London – Bonhams celebrates Asian Art Week in London with four exceptional sales of Chinese and Asian ceramics and works of art featuring distinguished collections from leading collectors and dealers including Martyn Gregory and Ben Janssens. The sales, both live and online, will run from 1-12 November to include Fine Chinese Art, Ben Janssens Oriental Art: From Spink to Maastricht, Asian Art, and Collector's Treasures: Asian Art Online.

Leading the sales are two exceptionally rare and magnificent works depicting the dragon, the most celebrated mythical creature in Chinese culture and the ultimate symbol of imperial authority, together with a resplendent and rare gilt-bronze figure of Green Tara, 'The Mother of all Buddhas', made in the Imperial Workshops, during the early Ming dynasty's Yongle reign (1403-1424).

Asaph Hyman, Global Head of Chinese Ceramics and Works of Art, commented, "We are proud to offer the selection of Imperial and export paintings from world-authority dealer Martyn Gregory, as well as a special sale devoted to Ben Janssens, famously of Spink & Son and former president of the TEFAF. It is also a great pleasure to offer wonderful highlights such as the amazingly-provenanced Yongzheng dragon charger, with nearly 200 years of western collecting history, and the mesmerising gilt-bronze figure of Green Tara of the Yongle reign, as well as a fine Danish private collection of huanghuali furniture and scholar's works of art."

FINE CHINESE ART²
7 November, New Bond Street

Harnessing the power of the dragon, two outstanding works star in the Fine Chinese Art sale to include a magnificent and very rare large famille-rose Dragon dish, Yongzheng six-character mark and of the period, offered with an estimate of £250,000-400,000. This remarkable lot is one of the earliest pieces of Imperial porcelain ever to come to the west. Owned by the distinguished politician and diplomat, Richard Le Poer Trench, 2nd Earl of Clancarty (1767-1837) it may have been a diplomatic gift acquired during one of several notable diplomatic missions to China in the 1790s or 1810s. The removal of the dragon's fifth claw signifies its official downgrading as a gift to someone below the rank of emperor or king. In imperial China, only items intended for the emperor bore five-clawed dragons. Rich with auspicious symbolism, the dish exemplifies the pinnacle of craftsmanship from the brief yet illustrious reign of the Yongzheng Emperor, a period celebrated for its stringent standards of quality and precision. Its massive size demonstrates the exceptional skills of the potters in the Imperial kiln.

Lot 30. A magnificent and very rare large famille-rose Dragon dish, Yongzheng six-character mark and of the period (1723-1735); 54.8cm diam. Estimate £250,000 - £400,000 (€300,000 - €480,000). © Bonhams 2001-2024

Elegantly potted of ogee shape with gently rounded sides, vividly painted in the interior in vibrant enamels with two sinuous five-clawed dragons (with the fifth claws later removed), one enamelled in vibrant pink, the other in bright turquoise-green, with fierce expressions and powerful limbs, their long bodies enveloping and flanking a central shou medallion picked out in iron-red and gold, powerfully moving amidst multi-coloured ruyi clouds, the wide rim painted with eight red-crested cranes flying among clouds, the exterior painted with ten iron-red bats hovering above tumultuous turquoise waves skirting the foot. 

Provenance: Richard Le Poer Trench (1767-1837), 2nd Earl of Clancarty, 1st Marquess of Heusden, Garbally House, County Galway, and thence by descent
Christie Manson ＆ Woods Ltd., London, 11 March 1892, lot 36 (one of a pair)
Acquired from the above by 'Cooper' (possibly the Thomas Cooper, 'curiosity dealer', 22 New Bond Street, London)(one of a pair)
Eric William Towler, CBE (1900-1988), Glympton Park, Oxfordshire, and thence by descent.

Note: Richard Le Poer Trench (1767-1837), 2nd Earl of Clancarty, was a distinguished politician and diplomat. Following his service in the Irish House of Commons, which ended with the dissolution of the Irish Parliament in 1800, he transitioned into the English House of Lords as an Irish representative peer. Trench forged a strong friendship with Robert Stewart, Viscount Castlereagh, who became Foreign Secretary in 1812. Castlereagh entrusted Trench with several critical diplomatic assignments, including two terms as the British Ambassador to The Netherlands.

Eric William Towler (1900-1988) was a remarkable man – interestingly, in many ways his tale of 'rags to riches' mirrors that of many entrepreneurs in China. He was born in 1900 and left school at the age of 12 to work in a Yorkshire pit and through a lifetime of hard work, self-improvement, luck and a refusal to limit his horizons achieved many of his aspirations.

As a Yorkshireman through and through, he believed in 'spending the brass in his pocket' and over time he was successful enough to acquire enough 'brass' to enable his purchase of Glympton Park and furnish it as a traditional country house with all the trappings – in his case collection of antique furniture, rugs, sporting oils, Chinese art and clocks.

His first step was to move from the pit to an apprentice bank clerk, where he claimed to have learned to 'mek the tea' but seems also to have acquired skills in book-keeping, which, after a period as an Able Seaman in the Royal Naval Reserve during the end of the First World War, served him well in his future entrepreneurial journey. At the age of twenty-one, he vouchsafed all he had into a small coal dealing business, where his gift for sales led to an early invitation to be their Sales Director, leading him to the position of a mining magnate.

Early in his life, Eric was able to achieve one of his aspirations. He described looking in awe through the gates of Tong Hall – a large Yorkshire property in a rural location near his home and during his thirties, funded by his growing success in a variety of industrial entrepreneurial roles, he was able to acquire it, and instead look out through the gates. This was first of a series of substantial properties, and his interest in farming.

His down to earth nature, knowledge and interest in newly emergent farming technologies led to a productive collaboration with Tom Williams, who was set the task of digging for Britain as Minister of Agriculture, and he continued his interest in farming through a number of estates in Yorkshire, Shropshire and Somerset before eventually settling at Glympton Park in Oxfordshire. Here he stewarded the development and modernisation of a large mixed estate covering everything from cereals, the latest forage crops to his pedigree Red Devon beef cattle, Suffolk sheep, dairy cows and pigs.

Eric was keen to enjoy every aspect of the land, and loved country sports and shooting, but particularly enjoyed fox hunting – a passion he continued for life. He managed to become Joint Master of the Badsworth Hunt in his early thirties, with the force and accessibility of his personality overcoming what some saw as a limitation of his humble background. When not on the hunting field his interest in horses extended from the practicalities of Carriage driving to sporting oils.

In Oxfordshire, in true renaissance style, he diversified from business to health service management as Chairman of the Nuffield, the Radcliffe, United Oxford Hospitals thus 'ticking off' another aspiration of his to be a doctor (as he initially saw it). This is a reflection of his compassionate nature to relieve suffering, which we can perhaps understand when he describes the only access to dentistry in the Yorkshire village of his childhood around 1910, being the village policeman who would attempt its removal with a pair of pliers.

Much of the credit for planning of the John Radcliffe goes to Eric, and for all of this he was awarded the C.B.E and an honorary M.A by Oxford University. Various hospital features now proudly bear his name.

Eric W.Towler was known for his deep kindness, generosity, and desire to help others, especially the young. He was truly a man who understood, lived, loved, and embodied country pursuits as well as 'spending the brass'.

This remarkable dish stands out for its impressive size, intricate decoration, and exceptional rarity, representing the height of craftsmanship from the brief yet illustrious reign of the Yongzheng Emperor, a period celebrated for its stringent standards of quality and precision. Rich with auspicious symbolism, this dish would have been an ideal gift for an Imperial birthday, particularly given its large size.

The dish's presence in the English collection of the 2nd Earl of Clancarty, prior to the 1860s, strengthens the theory that it may have been acquired during one of several notable diplomatic missions to China. It is possible that it was obtained during Lord Macartney's Embassy to China in 1793, the Amherst Embassy of 1816, or the Dutch Embassy led by Isaac Titsingh in 1794. Such embassies were characterised by ceremonial exchanges and the lavish hospitality of the Chinese court, making diplomatic acquisition plausible. The removal of the dragon's fifth claw further supports the idea that the piece arrived in Europe through official diplomatic channels, as alterations of this kind would have been made according to regulations of the Qing Court.

The removal of the dragon's fifth claw is a modification signifying its official downgrading as a gift to someone below the rank of emperor or king. In Imperial China, only items intended for the emperor bore five-clawed dragons, and the removal of the fifth claw indicates its presentation to a lower-ranking dignitary. According to J.Watt and B.Ford, East Asian Lacquer; The Florence and Herbert Irving Collection, New York, 1991, p.96, in the entry for no.34, the removal of one claw from each foot of five-clawed dragons on lacquer and porcelain of the Wanli and Jiajing periods was quite common. This may have been done when a 'palace piece was given by the emperor to a member of the nobility or a senior official and thus 'downgraded'. This alteration therefore, suggests that the dish was not a gift intended for King George III, as it would have then been mentioned in any official lists of gifts presented to a head of state, such as the 1793 Macartney Embassy to China. Instead, it was likely an official gift to one of the other dignitaries in the embassy. For a discussion on gifts exchanged during the Macartney embassy, see H.Harrison, 'Chinese and British Diplomatic Gifts in the Macartney Embassy of 1793' in The English Historical Review, vol.133, 2018, pp.65-97. By restricting the five-clawed dragon to Imperial contexts and modifying exported pieces, the Qing court maintained its grip on this potent Imperial symbol.

Apart from the dragons, the decoration of five-coloured clouds (wuse yun) on the present dish also held deep symbolic importance for the Yongzheng Emperor, particularly in the context of his ascent to power. Yongzheng's rise to the throne was shrouded in controversy, as his father, the Kangxi Emperor, left behind a legacy of multiple sons competing for succession, with no clear adherence to primogeniture—a practice not firmly established in the Qing dynasty. Upon securing the throne, Yongzheng acted decisively and with ruthless efficiency to consolidate his authority and eliminate rivals. In this politically charged atmosphere, the auspicious appearance of these vibrant clouds was employed as a powerful tool to affirm his legitimacy as the Son of Heaven, reinforcing the divine right of his rule.

In 1729, a secret memorial was sent to Yongzheng from Governor General Ortai (1680-1745) of Yunnan, Guizhou and Guangxi Provinces, reporting an amazing sight of iridescent clouds:

In the fifth month of the twenty-first year of the Kangxi reign [1682], coloured clouds were sighted in Yunnan counties, and in the tenth month, multi-coloured clouds were seen again in Chuxiong prefecture. That year, Yunnan became more peaceful than in any previous year, and [the clouds] were signs of peaceful and serene times, of harmonious years and abundance. As for [their appearance on] the birthday of the reigning emperor, lasting for hours and seen on two days, I have checked all historical records and there has never been an event such as the present one.

Throughout Chinese history, auspicious clouds (qingyun 慶雲) and other favourable omens were seen as Heaven's approval of an emperor's rule, often recorded in historical texts and depicted in art. The Huizong Emperor (1100–1126) famously compiled a multi-volume record of such signs, including paintings of auspicious creatures, to legitimise his reforms of Confucian rites. Similarly, the Yongle Emperor (1402–1424) used sightings of multi-coloured clouds during a visit by the Fifth Karmapa to affirm his contested claim to the throne. These emperors strategically employed celestial phenomena to strengthen their legitimacy during critical periods. Yongzheng's reign was marked by efforts to consolidate power and strengthen the central authority of the Qing government. Amid political reforms and efforts to suppress corruption, the sighting of these auspicious clouds would have been promoted to bolster the Emperor's image and legitimacy. See J.Bellemare, 'Ortai, the Yongzheng Emperor, and the Multicolored World of China's Southwestern Frontier' in Journal of Chinese History, 2023, 7, pp.101-124.

It is not surprising then, that the Yongzheng period saw a proliferation of the multi-coloured cloud motif. See for example, a doucai waterpot with clouds, Yongzheng six-character mark and of the period, from the Qing Court Collection, illustrated in Small Refined Articles of the Study: The Complete Collection of Treasures of the Palace Museum, Shanghai, 2009, p.223, no.221. See also two painted enamel tiered containers, Yongzheng, in the Palace Museum, Taipei, (acc.nos, Gufa-000509 and Gufa-000510). See also a carved and lacquered wood hanging panel, with multicoloured clouds, Yongzheng, also in the Palace Museum, Taipei (acc.no. Gufa-000759).
 

Equally rich with auspicious symbolism is an extremely rare and large (78.5cm high) gilt-decorated grisaille and iron-red Dragon rouleau vase, Kangxi (1662-1722) offered with an estimate of £100,000 – 200,000. One of the largest known rouleau vases from the Kangxi period, it is hugely ambitious both in its scope and scale and serves as a remarkable synthesis of Chinese artistic tradition and Imperial authority. A monumental ink panoramic gilt-embellished painting of two imperial five-clawed dragons is transposed onto the large-scale vase, whose form is used as canvas. The painting style makes an explicit connection to the heritage of Song dynasty painting inspired by Chen Rong's (c.1200-1266) iconic painting Nine Dragons, dated to 1244 AD, now in the Museum of Fine Arts Boston. Much of the work of transforming the evolving and eclectic Qing dynasty Imperial style was done by Liu Yuan, best known as a pivotal designer for the newly reorganised Imperial Porcelain Manufactory and a master craftsman at the mid-Kangxi Court in the 1680s. This magnificent and rarest of vases comes from the collection of Edward Varley Kayley (d.1974), an English collector of Chinese ceramics and works of art.

Lot 77. An extremely rare and large gilt-decorated grisaille and iron-red Dragon rouleau vase, Kangxi period (1662-1722); 78.5cm high. Estimate £100,000 - £200,000 (€120,000 - €240,000). © Bonhams 2001-2024

The cylindrical body and neck boldly painted in gilt, grisaille and iron-red with a continuous scene of two large five-clawed dragons flying in and out of clouds above carp fish jumping between frothing and bubbling waves lapping against sharply angled rocks.

Provenance: Edward Varley Kayley (d.1974), and thence by descent.

Note: The vase is from the collection of Edward Varley Kayley (d.1974), an English collector of Chinese ceramics and works of art with a particular passion for Chinese paintings. He served in World War II and was a Supreme Magi between 1969 and 1974 for the Rosicrucian Society of Freemasons. He built his collection from local auctions and antique sales as well as from Collet's Chinese Bookshop where he had a close relationship with Susan Chen. His personal notes include exhibition notes from the British Museum through the late 1960s, detailed notes and translations of the various paintings in his collection. He also expounded on his own observations on the significance of Chinese paintings including that 'a painting is described as a voiceless poem' and 'every feature of a landscape is held to correspond to phases of the human soul'. The present vase would likely have appealed to him due to its painterly qualities.

Harnessing the enduring power of the dragon as the ultimate artistic symbol of Imperial authority was a key project of early and mid Qing Imperial art. In this vase we find a monumental ink panoramic gilt-embellished ink painting of two Imperial five-clawed dragons transposed onto the large-scale rouleau vase.

The painting style makes an explicit connection to the heritage of Song dynasty painting borrowing from Chen Rong's (c.1200-1266) iconic Song dynasty painting Nine Dragons, dated to 1244. This work, now in the Museum of Fine Arts, Boston, shows the nine dragons, associated with the nine sons of the Dragon King, soaring amidst clouds, mists and whirlpools. Dragons were associated with rain and water, which Chen has managed to evoke skilfully with spattered drops of ink. In Chen Rong's own inscription, he wrote: 

In the world people longed for sustained rain,
Suoweng [Chen Rong] painted forth Nine Dragons

In an agricultural economy such as Imperial China's, rain was vital for a good harvest. The Emperor as the son of Heaven and mediator between Heaven and Earth understood that Heaven's blessings ensured his legitimacy to hold the mandate of Heaven. A drought or famine would be seen as a sign of Heaven's displeasure and a reflection of the Emperor's own immoral actions. Each year therefore, at the beginning of Spring, the Emperor himself would ceremonially plough a patch of earth. He needed the assistance of fickle dragons however, to provide the right amount of rain.

Dragons in time became symbols of the Emperor, Imperial authority and prosperity. The explicit use of the Cheng Rong-inspired dragons in Imperial artworks, mounted as a screen in the Palace Museum, Beijing, is illustrated in China: The Three Emperors 1662-1795, London, 2005, p.215. In this work, the Chinese Imperial ruler is framed bodily by the dragon landscapes. He is placed simultaneously within the domestic palace setting and the mythical realm tracing its roots back to the Song dynasty. This shows the direct way in which Cheng Rong-inspired dragons constructed Chinese political, artistic and Imperial power through direct interaction with the Emperor.

The present vase goes a step further in its innovative treatment of the Cheng Rong-inspired dragons. First, it presented the dragons on a curving plane as part of a continuous scene and second, it upgrades the three claws on the dragons' talons to five-claws, the enduring symbol of Imperial power during the Ming and Qing dynasties.

Much of the work of developing the evolving and eclectic Qing Imperial style, embodying the mandate of the Qing dynasty, the Emperor's personal taste, and the skills of the craftsmen in his service was done by Liu Yuan, a pioneering product designer and master craftsman at the mid-Kangxi Court in the 1680s, who was influenced by Chen Rong's dragons. Although he worked in a time when documentary records in the Imperial workshop rarely survive, his biography in the Qing shigao contains a remark about his ceramic designs:

At that time, the Imperial Porcelain Factory in Jingdezhen was about to produce imperial pieces. Liu presented several hundred porcelain designs, making reference to examples found in ancient and modern times, while injecting his own innovative ideas ... when completed, the output surpassed the wares of the former Ming dynasty.

His innovative designs employed elements from Chen Rong's paintings of dragons. J.Hay, in Sensuous Surfaces: The Decorative Object in Early Modern China, London, 2020, p.155, notes that 'Liu Yuan has long been known to be an important porcelain designer'...and that his designs are 'derived from the non-imperial dragon paintings of Chen Rong (active c.1235-1262)'.

Liu Yuan was a Hanjun bannerman from the Bordered Red banner domiciled in Xiangfu, Henan Province, and defied conventional career paths and labels. Orphaned young, he attended a local school but left to wander, seeking a patron and purpose in life. In 1662 when he settled in Suzhou, he pursued painting while serving as a retainer to Tong Pengnian, a member of the powerful Hanjun bannerman Tong family and the provincial administration commissioner of Jiangsu. In 1699, Tong financed an illustrated book, Pavilion of Smoke-like Clouds, with annotated portraits of twenty-four Tang chancellors designed and drawn by Liu to showcase his talents to the throne. Liu's self-promotion as one of the chancellors and his flattery of the Kangxi Emperor as the sagacious ruler succeeded, leading to his enrolment as a National University student in Beijing the following year. By 1677, he was appointed as a secretary in the Ministry of Punishment and dispatched to the customs office at Wuhu, Anhui Province. Impeached on corruption charges two years later, the Kangxi Emperor recalled him to the inner palace, where Liu's real career began. In personal service to Kangxi, Liu Yuan became instrumental in creating an early Qing Imperial style as a designer of porcelain, official seals, ink-cakes, lacquer, and wooden utensils for royal use.

Although Liu Yuan can be seen as a scholar, painter, and bureaucrat early in his career, he defied the conventional expectations associated with these roles. His patron Tong criticised his eclectic painting style as 'inconsistent' and 'lacking unified forms.' This eclecticism, however, lies at the heart of Liu Yuan's artistry. His close friend and fellow Hanjun bannerman Liu Tingji (1653-still alive 1715) described Yuan's calligraphy as a pastiche of various schools, calling it 'odd and foreboding,' and noted that Yuan cared little for poetry, a typical pursuit for Chinese scholars.

Liu Yuan also did not comfortably fit the labels of 'craftsman' or 'artisan', as his livelihood depended on vassalage rather than running a workshop, and he did not personally craft many of the objects he designed. Instead, he created drawings or wax models to ensure standardisation and correct execution of Imperial will.

His contribution as a Court designer began even while serving in the Wuhu customs house, evidenced by an exquisite body of ink-cakes he designed for his master. For the Kangxi Emperor's birthday in the third lunar month of 1678, he submitted one set as tribute, another in the fifth month of the following year, and a third offering in the sixth month. Although the exact number in each offering is unknown, these ink-cakes were meant to be ground up, submitted in identical multiples, but soon became too precious to use. The Qianlong Emperor, recognising their value, had the stash he found in the Imperial Household Department warehouse boxed in sets in 1738 and ordered duplicates made of some designs in 1770. For an examination of Liu Yuan's career, see D.Ko, The Social Life of Inkstones: Artisans and Scholars in Early Qing China, Seattle and London, pp.20-24.

Liu Yuan is best known as a pivotal designer for the newly reorganised Imperial Porcelain Manufactory, having supplied hundreds of models in the 1680s. Although these models are unsigned, scholars have identified several dragon vases as likely originating from his designs by comparing them with his known corpus of drawings and paintings. See for example, a large blue and white and copper red decorated baluster vase, with dragons amidst waves, Kangxi, in The British Museum, London, said to be based on a painting by Liu Yuan, illustrated by S.Pierson, Illustrated Catalogue of Underglaze Blue and Copper Red Decorated Porcelains in the Percival David Foundation of Chinese Art, London, 2004, p.108, no.C644, colour p.45. See also a blue and white vase with a dragon, Kangxi mark, in the Palace Museum, Beijing, illustrated by J.Hay, Sensuous Surfaces: The Decorative Object in Early Modern China, London, 2020, p.155.

The dragon in the art and material culture of the Kangxi Court was a form-shifting creature, a protean symbol of Imperial power inherited from the Chinese Imperial tradition, not yet stiffened into the formulaic visage seen on Qianlong ware. In the present vase we see the front-facing dragon's horns differently rendered, one in gilt and the other firmly outlined en grisaille. This gives the impression of creature moving through three-dimensional space, with one side partially obscured through clouds. In this dynamic environment, Liu Yuan experimented with the dragon form across various mediums, including porcelain, seals, ink-cakes, and inkstones. In a formal capacity, he was commissioned to design seals for the Empress dowager (featuring a dragon finial) and Imperial consorts (without a dragon finial). While the exact seals cannot be identified today, his friend Liu Tingji personally witnessed the wax models Liu created and submitted to the Ministry of Rites. See D.Ko, The Social Life of Inkstones: Artisans and Scholars in Early Qing China, Seattle and London, pp.20-29. For Liu Yuan's designs of dragons on ink sticks and ink stones, see also Luo Yang, 'Qinggai gongting gongyi meishu sheji dashi Liu Yuan ji qi zuopin' in Shoucangjia, 2012, 9, pp.15-19.

Tang Ying, the Commissioner of the Imperial Porcelain Manufactory, adapted the designs of dragons from Chen Rong and Liu Yuan further onto porcelain. A tianqiuping vase with related design of dragons amidst clouds bearing Tang Ying's inscription is illustrated in Ming and Qing official Wares: A Survey of Chinese Ceramics 4, 2007, p.178, no.76, while a brush pot is illustrated in Elegant Vessels for the Lofty Pavilion: the Zande Lou Gift of Porcelain with Studio Marks, Hong Kong, 1993, no.14. The Chen Rong style of dragons influenced Imperial ceramics more widely and may also be found on underglaze blue and carved celadon vases from the Imperial collection.

Whilst the Tang Ying pieces are well-known and widely appreciated, the present vase is in some ways even more exceptional. It is earlier, larger, even more ambitious in scope. The dragons on the present vase update the four-clawed dragon of Chen Rong to a five-clawed dragon which is the ultimate symbol of Imperial authority. Unlike the majority of porcelain with this design the vase includes a pair of dragons above a fish rather than a single beast. This refers to the legend of the carps that struggle upstream and can leap over the dragon gate and turn into dragons, encapsulating preservice and diligence. The painting on the vase also provides a conduit between the distinctive colour scheme of both the original Chen Rong painting and the Tang Yin porcelain examples with a combination of en grisaille and iron-red enamels and gilt embellishments.

The present vase serves as a remarkable synthesis of Chinese artistic tradition and Imperial authority. By reimagining Chen Rong's iconic dragons within the curving expanse of the vase, this vase transcends mere decoration to become a statement of power, continuity, and innovation. The five-clawed dragons, rendered with both grace and strength, re-affirm the Emperor's connection to Heaven and the legitimacy of his reign.

These objects indicate that multi-coloured clouds were already regarded as auspicious at the Qing Court well before Ortai's reports, and they were frequently incorporated into various decorative arts produced by Imperial workshops. Qing officials, well aware of the Yongzheng Emperor's tastes, skilfully catered to his inclinations. Although the Emperor claimed to avoid discussing omens, he frequently acknowledged auspicious signs, such as the 1734 spring snowfall, which he linked to Heaven's approval of his reign alongside symbols like lingzhi fungi, qilin, and phoenixes. The continuous production of objects adorned with cloud motifs during Yongzheng's reign reflects both the Emperor's demand for such designs and a shared understanding among designers and workshop supervisors of his keen interest in favourable portents. See Lin Lina, 'Auspicious symbols and scenes of the Yongzheng period', in Feng Mingzhu, Harmony and Integrity:  The Yongzheng Emperor and His Times, Taipei, 2009, pp.374–399.

Apart from the clouds however, the dish features two powerful five-clawed dragons, emblematic of Imperial authority, captured in dynamic poses as they converge on a central shou medallion, symbolising longevity. The dragons, painted with delicate washes of pink and green enamels, embody both strength and elegance. Adding to the dish's rich symbolism, eight cranes are gracefully depicted along the rim, invoking the Eight Daoist Immortals, each representing a unique blessing of life. On the exterior, ten red bats are meticulously painted, their presence a clever visual pun—the word for bat (fu) in Chinese is a homophone for blessings (fu)—enhancing the dish's representation of good fortune and longevity.

Compare with a similar large famille rose 'dragon' dish, Yongzheng mark and of the period, which was sold at Sotheby's London, 4 November 2020, lot 197. Another similar large famille rose 'dragon' dish, Yongzheng six-character mark and of the period, was also sold at Sotheby's Hong Kong, 9 October 2012, lot 3068.

Lending her grace and beauty to the sale is an exquisite finely cast, gilt-bronze sculpture of Green Tara. This exceptional and rare gilt-bronze figure (25cm high) was created in the Imperial workshops during the Yongle reign (1403-1424), a highpoint for bronze Buddhist sculpture. Tara, revered as a goddess of compassion and swift action, is celebrated as a protector and saviour. Adopting stylistic influences from Nepalese and Tibetan traditions, Tara is depicted with the status of an enlightened buddha, yet her form remains that of a youthful and graceful female bodhisattva, embodying both serenity and power. The goddess Tara held a particularly prominent place at the Yongle court and at least ten Imperial gilt-bronze figures of Green Tara are known to survive outside of Tibet, many held in museums around the world, including The Palace Museum in Beijing. The work, offered with an estimate of £150,000-200,000, was published in 2003 and has been with an English private collector since 2005.

Lot 70. A magnificent and rare gilt-bronze figure of Green Tara, Yongle-Xuande effaced mark and of the period (1403-1435); 25cm high. Estimate £150,000 - £200,000 (€180,000 - €240,000). © Bonhams 2001-2024

Exquisitely cast gently swaying and seated in lalitasana on a double-lotus base with beaded edges, the right foot resting on a single lotus issuing from the base, depicted with the hands held in varada and sharanagamana mudra, the face with a benevolent expression accentuated with downcast eyes beneath arched brows and a gentle smile, framed by a pair of pendulous earlobes adorned with ornate wheel-shaped earrings and an elaborate tiara enclosing a high chignon, further clad in ornamental jewellery and entwined with long multi-stemmed lotus flanking the shoulders, the effaced reign mark before the cascading pleats of the elegant dhoti.

Provenance: Marcel Nies Oriental Art, Antwerp, Belgium, by 2003
An English private collection, acquired from the above on 14 April 2005.

Published, Illustrated and Exhibited: Marcel Nies, Buddhists, Hindus and Jains, In Search of Perfect Beauty, Antwerp, 2003, pp.38-39.

Note: This finely cast, large gilt-bronze sculpture of Green Tara, known as the 'Mother of All Buddhas' or the 'Mother of the Victorious Ones,' was created in the Imperial workshops during the Yongle reign (1403-1424) or Xuande (1426-1435) period, as it shares certain stylistic characteristics with gilt-bronze sculptures from both reigns. Tara, revered as a goddess of compassion and swift action, is celebrated as a protector and saviour, liberating sentient beings from the cycle of samsara—the endless cycle of birth, death, and rebirth. Adopting stylistic influences from Nepalese and Tibetan traditions, Tara is depicted with the status of an enlightened buddha, yet her form remains that of a youthful and graceful female Bodhisattva, embodying both serenity and power.

In this exquisite depiction, Tara has one face, two arms, and is seated in a peaceful, relaxed pose. Her slender body gently sways, with her right leg extended, resting on a lotus cushion, and her left leg drawn up against her torso with curling toes. Her right hand, palm open in the gesture of supreme generosity, holds a lotus stem blossoming near her right ear. Her left hand, raised to her heart, holds between her thumb and ring finger an utpala, symbolising compassion. The eye at the centre of her forehead, symbolised by a raised cabochon between her eyebrows, represents her awareness of and engagement with the suffering of all sentient beings. Tara is seated on a throne of finely curled lotus petals, alluding to her mythic origin as a goddess born from a lotus bud rising from the tears of the Bodhisattva Avalokiteshvara, who wept for the suffering of the world; see G.Mullin, Mystical Verses of a Dalai Lama, New Delhi, 2003, p.57. Serene and slightly smiling, she wears diaphanous robes, richly adorned with jewellery, including necklaces, bangles, anklets, and large circular earrings.

The Green Tara's soft, rounded features and delicate proportions present a striking contrast to the sculptural traditions of earlier Chinese dynasties, such as the Song and Jin. Her broad shoulders, smooth, slender torso, and elongated legs draw clear inspiration from Indian artistic conventions, while her high cheekbones and gracefully arched eyebrows are characteristic of Nepali and Tibetan styles. These elements trace their roots to the rich artistic heritage of north-eastern India from the 11th and 12th centuries, which significantly influenced the aesthetic development of Nepal and Tibet.

The influence of Tibetan Buddhism on Chinese Buddhist art became particularly pronounced during the Yuan dynasty (1271-1368), when the ruling Mongols embraced it as their state religion. The Mongol Court's political and religious ties with Tibet, along with the exchange of gifts between the Imperial Court and Tibetan hierarchs, encouraged the integration of Himalayan styles into Chinese Buddhist art. Early 14th-century woodblock prints from the Yangshen Yuan Monastery in Hangzhou provide evidence of this stylistic shift; see H.Karmay, Early Sino-Tibetan Art, Warminster, 1975, pp.47-50. The Newar styles favoured in Tibet, introduced by Nepalese artists like Aniko, became central to Ming Court artistry. Aniko, a young Nepali artist brought to Beijing in 1262, became a key figure at the Mongol Court, overseeing Imperial workshops and establishing a tradition of superb bronze casting; J.C.Y.Watt, Defining Yongle: Imperial Art in Early Fifteenth Century China, New York, 2005, pp.61-101.

Under the Yongle Emperor Zhu Di (1360-1424), Tibetan Buddhist imagery flourished in Imperial workshops, and Tibetan Buddhism gained significant favour at Court. The Yongle Emperor's patronage of Tibetan religious leaders resulted in a large-scale production of gilt-bronze Buddhist images and ritual objects. More than fifty gilt-bronze figures bearing the inscription Da Ming Yongle nian shi ('bestowed in the Yongle era of the great Ming') have been documented in Tibetan monasteries, where they were sent as gifts from the Emperor; see Ulrich von Schroeder, Buddhist Sculptures in Tibet, Vol.II, Hong Kong, 2001, pp.1237-1291.

The goddess Tara held a particularly prominent place at the Yongle Court, and at least ten Imperial gilt-bronze figures of Green Tara are known to survive outside of Tibet. The present figure shares stylistic similarities with a beautiful gilt-bronze Tara (26cm high) from the Berti Aschmann Collection, now in the Rietberg Museum, Zürich; H.Uhlig, On the Path to Enlightenment, Zurich, 1995, pp.146-148, no.93. Other notable examples include one, Yongle six-character mark, (21.5cm high) in the Art Institute of Chicago; Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p.517, no.144D, another (25.5cm high) in the Chang Foundation, Taipei; J.Spencer, Buddhist Images in Gilt Metal, Taipei, 1993, p.114, no.50, and additional examples in Tibetan monasteries, as well as the Palace Museum in Beijing; Splendours from the Yongle and Xuande Reigns, Beijing, 2012, p.247, pl.122.

The present lot also shares certain stylistic elements from gilt-bronze figures from the Xuande period. Compare the jewellery for example, with that on a gilt-bronze figure of Tara, Xuande six-character mark and of the period, at the Qing Court Collection (acc.no.故00197804). A related Xuande statue of Avalokiteshvara in the Potala palace, Lhasa, is illustrated by U.von Schroeder, Buddhist Sculptures in Tibet, vol.II, Hong Kong, 2001, pl.359C. See also a related gilt-bronze seated figure of Avalokiteshvara, Xuande six-character incised mark and of the period, with similar lotus petals on the base, which was sold at Christie's London, 6 November 2018, lot 26.

Xuande bronzes share close stylistic similarities with Yongle sculptures, but they often exhibit a notable difference in scale. While the majority of Yongle bronzes are relatively small, typically ranging from nineteen to twenty-two centimetres in height, Xuande works are generally larger, averaging between twenty-five to twenty-seven centimetres or more. This difference in size reflects a subtle shift in aesthetic and purpose. The smaller Yongle bronzes, with their slim, elongated lotus petals on the pedestals, were often crafted as intimate, finely detailed pieces—ideal for gifts from the emperor. These delicate, small-scale figures embody a refined elegance characteristic of the Yongle period.

In contrast, larger-scale works from the Xuande period tend to exhibit a more monumental presence, yet the stylistic boundaries between the two periods blur, particularly in the case of larger Yongle bronzes, which can be nearly indistinguishable from their Xuande counterparts. While the vast majority of Yongle bronzes maintain a delicate, more diminutive appearance, the larger bronzes from both periods demonstrate the shared artistic heritage and craftsmanship of the Ming court, often leaving scholars to rely on inscriptions or minute details to differentiate between the two.

The variety of Tara sculptures from the Yongle and Xuande periods highlights the creativity of the Imperial workshops. Each figure maintains a balance between individual artistic expression and adherence to the standard stylistic features of the Yongle ateliers. The present Green Tara, with her willowy, ethereal form, exemplifies the sublime beauty and serenity characteristic of these exquisite Imperial bronzes, embodying compassion, grace, and the spiritual ideals of Tibetan Buddhism.

Remarkable collections also showcased

The Fine Chinese Art sale offers several remarkable collections from distinguished collectors and authorities in Asian Art, most notably the Martyn Gregory Collection, which will feature 30 artworks from port views to Imperial portraits. Martyn Gregory is the world's leading dealer in China Trade paintings and works relating to China by both Western and Eastern artists.

In addition, important private collections of exceptional Chinese ceramics and classical furniture will feature, to include a curated selection of highly sought-after huanghuali pieces from the 17th and 18th century.

Highlights from these collections include:

Lot 80. Property from the Li Fan Thompson Collection. A rare large blue and white fishbowl, Wanli six-character mark and of the period (1573-1620); 43 cm high. Estimate £100,000 - £120,000 (€120,000 - €140,000). © Bonhams 2001-2024

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The steep sides rising to a lipped rim, the exterior painted with a continuous scene of four fish including a mackerel, a whitefish, a carp, and a mandarin fish, swimming amongst leafy lotus and aquatic plants, the rim inscribed with a six-character mark in horizontal line. 

Provenance: an American East Coast private collection
S. Marchant & Son, London
The Li Fan Thompson collection, London, acquired from the above on 7 December 2009.

Published, Illustrated and Exhibited: S. Marchant & Son, Ming Porcelain, London, 2009, pp.74-75, cat. no.31.

Note: The four different types of fish depicted on the current lot are mackerel qing (鯖), whitefish ba (鲌), carp li (鯉), and mandarin fish gui (鱖).This combination was chosen for its phonetic resemblance to the words 青白礼贵 (qing bai li gui) which means 'incorruptible, honourable, and noble.' This design was invented during the Yuan dynasty, see a blue and white fishbowl painted with this subject in the collection of the Palace Museum, Beijing (acc. no.資陶瓷00010774). The design on the current lot seems to be directly inspired by similar Yuan porcelain prototypes. The motif became very popular during the Jiajing period of the Ming dynasty and was widely imitated by later generations. See a related wucai fishbowl, Jiajing mark and of the period, in the collection of the Musée Guimet, Paris, illustrated by D.Lion-Goldschmidt, Ming Porcelain, Fribourg, 1978, p.172, pl.151.

The current piece vividly showcases the Imperial artisans' remarkable mastery of cobalt pigment, creating an astonishingly rich visual effect. The bends and curves of the plant life complement the cylindrical form, adding depth and movement to the serene scene, making it feel more three-dimensional. The fish are drawn with dark violet-blue outlines and details over paler blue washes.

A very similar fishbowl, gifted by Walter P. Chrysler, Jr. (1909-1988), may be found in the Chrysler Museum of Art, Norfolk, (acc.no.1971.2585). The Shanghai Museum has a slightly smaller version of a carp-decorated fishbowl illustrated in Lu Minghua, Underglaze Blue and Red: Elegant Decoration on Porcelain of Yuan, Ming and Qing, Hong Kong, 1993, pl. 1-72.

Lot 141. Attributed to Giuseppe Castiglione (Lang Shining,1688-1766), Portrait of Prince Guogong (1733-1765), sixth son of the Yongzheng Emperor, Oil on Korean paper, with beaded gilt-wood frame and glazed; 52cm wide x 68.5cm high. Estimate £80,000 - £120,000 (€96,000 - €140,000). ​​​​​​​

Provenance: Martyn Gregory, London, acquired in 1999.

Published, Illustrated and Exhibited: Martyn Gregory, In the Wake of the Indiaman: catalogue 76, London, 2000, p.27, no.37
A Jackson & A.Jaffer, Encounters: The Meeting of Asia and Europe 1500-1800, London, 2003, p.308, no.23.13.

Note: The Jesuit artist Giuseppe Castiglione (郎世寧, 1688-1766) achieved a remarkable synthesis between European and Chinese styles through his masterful blending of perspective and shading with traditional Chinese materials and aesthetic restraint. This unique combination provided the emperor with 'enough of Western realism to delight him, but not enough to disconcert,' a delicate balance that made Castiglione's work particularly appealing to the Qing court. His skill in portraiture was particularly appreciated by the Yongzheng and Qianlong Emperors.

The present work belongs to a series of oil portraits characterised by a consistent format—frontal, bust-length figures against a blank background, and executed in oil paint on traditional Korean paper (Goryeoji, '高麗紙'). An analysis of the paper used in this portrait by Mr. Peter Bower reveals it is a blend of paper mulberry (Broussonettia papyrifera) with another fibre, likely the inner bark of the Than tree. Such blends were common in 18th-century China but are rarely found in later papers.

The aforementioned combination of format and media was used to depict both officials at the Imperial Court and members of the Imperial family. The records of the Imperial Palace Workshops, the Zaobanchu, give some mention of portrait painting activities relevant to the present work.
Perhaps the most useful comparable works to help create an attribution for the present work comes from a careful study of the eight portraits of Dzungar Mongolian tribal chieftains completed between 1754 and 1755 and now held in the collection of seventeen portraits of meritocratic officers in the Museum für Völkerkunde, Ostasienabt in Berlin.

The attribution of these works has been subject to change over time. Initially Rasidonduk and Veit (1990) assumed that all the works were of the hand of Jean-Denis Attiret (王致藏, 1702-1768). However, this was proved false by Wang, Ching-ling (2016) who noted the records of the Collection of Archives of the Imperial Household Department of the Qing dynasty stated Giuseppe Castiglione was the painter of the portrait of Dawaqi (d. 1759) from the set. Records also noted that at least some paintings from the set were created by Giuseppe Castiglione and Ignaz Sichelbarth (艾啓蒙, 1708-1780). He provides stylistic attributions to all the works from the group which critiqued by Wang Youmin (2020) ('On the Oil Portraits of Qing Dynasty Dzungar Mongolian Tribal Chieftains Collected in Berlin', Journal of Gugong Studies, vol 20) who provides new attributions, but neither Wang is able to provide definitive attributions beyond the Dawaqi portrait. 

Comparing the present portrait to the group, it shares the most common features common with the work with a definitive Castiglione attribution, the portrait of Dawaqi. This includes,
1. The specific make up of the eye - white of the eye in the upper left, the white highlight of the lacrimal caruncle, the shading of the white of the eye and the build up through shading and colouring of the edge of the eye and lid
2. The way the light falls across the face with a white spot on the end of the noise and white highlighting to the upper philtrum and between the eyes and the bridge of the noise
3. The naturalistic fold of the cartilage of the ear
4. The flattening of the jawline on the figure's right side as it goes down to the neck
5. The delineation of individual hairs on the moustache and eyebrows
6. The naturalistic folds of the clothing and buttons
Some of these features are shared between the present portrait and others of the eight works, but only these two works are the only ones which share all these similarities.
The closest of these remaining works are the portrait of Dawa attributed to Castiglione (Wang 2016; Wang 2020) which lacks point 1, 3, 5 and 6 whilst the portrait of Che Ling (1697-1758) attributed to being in part by Castiglione (Wang 2020) lacks points 1, 2, 3 and 6.

An attribution to Castiglione is also consistent with the status of the sitter who can be identified as Prince Guogong (1733-1765), the sixth and youngest son of the Yongzheng Emperor, half-brother of the Qianlong Emperor and one of only three of his brothers to survive to adulthood. Prince Guogong, known for his refined taste and cultural patronage, was a significant figure at the Qing Court. On the eleventh month of the 19th year of Qianlong (1754), Prince Guo was given charge of Imperial Household Workshop, Zaobanchu 造辦處, where all the Jesuit painters would have been under his supervision. He was there until he was promoted to Commandant at the Han Bordered Blue Banner in 1761. Later that year he was stripped of privileges by the Emperor for profiteering but after becoming ill in 1765, the year of his death, the Qianlong Emperor again promoted him to Prince of the Second Rank, and he was buried with the rites of a Prince of the First Rank. The Emperor lamented his death, at the age of only 31 and personally composed poems to commemorate his life.

At least three further portraits of Prince Guogong are known demonstrating the status of the prince. The first, an ink and colour study showing the young prince relaxing in a garden setting is in the collection of the Smithsonian Museum, illustrated by J. Stuart and E.S. Rawski, Worshipping the Ancestors, Chinese Commemorative Portraits, 2001, p.193 Appendix 1-1. Second, a full-length frontal portrait of the prince at an age younger than the present portrait seated in front of a Western-inspired alcove wearing a winter attire including a very similar hat and fur lined coat, illustrated by J. Stuart and E.S. Rawski, Worshipping the Ancestors, Chinese Commemorative Portraits, 2001, p.122 fig. 5-4. Third, a full-length frontal portrait of the prince illustrated by G.Dickinson and L.Wrigglesworth, Imperial Wardrobe, London, 1990, p.49 and sold at Poly Auctions, 4 October 2016, lot 3031. This resplendent work, depicting the prince in official robes, is very close to the present work in its treatment of the face.

The significance of the present work is not only as a portrait of a beloved brother of the Qianlong Emperor, and a significant member of 18th century Imperial household, but also as a window into Court life and Imperial artwork and its production. Unlike the seventeen Ziguang Pavilion hero portraits which are all signed, the present work is not, suggesting it was instead a one-off production. Furthermore, unlike the seventeen works, which all exhibit horizontal cracking from when they were rolled and removed from the palace, the present painting does not, indicating that it was stored in a different location, and would have found their way into a Western collection at a different time.

Cross-cultural exchange significantly enriched Chinese art during the Qing dynasty. It enabled the creation of works that were not only visually striking but also reflect a broader, more inclusive artistic vision. The legacy of Castiglione can be seen in the subsequent generations of Chinese painters who continued to explore and refine this harmonious blend of East and West. Through their pioneering efforts, these artists helped to forge a new artistic language that transcended cultural boundaries and continues to be celebrated for its innovation and beauty.

Lot 31. A rare huanghuali recessed-leg giant's arm braces table, 17th/18th century; 118cm long x 77.3cm deep x 84cm high. Estimate £50,000 - £80,000 (€60,000 - €96,000). © Bonhams 2001-2024

he table with a finely-grained single-panel top set within rounded corners within the wide, rectangular frame with gently grooved sides, above a plain waist and a plain, beaded apron, the legs of slightly grooved square section and joined to the frame by giant's-arm braces, the wood of warm honey tone.

Provenance: Ever Arts Classic Furniture Ltd., Hong Kong
A Danish private collection, acquired from the above on 24 June 2002.

Note: The subtle yet elegant features of the present table, such as the rounded corners of the top panel, as well as the gently grooved sides and legs, make it particularly rare and encapsulate the essence of literati taste which has been admired since the late Ming dynasty. Despite the dominance of straight lines, the smooth table top harmoniously complements the linear legs; in addition, the subtle curves gracing the S-shaped braces convey an overall sleek design.

Side tables, known as banzhuo, were often made in pairs and placed on either side of a hall for displaying objects, or used alone in rooms. For example, an illustration from a woodblock printed edition of 'The Monasteries of Luoyang' Luoyang Qielan Ji, written between 1573 and 1619, shows a scholar standing in front of a similar table as the present lot, which is laid with ritual objects; see Chu-Pak Lau, Classical Chinese Huanghuali Furniture from the Haven Collection, Hong Kong, 2016, pp.164, no.36.

The 'giant's arm braces' beneath the current table serve as crucial components in its construction, offering the furniture-maker the flexibility to forgo the more common stretchers typically required for structural integrity. Additionally, these braces provide added space for seating underneath the table, enhancing its practicality.

See a similar huanghuali table with 'giant's arm' braces, late 16th/early 17th century, illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, London, 2001, p.190, fig.12.10. Another related huanghuali square table with 'giant's arm' braces, is illustrated by G.Ecke, Chinese Domestic Furniture, Hong Kong, 1962, p.11, pl.10.

See a similar huanghuali table with 'giant's arm' braces, late 16th/early 17th century, illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, London, 2001, p.190, fig.12.10. Another related huanghuali square table with 'giant's arm' braces, is illustrated by G.Ecke, Chinese Domestic Furniture, Hong Kong, 1962, p.11, pl.10.

BEN JANSSENS ORIENTAL ART: FROM SPINK TO MAASTRICHT
1-11 November, online

Ben Janssens is a leading dealer in Asian Art. He was director of Spink & Son Ltd and Chairman of TEFAF Maastricht for seven years. His gallery was established in 1996, specialising in Chinese, Tibetan and Japanese works of art. The sale celebrates his decades of dealing in Chinese, Tibetan and Japanese Art and will feature approximately 80 curated lots, with the vast majority offered without reserve.

Highlights include:

- A Mughal Jade vase and cover, Qianlong/Jiaqing. Estimate: £40,000-60,000. Mughal and Mughal-style jades were one of the great passions of the Qianlong Emperor.

- Tibetan Gilt Bronze Figure of Vaishravana Riding a Lion, 15th century. Estimate: £15,000-20,000.

- An Imperial Cinnabar Lacquer Tao Yuanming Lobed Box and Cover, Qianlong six-character mark and of the period. Estimate: £12,000-15,000.

ASIAN ART
4-5 November, Knightsbridge

The two-day sale at Bonhams Knightsbridge presents approximately 400 lots including exquisite ceramics and works of art alongside a unique collection from Arthur Probsthain's bookshop. Such a large collection of Chinese books including Imperial volumes is extremely rare to see on the market. Founded in 1903, this iconic London bookshop has been a fixture at 41 Great Russell Street, opposite the British Museum, since 1905. For three generations, Probsthain's has been considered one of the foremost dealers in Chinese books in the Western world. The collection offered includes rare and remarkable pieces including a rime dictionary (an ancient genre of Chinese dictionary that records pronunciations for Chinese characters by tone and rhyme) compiled on Imperial command under the supervision of politicians and scholars, Yushu Zhang (1642 1711), Tingjing Chen (1639 1712) and others. It has a vocabulary of 10,258 characters distributed among 106 rhymes and was named after the Kangxi Emperor's library Peiwenzhai. This work is still the standard reference for scholars of classical Chinese poetry up to the present day. The dictionary, encased in two large rectangular wooden boxes is offered with an estimate of £4,000-6,000.

Rare volume from the Imperial Korean library in Changdeokgung Palace

A further significant lot in this remarkable collection includes Illustrations of Subjects in the Three Divisions of The Universe (sancaituhui), First edition, 1609. The volume was originally held in the Imperial Korean Huijeongdang library in the Changdeokgung Palace, recorded in palace documents in 1663. Estimate: £2,000-3,000.

Lot 220. Illustrations of Subjects in the Three Divisions of The Universe (sancaituhui), First edition, 1609; 27cm x 16.8cm. Estimate £2,000 - £3,000 (€2,400 - €3,600). © Bonhams 2001-2024

The volume focuses on various types of birds and their habits, the first section includes 46 folded pages, the second section includes 46 folded pages, the book spine with an inscription Huijeongdang representing the Joseon Imperial family.

Provenance: the Imperial Korean Huijeongdang library in the Changdeokguang Palace, possibly recorded in palace documents in 1663
Sunjo (1790-1834), the 23rd monarch of the Joseon dynasty
Arthur Probsthain bookshop.

Note: This volume is remarkable for its connection to the Korean Joseon Royal library, and being designated for use within the Korean King's quarters and as a first edition version of an important reference work.

The spine of the volume has been inscribed Huijeongdang (熙政堂), an area within the Changdeokgung Palace, the designated work place of the Joseon Kings.

Three seals on the first page of the volume give further evidence of the Royal Korean provenance of the volume. The upper seal appears to be a high ranking seal of Joseon. The lower seal is one of the seals of the 23rd monarch Sunjo (1790-1834) of the Joseon dynasty, sunjae (純齋), an alternative name for the monarch.

Official records from the Changdeokgung confirm the presence of this book in the library and for use in the palace. The present volume relates to birds, but the contents of the whole book is wide ranging in its scope. The Journal of the Royal Secretariat, 9th reign year of Hyeonjong, 1663 refers to the use of the book and images within it in the preparation of belts and costumes for ceremonial use. It is unclear how many copies of the book were present in the library but this copy was clearly one designated for daily use. In fact, sancaituhui was a widely used and trusted source of information for different aspects of life in Josean Dynasty. It was mentioned in historical materials such as Veritable Records of the Joseon Dynasty and Journal of the Royal Secretariat, showcasing its influence in foreign affairs, domestic life and courtly orders. The work was so popular that at least three copies are recorded in Kyujanggak, the main remnant of the royal library, also a few in Jangseogak, the other royal library collection.

The book may have been an official royal gift from the Chinese Imperial court or alternatively may have been purchased by Korean diplomats.

Further highlights from the Asian Art sale include:

Lot 88. A famille rose baluster vase, Qianlong seal mark and of the period (1736-1795); 26 cm high. Estimate: £12,000 - £15,000.(€12,000 - €18,000). © Bonhams 2001-2024

Elegantly potted with swelling shoulders surmounted by a cylindrical neck, brightly enamelled around the exterior with meandering lotus scrolls interspersed with auspicious bats at the shoulder and wan and ruyi motifs to the lower body, all between yellow lappets around the foot and pendent ruyi-heads above the shoulder, a band of upright leaves on the neck, the iron red mark to the base reserved against a turquoise enamelled ground.

Provenance: an English private collection.

Lot 179. A fine and large export silver tray, Mark of Hung Chong & Co (1830- 1925), Shanghai, circa 1900; 81.5cm wide across the handles. 44.5cm (deep). Estimate: £4,000-6,000 (€4,800 - €7,200). © Bonhams 2001-2024

Resting on three raised bat form feet and with entwined twin dragon handles, engraved to the centre with ladies at leisure in a pavilion garden and sages with a boy attendant, surrounding a central blank dedication panel, all within a border finely decorated with scenes of ladies, scholars and attendants in riverside gardens, stamped HUNGCHONG&CO and An Chang maker's mark to the base.

Provenance: a London private collection.

Lot 228. A boxed Imperial album of sixteen rubbings and woodblock prints from the Imperially inscribed Illustrations of Cotton, Yuzhi Mianhua Tu, Qianlong period, circa 1770s. The album 28cm high x 28cm wide. Estimate: £4,000-6,000.(€4,800 - €7,200). © Bonhams 2001-2024

Comprising sixteen double pages each with a woodblock print opposite a rubbing compiled by Fang Guancheng (1698-1768), zitan boards, pink silk liner, presented in a box, the zitan top delicately carved with bamboo and millet with a four character title inscribed Qianlong yuzhi.

Provenance: Arthur Probsthain bookshop.

Note: The Illustrations of Cotton Cultivation and Manufacture were engraved in intaglio on 12 heavy slabs of duan stone in 1765 based on the works by Fang Guancheng (1698-1768). Various albums were produced including a black rubbing version, a blue rubbing version, and a version combining rubbings and woodblock prints, like the current version. Another copy in Staatsbibliothek, Berlin.

COLLECTOR'S TREASURES: ASIAN ART ONLINE
4 – 12 November

This 165-lot sale features a wide selection of porcelain, jade carvings, glass ceramics and decorative arts. Collector's Treasures includes additional pieces from the Ben Janssens Oriental Art collection.