obligations under this agreement other sums due to us. picture frame glass; and if the Lot is or becomes dangerous, by circumstances beyond its reasonable control (including 7.4 We will account to you in respect of any balance we hold we may dispose of it without notice to you in advance in any without limitation governmental intervention, industrial action, remaining from any monies received by us in respect of any manner we think fit and we will be under no liability to you for insurrection, warfare (declared or undeclared), terrorism, power Sale of the Lot under our rights under this paragraph 7 after the doing so. failure, epidemic or natural disaster) or if performance of its payment of all sums due to us and/or the Seller within 28 days 10.3.1 We will not be liable to you for any loss of Business, Business obligations would by reason of such circumstances give rise of receipt by us of all such sums paid to us. profits, revenue or income or for loss of Business reputation to a significantly increased financial cost to it, that party will 8 CLAIMS BY OTHER PERSONS IN RESPECT OF THE LOT or for disruption to Business or wasted time on the part of the not, for so long as such circumstances prevail, be required to 8.1 Whenever it becomes apparent to us that the Lot is the subject Buyer’s management or staff or, if you are buying the Lot in the perform such obligations. This paragraph does not apply to the of a claim by someone other than you and other than the course of a Business, for any indirect losses or consequential obligations imposed on you by paragraph 3. Seller (or that such a claim can reasonably be expected to be damages of any kind, irrespective in any case of the nature, 12.4 Any notice or other communication to be given under this made), we may, at our absolute discretion, deal with the Lot in volume or source of the loss or damage alleged to be suffered, agreement must be in writing and may be delivered by hand any manner which appears to us to recognise the legitimate and irrespective of whether the said loss or damage is caused or sent by first class post or air mail or fax transmission (if to interests of ourselves and the other parties involved and lawfully by or claimed in respect of any negligence, other tort, breach Bonhams marked for the attention of the Company Secretary), to protect our position and our legitimate interests. Without of contract, statutory duty, bailee’s duty, a restitutionary claim to the address or fax number of the relevant party given in the prejudice to the generality of the discretion and by way of or otherwise. Contract Form (unless notice of any change of address is given example, we may: 10.3.2 Unless you buy the Lot as a Consumer, in any circumstances in writing). It is the responsibility of the sender of the notice or

NTB/MAIN/V1/11.2020 communication to ensure that it is received in a legible form “Conditions of Sale” the Notice to Bidders, Contract for Sale, Buyer’s “Specialist Examination” a visual examination of a Lot by a specialist Registration and Bidding Form within any applicable time period. Agreement and Definitions and Glossary. on the Lot. (Attendee / Absentee / Online / Telephone Bidding) 12.5 If any term or any part of any term of this agreement is held to “Consignment Fee” a fee payable to Bonhams by the Seller “Stamp” means a postage Stamp offered for Sale at a Specialist Paddle number (for office use only) be unenforceable or invalid, such unenforceability or invalidity calculated at rates set out in the Conditions of Business. Stamp Sale. Please circle your bidding method above. will not affect the enforceability and validity of the remaining “Consumer” a natural person who is acting for the relevant purpose “Standard Examination” a visual examination of a Lot by a non- terms or the remainder of the relevant term. outside his trade, Business or profession. specialist member of Bonhams’ staff. This sale will be conducted in accordance with 12.6 References in this agreement to Bonhams will, where “Contract Form” the Contract Form, or vehicle Entry form, as “Storage Contract” means the contract described in paragraph Sale title: Sale date: appropriate, include reference to Bonhams’ officers, employees applicable, signed by or on behalf of the Seller listing the Lots to be 8.3.3 of the Conditions of Business or paragraph 4.4 of the Buyer’s Bonhams’ Conditions of Sale and bidding and buying and agents. offered for Sale by Bonhams. Agreement (as appropriate). at the Sale will be regulated by these Conditions. You 12.7 The headings used in this agreement are for convenience only “Contract for Sale” the Sale contract entered into by the Seller with “Storage Contractor” means the company identified as such in the should read the Conditions in conjunction with the Sale no. Sale venue: and will not affect its interpretation. the Buyer (see Appendix 1 in the Catalogue). Catalogue. Sale Information relating to this Sale which sets out the 12.8 In this agreement “including” means “including, without “Contractual Description” the only Description of the Lot (being “Terrorism” means any act or threatened act of terrorism, whether charges payable by you on the purchases you make If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours limitation”. that part of the Entry about the Lot in the Catalogue which is in bold any person is acting alone or on behalf of or in connection with any and other terms relating to bidding and buying at the 12.9 References to the singular will include reference to the plural letters, any photograph (except for the colour) and the contents of any organisation(s) and/or government(s), committed for political, religious prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue Sale. You should ask any questions you have about the (and vice versa) and reference to any one gender will include Condition Report) to which the Seller undertakes in the Contract of or ideological or similar purposes including, but not limited to, the for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will reference to the other genders. Sale the Lot corresponds. intention to influence any government and/or put the public or any Conditions before signing this form. These Conditions endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids. 12.10 Reference to a numbered paragraph is to a paragraph of this “Description” also contain certain undertakings by bidders and buyers any statement or representation in any way descriptive section of the public into fear. General Bid Increments: agreement. of the Lot, including any statement or representation relating to its “VAT” value added tax at the prevailing rate at the date of the Sale in and limit Bonhams’ liability to bidders and buyers. 12.11 Save as expressly provided in paragraph 12.12 nothing in this authorship, attribution, condition, provenance, authenticity, style, the United Kingdom. £10 - 200 ...... by 10s £10,000 - 20,000 ...... by 1,000s agreement confers (or purports to confer) on any person who period, age, suitability, quality, origin, value, estimated selling price “Website” Bonhams Website at www.bonhams.com Data protection – use of your information £200 - 500 ...... by 20 / 50 / 80s £20,000 - 50,000 ...... by 2,000 / 5,000 / 8,000s is not a party to this agreement any benefit conferred by, or the (including the Hammer Price). “Withdrawal Notice” the Seller’s written notice to Bonhams revoking Where we obtain any personal information about you, we £500 - 1,000 ...... by 50s £50,000 - 100,000 ...... by 5,000s right to enforce any term of, this agreement. “Entry” a written statement in the Catalogue identifying the Lot and its Bonhams’ instructions to sell a Lot. shall only use it in accordance with the terms of our Privacy £1,000 - 2,000 ...... by 100s £100,000 - 200,000 .....by 10,000s 12.12 Where this agreement confers an immunity from, and/or an Lot number which may contain a Description and illustration(s) relating “Without Reserve” where there is no minimum price at which a Lot Policy (subject to any additional specific consent(s) you may £2,000 - 5,000 ...... by 200 / 500 / 800s above £200,000 ...... at the auctioneer’s discretion exclusion or restriction of, the responsibility and/or liability to the Lot. may be sold (whether at auction or by private treaty). have given at the time your information was disclosed). A of Bonhams, it will also operate in favour and for the benefit “Estimate” a statement of our opinion of the range within which the £5,000 - 10,000 ...... by 500s GLOSSARY copy of our Privacy Policy can be found on our website of Bonhams’ holding company and the subsidiaries of such hammer is likely to fall. The following expressions have specific legal meanings with which you The auctioneer has discretion to split any bid at any time. holding company and the successors and assigns of Bonhams “Expenses” charges and Expenses paid or payable by Bonhams may not be familiar. The following glossary is intended to give you an (www.bonhams.com) or requested by post from Customer and of such companies and of any officer, employee and in respect of the Lot including legal Expenses, banking charges and understanding of those expressions but is not intended to limit their Services Department, 101 New Bond Street, London W1S agent of Bonhams and such companies, each of whom will be Expenses incurred as a result of an electronic transfer of money, legal meanings: 1SR United Kingdom or by e-mail from [email protected]. Customer Number Title entitled to rely on the relevant immunity and/or exclusion and/ charges and Expenses for loss and damage cover, insurance, “artist’s resale right”: the right of the creator of a work of art to receive We may disclose your personal information to any member of or restriction within and for the purposes of Contracts (Rights of Catalogue and other reproductions and illustrations, any customs a payment on Sales of that work subsequent to the original Sale of our group which means our subsidiaries, our ultimate holding First Name Last Name Third Parties) Act 1999, which enables the benefit of a contract duties, advertising, packing or shipping costs, reproductions rights’ that work by the creator of it as set out in the Artists Resale Right company and its subsidiaries (whether registered in the UK or to be extended to a person who is not a party to the contract, fees, taxes, levies, costs of testing, searches or enquiries, preparation Regulations 2006. elsewhere). We will not disclose your data to anyone outside Company name (if applicable) and generally at law. of the Lot for Sale, storage charges, removal charges, removal charges “bailee”: a person to whom goods are entrusted. our group but we may from time to time provide you with 13 GOVERNING LAW or costs of collection from the Seller as the Seller’s agents or from a “indemnity”: an obligation to put the person who has the benefit Company Registration number (if applicable) All transactions to which this agreement applies and all defaulting Buyer, plus VAT if applicable. of the indemnity in the same position in which he would have been, information about goods and services which we feel maybe of interest to you including those provided by third parties. connected matters will be governed by and construed in “Forgery” an imitation intended by the maker or any other person to had the circumstances giving rise to the indemnity not arisen and the Address accordance with the laws of that part of the United Kingdom deceive as to authorship, attribution, origin, authenticity, style, date, expression “indemnify” is construed accordingly. If you do not want to receive such information (except for where the Sale takes (or is to take) place and we and you each age, period, provenance, culture, source or composition, which at the “interpleader proceedings”: proceedings in the Courts to determine information you specifically requested) please tick this box City submit to the exclusive jurisdiction of the courts of that part date of the Sale had a value materially less than it would have had if the ownership or rights over a Lot. Would you like to receive e-mailed information from us? if so of the United Kingdom, save that we may bring proceedings Lot had not been such an imitation, and which is not stated to be such “knocked down”: when a Lot is sold to a Bidder, indicated by the fall please tick this box against you in any other court of competent jurisdiction to an imitation in any description of the Lot. A Lot will not be a Forgery by of the hammer at the Sale. Post / Zip code County / State the extent permitted by the laws of the relevant jurisdiction. reason of any damage to, and/or restoration and/ or modification work “lien”: a right for the person who has possession of the Lot to retain Bonhams has a complaints procedure in place. (including repainting or over painting) having been carried out on the possession of it. Notice to Bidders. At least 24 hours before the Sale, clients must provide Telephone (mobile) Country DATA PROTECTION – USE OF YOUR INFORMATION Lot, where that damage, “risk”: the possibility that a Lot may be lost, damaged, destroyed, government or state issued photographic proof of ID and date Where we obtain any personal information about you, we shall only restoration or modification work (as the case may be) does not stolen, or deteriorate in condition or value. Telephone (landline) use it in accordance with the terms of our Privacy Policy (subject to substantially affect the identity of the Lot as one conforming to the “title”: the legal and equitable right to the ownership of a Lot. of birth e.g. - passport, driving licence - and if not included in any additional specific consent(s) you may have given at the time Description of the Lot. “tort”: a legal wrong done to someone to whom the wrong doer has ID document, proof of address e.g - utility bill, bank or credit your information was disclosed). A copy of our Privacy Policy can be “Guarantee” the obligation undertaken personally by Bonhams to the a duty of care. card statement etc. Corporate clients should also provide a E-mail (in capitals) found on our Website www.bonhams.com or requested by post from Buyer in respect of any Forgery and, in the case of specialist Stamp “warranty”: a legal assurance or promise, upon which the person to copy of their articles of association / company registration Please answer all questions below Customer Services Department, 101 New Bond Street, London W1S Sales and/or specialist Book Sales, a Lot made up of a Stamp or whom the warranty was given has the right to rely. documents, and the entities name and registered address, 1SR, United Kingdom or by email from [email protected]. Stamps or a Book or Books as set out in the Buyer’s Agreement. SALE OF GOODS ACT 1979 documentary proof of its beneficial owners and directors, 1. ID supplied: Government issued ID and (if the ID does not confirm your address) current utility bill/ bank statement. “Hammer Price” the price in the currency in which the Sale is The following is an extract from the Sale of Goods Act 1979: together with a letter authorising the individual to bid on the If a corporate entity, please provide the Certificate of Incorporation or Partnership Deed and a letter authorising you to act. APPENDIX 3 conducted at which a Lot is knocked down by the Auctioneer. “Section 12 Implied terms about title, etc “Loss and Damage Warranty” company’s behalf. Failure to provide this may result in your means the warranty described in (1) In a contract of sale, other than one to which subsection (3) below 2. Are you representing the Bidder? If yes, please complete question 3. DEFINITIONS AND GLOSSARY paragraph 8.2 of the Conditions of Business. applies, there is an implied term on the part of the seller that in the bids not being processed or completed. For higher value lots you may also be asked to provide a bank reference. Where these Definitions and Glossary are incorporated, the following “Loss and Damage Warranty Fee” means the fee described in case of a sale he has a right to sell the goods, and in the case of 3. Bidder's name, address and contact details (phone and email): words and phrases used have (unless the context otherwise requires) paragraph 8.2.3 of the Conditions of Business. an agreement to sell he will have such a right at the time when the the meanings given to them below. The Glossary is to assist you to “Lot” any item consigned to Bonhams with a view to its Sale at auction property is to pass. If successful Bidder’s ID: Government issued ID and (if the ID does not confirm their address) current utility bill/bank statement understand words and phrases which have a specific legal meaning or by private treaty (and reference to any Lot will include, unless the (2) In a contract of sale, other than one to which subsection (3) below I will collect the purchases myself with which you may not be familiar. context otherwise requires, reference to individual items comprised in a applies, there is also an implied term that- Are you acting in a business capacity? If registered for VAT in the EU please enter your registration here: LIST OF DEFINITIONS group of two or more items offered for Sale as one Lot). (a) the goods are free, and will remain free until the time Please arrange shippers to contact me with Yes No / - - “Account” the bank account of Bonhams into which all sums received “Motoring Catalogue Fee” a fee payable by the Seller to Bonhams in when the property is to pass, from any charge or a quote and I agree that you may pass them in respect of the Purchase Price of any Lot will be paid. consideration of the additional work undertaken by Bonhams in respect encumbrance not disclosed or known to the buyer my contact details. “Additional Premium” a premium, calculated in accordance with of the cataloguing of motor vehicles and in respect of the promotion of before the contract is made, and Please note that all telephone calls are recorded. the Notice to Bidders, to cover Bonhams’ Expenses relating to the Sales of motor vehicles. (b) the buyer will enjoy quiet possession of the goods MAX bid in GBP Telephone or payment of royalties under the Artists Resale Right Regulations 2006 “New Bond Street” means Bonhams’ saleroom at 101 New Bond except in so far as it may be disturbed by the owner or Lot no. Brief description (excluding premium Covering bid which is payable by the Buyer to Bonhams on any Lot marked [AR] Street, London W1S 1SR. other person entitled to the benefit of any charge or Absentee (T / A) which sells for a Hammer Price which together with the Buyer’s “Notional Charges” the amount of Commission and VAT which would encumbrance so disclosed or known. & VAT) * Premium (but excluding any VAT) equals or exceeds 1000 euros have been payable if the Lot had been sold at the Notional Price. (3) This subsection applies to a contract of sale in the case of which (converted into the currency of the Sale using the European Central “Notional Fee” the sum on which the Consignment Fee payable to there appears from the contract or is to be inferred from its Bank Reference rate prevailing on the date of the Sale). Bonhams by the Seller is based and which is calculated according to circumstances an intention that the seller should transfer only such “Auctioneer” the representative of Bonhams conducting the formula set out in the Conditions of Business. title as he or a third person may have. the Sale. “Notional Price” the latest in time of the average of the high and low “Bidder” Any person considering, attempting or making a Bid, Estimates given by us to you or stated in the Catalogue or, if no such (4) In a contract to which subsection (3) above applies there is an including those who have completed a Bidding Form. Estimates have been given or stated, the Reserve applicable to the Lot. implied term that all charges or encumbrances known to the seller “Bidding Form” our Bidding Registration Form, our Absentee Bidding “Notice to Bidders” the notice printed at the back or front of our and not known to the buyer have been disclosed to the buyer Form or our Telephone Bidding Form. Catalogues. before the contract is made. “Bonhams” Bonhams 1793 Limited or its successors or assigns. “Purchase Price” the aggregate of the Hammer Price and VAT on the (5) In a contract to which subsection (3) above applies there is also an Bonhams is also referred to in the Buyer’s Agreement, the Conditions Hammer Price (where applicable), the Buyer’s Premium and VAT on the implied term that none of the following will disturb the buyer’s quiet of Business and the Notice to Bidders by the words “we”, “us” and Buyer’s Premium and any Expenses. possession of the goods, namely: “our”. “Reserve” the minimum price at which a Lot may be sold (whether at (a) the seller; “Book” a printed Book offered for Sale at a specialist Book Sale. auction or by private treaty). (b) in a case where the parties to the contract intend “Business” includes any trade, Business and profession. “Sale” the auction Sale at which a Lot is to be offered for Sale by that the seller should transfer only such title as a third “Buyer” the person to whom a Lot is knocked down by the Bonhams. person may have, that person; FOR WINE SALES ONLY Auctioneer. The Buyer is also referred to in the Contract for Sale and “Sale Proceeds” the net amount due to the Seller from the Sale of a (c) anyone claiming through or under the seller or that third the Buyer’s Agreement by the words “you” and “your”. Lot, being the Hammer Price less the Commission, any VAT chargeable person otherwise than under a charge or encumbrance Please leave lots “available under bond” in bond Please include delivery charges (minimum charge of £20 + VAT) “Buyer’s Agreement” the contract entered into by Bonhams with the thereon, Expenses and any other amount due to us in whatever disclosed or known to the buyer before the contract is Buyer (see Appendix 2 in the Catalogue). capacity and howsoever arising. made. “Buyer’s Premium” the sum calculated on the Hammer Price at the “Seller” the person who offers the Lot for Sale named on the Contract (5A) As regards England and Wales and Northern Ireland, the term BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE SEEN THE CATALOGUE AND HAVE READ AND UNDERSTOOD OUR CONDITIONS OF SALE INCLUDING BUYER’S WARRANTIES AND WISH rates stated in the Notice to Bidders. Form. Where the person so named identifies on the form another implied by subsection (1) above is a condition and the terms TO BE BOUND BY THEM, AND AGREE TO PAY THE BUYER’S PREMIUM, VAT AND ANY OTHER CHARGES MENTIONED IN THE NOTICE TO BIDDERS. THIS AFFECTS YOUR LEGAL RIGHTS. “Catalogue” the Catalogue relating to the relevant Sale, including any person as acting as his agent, or where the person named on the implied by subsections (2), (4) and (5) above are warranties.” representation of the Catalogue published on our Website. Contract Form acts as an agent for a principal (whether such agency is “Commission” the Commission payable by the Seller to Bonhams disclosed to Bonhams or not), “Seller” includes both the agent and the Bidder/Agent’s (please delete one) signature: Date: calculated at the rates stated in the Contract Form. principal who shall be jointly and severally liable as such. The Seller “Condition Report” a report on the physical condition of a Lot provided is also referred to in the Conditions of Business by the words “you” Covering Bid: A maximum bid (exclusive of Buyers Premium and VAT) to be executed by Bonhams only if we are unable to contact you by telephone, or should the connection be lost during bidding. to a Bidder or potential Bidder by Bonhams on behalf of the Seller. and “your”. NB.* Payment will only be accepted from an account in the same name as shown on the invoice and Auction Registration form. Please email or fax the completed Auction Registration form and requested information to: NTB/MAIN/V1/11.2020 Bonhams, Customer Services, 101 New Bond Street, London, W1S 1SR. Tel: +44 (0) 20 7447 7447 Fax: +44 (0) 20 7447 7401, [email protected] Bonhams 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560. UK/08/19 Registration and Bidding Form (Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above. Paddle number (for office use only)

This sale will be conducted in accordance with The H Collection 13 May 2021 Bonhams’ Conditions of Sale and bidding and buying Sale title: Sale date: at the Sale will be regulated by these Conditions. You should read the Conditions in conjunction with the Sale no. 26625 Sale venue: New Bond Street, London Sale Information relating to this Sale which sets out the charges payable by you on the purchases you make If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours and other terms relating to bidding and buying at the prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue Sale. You should ask any questions you have about the for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will Conditions before signing this form. These Conditions endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids. also contain certain undertakings by bidders and buyers and limit Bonhams’ liability to bidders and buyers. General Bid Increments: £10 - 200 ...... by 10s £10,000 - 20,000 ...... by 1,000s Data protection – use of your information £200 - 500 ...... by 20 / 50 / 80s £20,000 - 50,000 ...... by 2,000 / 5,000 / 8,000s Where we obtain any personal information about you, we £500 - 1,000 ...... by 50s £50,000 - 100,000 ...... by 5,000s shall only use it in accordance with the terms of our Privacy £1,000 - 2,000 ...... by 100s £100,000 - 200,000 .....by 10,000s Policy (subject to any additional specific consent(s) you may £2,000 - 5,000 ...... by 200 / 500 / 800s above £200,000 ...... at the auctioneer’s discretion have given at the time your information was disclosed). A £5,000 - 10,000 ...... by 500s copy of our Privacy Policy can be found on our website (www.bonhams.com) or requested by post from Customer The auctioneer has discretion to split any bid at any time. Services Department, 101 New Bond Street, London W1S 1SR United Kingdom or by e-mail from [email protected]. Customer Number Title We may disclose your personal information to any member of our group which means our subsidiaries, our ultimate holding First Name Last Name company and its subsidiaries (whether registered in the UK or elsewhere). We will not disclose your data to anyone outside Company name (if applicable) our group but we may from time to time provide you with information about goods and services which we feel maybe of Company Registration number (if applicable) interest to you including those provided by third parties. If you do not want to receive such information (except for Address information you specifically requested) please tick this box City Would you like to receive e-mailed information from us? if so please tick this box Post / Zip code County / State Notice to Bidders. At least 24 hours before the Sale, clients must provide Telephone (mobile) Country government or state issued photographic proof of ID and date of birth e.g. - passport, driving licence - and if not included in Telephone (landline) ID document, proof of address e.g - utility bill, bank or credit card statement etc. Corporate clients should also provide a E-mail (in capitals) copy of their articles of association / company registration Please answer all questions below documents, and the entities name and registered address, documentary proof of its beneficial owners and directors, 1. ID supplied: Government issued ID and (if the ID does not confirm your address) current utility bill/ bank statement. together with a letter authorising the individual to bid on the If a corporate entity, please provide the Certificate of Incorporation or Partnership Deed and a letter authorising you to act. company’s behalf. Failure to provide this may result in your bids not being processed or completed. For higher value lots 2. Are you representing the Bidder? If yes, please complete question 3. you may also be asked to provide a bank reference. 3. Bidder's name, address and contact details (phone and email): If successful Bidder’s ID: Government issued ID and (if the ID does not confirm their address) current utility bill/bank statement I will collect the purchases myself Are you acting in a business capacity? If registered for VAT in the EU please enter your registration here: Please arrange shippers to contact me with Yes No - - a quote and I agree that you may pass them / my contact details. Please note that all telephone calls are recorded. MAX bid in GBP Telephone or Lot no. Brief description (excluding premium Absentee (T / A) Covering bid & VAT) *

FOR WINE SALES ONLY

Please leave lots “available under bond” in bond Please include delivery charges (minimum charge of £20 + VAT)

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE SEEN THE CATALOGUE AND HAVE READ AND UNDERSTOOD OUR CONDITIONS OF SALE INCLUDING BUYER’S WARRANTIES AND WISH TO BE BOUND BY THEM, AND AGREE TO PAY THE BUYER’S PREMIUM, VAT AND ANY OTHER CHARGES MENTIONED IN THE NOTICE TO BIDDERS. THIS AFFECTS YOUR LEGAL RIGHTS.

Bidder/Agent’s (please delete one) signature: Date:

Covering Bid: A maximum bid (exclusive of Buyers Premium and VAT) to be executed by Bonhams only if we are unable to contact you by telephone, or should the connection be lost during bidding. NB.* Payment will only be accepted from an account in the same name as shown on the invoice and Auction Registration form. Please email or fax the completed Auction Registration form and requested information to: Bonhams, Customer Services, 101 New Bond Street, London, W1S 1SR. Tel: +44 (0) 20 7447 7447 Fax: +44 (0) 20 7447 7401, [email protected] Bonhams 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560. UK/08/19

Bonhams 101 New Bond Street London, W1S 1SR

+44 (0) 20 7447 7447 bonhams.com

AUCTIONEERS SINCE 1793