Lot 3362. A rare imperial lapis lazuli archer's ring, Qing dynasty, 18th-19th century; 1 1/8 in. (2.9 cm.) diam. Estimate 80,000 - HKD 120,000. Price realised HKD 106,250. © Christie's Images Ltd 2014.  

The ring is of characteristic cylindrical band form with one side finished with a convex surface and the opposite side with a slightly sloping edge. The exterior is incised in low relief around the sides with an eight-line Imperial inscription to either side of flowering coxcomb branches, box.

Provenance: A Japanese private collection, formed at the beginning of the 20th century
Sold at Christie's Hong Kong, 1 December 2010, lot 3135.

Lot 3363. A pink tourmaline 'Peach and Bats' pendant, late Qing dynasty; 1 1/8 in. (2.9 cm.) diam. Estimate 80,000 - HKD 150,000. Price realised HKD 350,000. © Christie's Images Ltd 2014.  

The piece is delicately carved as a peach growing upon a leafy stem surrounded by bats, one of which bears a wan symbol tied to a ribbon. The stone is of an even translucent tone, box.

Provenance: Consul Max Muller (1867-1960), acquired in Shanghai between 1905-1908.

Lot 3364. A rare pink and green tourmaline rosary bracelet, shou chuan, Qing dynasty, 18th-19th century; 11 1/4 in. (28.8 cm.) long. Estimate 150,000 - HKD 180,000. Price realised HKD 325,000. © Christie's Images Ltd 2014.  

The bracelet comprises eighteen dark green tourmaline beads, evenly divided by a larger pink tourmaline bead and a double-gourd bead suspending an irregularly-shaped toggle and finally terminating in two smaller pebbles, box.

Note: Apart from tourmaline, rosaries were made of a variety of precious and treasured materials, such as jade and jadeite, lapis lazuli, coral, ruby, turquoise and fragrant wood. Comparable examples may be found in the National Palace Museum, Taipei, illustrated in Qingdai Fushi Zhanlan Tulu, Qing Dynasty Costume Accessories, 1986, nos. 65-71. Compare also the tourmaline and aquamarine rosary sold at Christie's Hong Kong, The Imperial Sale, 30 April 2000, lot 626.

Lot 196. A small lac-burgauté box and cover, Qianli two-character mark, 18th century; 3.5cm (1 3/8in) wide. Estimate £ 3,000-5,000. Sold for £ 4,000 (€ 4,589). Photo Bonhams.

Of pental-lobed form, the cover with a central floret panel, each petal decorated with different diaper patterns, the interior with fruiting peach and jujube branches, Japanese wood box. 

Bonhams. FINE CHINESE ART, London, 12 November 2015

Lot 200. A zitan inlaid four-lobed box and cover, Late Qing Dynasty; 27.6cm (10 6/8in) wide. Estimate £ 20,000-30,000. Sold for £ 4,000 (€ 4,589). Photo Bonhams.

The cover finely inlaid with carved mother-of-pearl, jade and agate to depict flowering branches of prunus and foliage growing from layered rocks below two hovering birds, all within a border of keyfret repeated on the foot, the base recessed, the wood of an attractive dark brown tone, fitted box. 

Note: The fragrant and snowy-white prunus flowers symbolise rebirth and longevity as they start appearing during the winter period.

See two related four-lobed inlaid zitan boxes and covers, mid-Qing dynasty, from the Qing Court Collection, illustrated in The Complete Collection of Treasures from the Palace Museum: Bamboo, Wood, Ivory and Horn Carvings, Hong Kong, 2002, pls.233-234.

Bonhams. FINE CHINESE ART, London, 12 November 2015

Lot 202. A gnarled rootwood scrollpot, Late Qing Dynasty; 29.4cm (11 1/2in) high. Estimate £ 3,000-5,000. Sold for £3,750 (€ 4,302). Photo Bonhams.

The large pot of irregular form, naturally formed with flaring neck, gnarled branches and open apertures to the sides, with a flattened top, the wood of a light brown tone with tight striations. 

Bonhams. FINE CHINESE ART, London, 12 November 2015

Lot 209. Four rare cloisonné enamel 'flower' panels, Qianlong-Jiaqing period (1736-1820). Each 100.2cm (39 3/8in) long x 27.8cm (11in) wide. Estimate £ 100,000-150,000. Sold for £ 92,500 (€ 106,123). Photo Bonhams.

Each exquisitely enamelled in vibrant tones of blue, red, pink, white and green with an abundance of flowers, with an egret standing on patchy grass beside rockwork and long stalks of poppy, canopied by overhanging branches of wisteria perched by two yellow-feathered magpies; blossoming flowers of chrysanthemum and peonies issued on contorted branches extending from prominent porous rocks, the foliate petals finely and naturalistically rendered, above leafy sprays of day lily, narcissus, aster and begonia flowers, interspersed with a crawling cricket and a pair of butterflies in flight; the last panel depicting an auspicious early spring scene, with four swallows variously in flight and perched on a gnarled tree trunk issuing small pink and white prunus blossoms above bamboo stalks, the elegantly drooping branches borne with delicate flower buds, all reserved on a bright turquoise ground with an intricate wan pattern.

Provenance: Lady Anne M.S. Durston (d.1989), and thence by descent.

Note: The present lot would have been part of a larger screen, adorning palace halls and rooms. For a related twelve-leaf screen, mid-Qing dynasty, see Compendium of Collections in the Palace Museum: Enamels 4, Cloisonné in the Qing Dynasty (1644-1911), Beijing, 2011, pp.202-203, pl.147.

The abundance of flowers depicted on the present lot have embodied the panels with auspicious meanings, with each floral species representing diverse wishes, as blessings to the owner. Chrysanthemum represent longevity; peony symbolises wealth and opulence; whilst wisteria conveys the wish of achieving official rank in exams. Magpie, or Xique 喜鵲 resembles the character Xi 喜, or happiness, and is believed to herald good fortune. The depiction of magpie perched on prunus branches resemble the metaphor known as Xishang Meishao 喜上眉梢, or 'happiness up to the tips of one's eyebrows', celebrating the advent of spring, signified by the blossoming of prunus flowers.

The auspicious motifs and decorations conveyed by the present lot would have suggested it was part of a screen possibly adorning palace rooms and chambers, such as the setting of Chonghuagong, Hall of Double Brilliance in the Forbidden City, Beijing, as part of the Kang bed-stove, illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties (II), Hong Kong, 2002, pp.305, pl.2580

Bonhams. FINE CHINESE ART, London, 12 November 2015

Lot 3961. A small finely carved spinach jade cylindrical brush pot, bitong, Qing dynasty, 18th century; 4 3/4 in. (12.2 cm.) high. Estimate 1,200,000 - HKD 1,800,000. Price realised HKD 1,700,000. © Christie's Images Ltd 2012.  

The solid walls of the brush pot are deeply carved around the exterior with a continuous landscape scene with two immortals and an attendant before pavilions set amidst lush gardens of lingzhi, bamboo, wutong and plantain trees, steep rugged rocks, waterfalls and babbling brooks. The mottled spinach-green stone has paler moss-green and cream coloured areas, suffused with black striations.

Provenance: E.J.C. Vint
Property from the Vint Family Collection
Sold at Christie's Hong Kong, 3 December 2008, lot 2602.

Note: A very similar brush pot from the collection of Sir J. Buchanan-Jardine was included in the 1935-1936 International Exhibition of Chinese Art, Royal Academy of Arts, London, and is illustrated in the Catalogue, no. 2855 and may have been an influencing factor in the Vint Family's decision to acquire the present piece.

Christie's. The Imperial Sale, Hong Kong, 30 May 2012

Lot 3953. A fine imperial white jade bowl, Jiaqing incised four-character mark and of the period (1796-1820); 5 7/8 in. (14.7 cm.) diam. Estimate 500,000 - HKD 700,000. Price realised HKD 1,160,000. © Christie's Images Ltd 2012.  

The bowl is carved with rounded sides rising to an everted rim, supported on a short slightly splayed foot. The well-polished translucent stone is of an even white tone with very minor inclusions, stand.

Provenance: William Clayton Ltd, London, 1968.

Note: Compare with a few Jiaqing-marked examples, including an almost identical example sold at Christie's Hong Kong, 27 May 2008, lot 1958; another bowl incised with Jiaqing Yushang, 'Appreciated by the Jiaqing Emperor', is in the collection of the Capital Museum, Beijing, illustrated in Jade, Gems of Beijing Cultural Relics Series, Beijing, 2002, p. 202, pls. 239-240. A pair of bowls with reign marks are in the collection of Sir Joseph Hotung, illustrated by J. Rawson in Chinese Jade from the Neolithic to the Qing, British Museum Press, London, 1995, p. 400, pl. 29:13, and also included in the Min Chiu Society exhibition Chinese Jade Carving, Hong Kong Museum of Art, 1983, Catalogue, p. 252, pl. 226.

Christie's. The Imperial Sale, Hong Kong, 30 May 2012

Lot 3999. A rare imperial famille rose moulded and inscribed baluster vase, Jiaqing iron-red six-character seal mark and of the period (1796-1820); 14 1/2 in. (36.8 cm.) high. Estimate 3,000,000 - HKD 5,000,000. Price realised HKD 8,420,000. © Christie's Images Ltd 2012.  

The baluster body of the vase is moulded with four raised and gilt-edged cartouches. Two panels are inscribed in clerical script, lishu, and are divided by two further pictorial panels: one of egrets wading through a flowering lotus pond, and the other with a pair of birds seated on a magnolia branch amidst flowering tree peonies. The panels are reserved against a lime-green background, detailed with four pairs of blue-enamelled confronted archaistic phoenixes. These are set below four groups of bats in flight, each bat is suspending in its beak a pair fish tied to a musical chime, decorating the cylindircal neck. The neck is further designed with a band of ruyi heads on the underside of the everted mouth rim, and keyfrets on the short foot ring, box.

Note: The present decorative format in the combined use of floral decorations juxtaposed with related poetic inscriptions is known among a small group of famille rose decorated ceramics of the Qianlong and Jiaqing periods. A Qianlong-marked vase with panels reserved on a famille rose decorated gilt-ground is illustrated in Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, p. 155, pl. 137. Also from the Beijing Palace Museum is a Jiaqing-marked vase similarly inscribed with Qianlong poems, ibid., p. 192, pl. 169; where the author mentions the Qing Court archives recorded this particular group of ceramics as those that were commissioned for the Emperor Emeritus, the retired Emperor Qianlong, during the early Jiaqing reign.

The poems inscribed were two of the four composed by Emperor Qianlong which paid tribute to the four seasonal flowers: the peony, lotus, chrysanthemum and prunus. In this instance, the panels are in praise of the Spring flower, peony, followed by the two iron-red seals, Qian and Long; and the other is in praise of the Summer flower, lotus, and ends with Chen and Han, 'Written by His Majesty'. A comparable Jiaqing-marked baluster vase with similar decorations on a yellow ground was sold at Sotheby's Hong Kong, 11 April 2008, lot 2853. This cited example, without the moulded lobes found on the present vase, is enamelled to reserve four panels: two floral and two poetic inscriptions, in praise of Autumn and Winter.

The decoration of the musical chime being suspended on ribbons attached to a pair of fish and a bat in flight form the rebus: Fuqing Youyu, 'May you have an abundance of wealth and auspicious happiness'. These motifs were popular on famille rose ceramics of the Qianlong period. The present vase is more in keeping with the style of the Qianlong period and is highly comparable to the Qianlong-marked baluster vase inscribed with these same poems illustrated op. cit., 1999, p. 141, no. 123.

Christie's. The Imperial Sale, Hong Kong, 30 May 2012

Lot 4001. A rare pair of imperial famille rose inscribed covered bowls, Jiaqing Dingsi cyclical date, corresponding to 1797 and of the period; 4 7/16 in. (11.2 cm.) diam. Estimate 5,000,000 - HKD 8,000,000. Price realised HKD 4,820,000. © Christie's Images Ltd 2012.  

Each bowl is finely potted with everted sides. The exterior is enamelled in black with a poem written in standard script, followed by mid-Spring of the cyclical Dingsi date and two iron-red circular seals, Jia and Qing. The inscription is bordered, above the foot and below the mouth rim, with a gilt band of stylised kui dragons in the famille rose palette on a lime-green ground, and evenly divided by four Shou characters. The interior of the bowls and underside of the base are enamelled in turquoise. The base is inscribed with a six-character Jiaqing seal mark in iron-red. The matching covers are similarly decorated with the reign mark on the interior of the circular finial, boxes.

Provenance: Previously sold at Sotheby's Hong Kong, 20 May 1980, lot 237.

Note: The present pair of covered bowls are very rare and only one other pair, complete with their covers is known and was sold at Sotheby's London, 10 November 2010, lot 297. A related single covered bowl in the Shanghai Wenwu Shangdian is illustrated in Qingdai Ciqi Shangjian, Shanghai kexue jishu chubanshe, 1994, p. 202, no. 259. The pattern of the Shanghai bowl and cover varies very slightly in that it lacks the kui dragons on the famille rose bands, and as such would suggest it comes from a different set of tea bowls. It is interesting to note that the additional horizontal stroke on the character zhi, 'made', of the reign mark; it has been mentioned that this is typical of Jiaqing imperial wares, ibid, p. 202.

Tea drinking was a pastime enjoyed by Qing emperors. It is known that the Qianlong Emperor was particularly fond of tea-drinking and on his return from visiting Mount Wutai, Shanxi province, in 1746, his entourage sojourned to make tea using freshly fallen snow. In the brew, as well as Longjing tea leaves, were the additions of prunus blossoms, pine nut kernels and finger citrus. Qianlong was so impressed with the concoction that he composed a eulogy in its praise under the title of the San Qing Cha, 'Tea of the Three Purities', See Empty Vessels, Replenished Minds: the Culture, Practice and Art of Tea, National Palace Museum, 2001, p. 152. The present bowl was Emperor Jiaqing's attempt to emulate similarly inscribed tea bowls that were made during his father's reign. Compare with bowls inscribed with the San Qing Cha poem and both dated to 1746, illustrated op. cit., National Palace Museum, 2002, p. 152, no. 129, enamelled in iron-red; and p. 153, no. 129, a blue and white bowl (figs. 1 and 2).

The inscription on the present bowl would suggest that Emperor Jiaqing was also an avid tea-drinker. From the text the Emperor mentions that the first growth of tea leaves tributed to the Court in the Spring was of the best quality and ideal as a beverage being drunk on Spring mornings to warm away the winter chill. The poem is also found on related tea wares that were probably produced at the same time as the present bowls such as the lime-green ground famille rose tea pot and a floral-lobed tray; and a ruby-ground famille rose floral-lobed tray, all from the National Palace Museum Collection, illustrated, op. cit, 2002, pp. 190-191, nos. 169-171.

The dating of the present bowls suggests that these bowls were made in the 2nd year of the Jiaqing reign, and two years before the death of the retired Emperor Qianlong who was the then styled, Emperor Emeritus. It is not suprising, therefore, that the quality is very closely related to that found on pieces of the preceding Qianlong period.

Christie's. The Imperial Sale, Hong Kong, 30 May 2012

Lot 3115. A Pair of Doucai Tripod Incense Burners, Qing Dynasty, Danning Tang Zhi Marks and Period of Daoguang (1821-1850); 32 cm., 12 5/8  in. Estimate 350,000 — 450,000 HKD. Lot sold 1,240,000 HKD. Photo: Sotheby's.

each with a globular body raised on three stout baluster legs below a short cylindrical neck and a flanged rim, set with two S-shaped handles issuing from the shoulder and reinforced with a tab, brightly decorated in doucai enamels with four large lotus blossoms of alternating aubergine and yellow colour, each placed below a spray of peaches supporting a shou character in iron-red and wreathed in multi-coloured foliate scrolls interlinked with bats biting on a tassel, with further detached sprays of lotus on the legs and bats and lotus around the neck and on the handles, the base detailed with a flower medallion within a pink circle, the edges of the handles and outer rim picked out with multi-coloured key-fret, the latter inscribed in iron red with a four-character Danning Tang zhi hall mark within a horizontal panel reserved in white.

Sotheby's. Fine Chinese Ceramics and Works of Art, Hong Kong, 08 April 2014

Lot 3166. A white jade goose-form container, Liao-Jin dynasty (907-1234); 1 7/8 in. (4.8 cm.) long. Estimate 150,000 - HKD 200,000. Price realised HKD 187,500. © Christie's Images Ltd 2014.  

The pebble is carved in the form of a goose with its feet tucked underneath, its long slender neck bent backward to form a loop for suspension, its plumage rendered by incised lines. The even white stone has sporadic pale russet 'skin' and natural fissures.

Lot 3160. A yellow and russet jade carving of a dog, Song dynasty (960-1279); 3 3/8 in. (8.6 cm.) long. Estimate 350,000 - HKD 450,000. Price realised HKD 475,000. © Christie's Images Ltd 2014.  

The stone is carved in the form of a recumbent dog with a long slender body, its spine and ribs detailed with ridges. The material is of a greenish-yellow tone with extensive area of dark russet 'skin'.

Lot 3165. An openwork jade carving of two birds, Jin dynasty (1115-1234); 2 1/8 in. (5.3 cm.) long. Estimate 100,000 - HKD 150,000. Price realised HKD 137,500. © Christie's Images Ltd 2014.  

Carved as a swan in an upright position bending its long neck to one side, utilising the creamy and russet part of the stone, surmounted by a smaller bird and ornamental rock highlighted by the darkish-grey section of the stone.

Lot 4011. Emperor Xianfeng (Reigned 1852-1861), Couplet in large standard script calligraphy. Estimate 250,000 - HKD 350,000. Price realised HKD 620,000. © Christie's Images Ltd 2012.  

Provenance: Sold at Christie's Hong Kong, 29 April 2002, lot 502.

Christie's. The Imperial Sale, Hong Kong, 30 May 2012

Lot 4036. A rare set of four embroidered dragon roundels, Qing dynasty, 19th century; 11 1/4 in. (28.5 cm.) diam. Estimate 150,000 - HKD 250,000. Price realised HKD 300,000. © Christie's Images Ltd 2012.  

Provenance: Linda Wrigglesworth, London.

Note: With the exception of the empress dowager and the highest-ranking members of the emperor's harem, women were not entitled to attend the audiences and ceremonies for which surcoats with rank-badges were worn. Manchu womens' insignia coats called longgua, differed from their male counterparts in style and decor. Womens' overgarments were full-length and, for the highest-ranking women, bore eight roundels with long, or five-clawed dragons. After 1759, the empress and empress dowager were assigned two types of surcoats: the first type was decorated only with roundels, the second had a lishui, or standing water border at the hem with eight roundels on the field above. See G. Dickinson and L. Wrigglesworth, Imperial Wardrobe , London, 1990, pp. 186-9.

The two highest ranks of imperial consorts and crown princesses were allowed to use both styles of longgua. The three lower ranks of imperial consorts had the same styles of longgua, but profile gui, or curly three-toed dragons were displayed in the roundels on the skirts rather than long dragons. All other imperial princesses and noblewomen wore full-length insignia overcoats, bearing the same badges as their husbands.

The roundels cut from the shoulders of this longgua bear four of the Twelve Symbols of Imperial Authority: the sun on the right shoulder and the moon on the left (as one looks at the robe), constellation at the chest and mountain at the back. The costume legislation of the mid-eighteenth century, which added these ancient symbols of sovereignty to the ritual and ceremonial costume of the Qing emperors for the first time, did not mention the use of any of these symbols for other ranks. In previous dynasties, the nobles and officials who assisted the emperor at the principal annual sacrifices were entitled to wear these ancient symbols on their robes, but in lesser numbers. Several Qing court robes survive, including ones for women, which bear two, four, eight or even all twelve of the symbols. Most of these apparent expressions of official privilege date from the later nineteenth century, when Qing power was in decline and dowager empresses served as regents to child emperors.

Christie's. The Imperial Sale, Hong Kong, 30 May 2012

Lot 4027. An imperial noblewoman's kesi surcoat, longgua, Qing dynasty, late 19th century; 54 3/4 in. (139.1 cm.) long. Estimate 400,000 - HKD 500,000. Price realised HKD 375,000. © Christie's Images Ltd 2012.  

Provenance: Phillips London, early 1980s
Linda Wrigglesworth, London.

Exhibited: Fitchburg, Massachusetts, Fitchburg Museum of Art, Costumes from the Forbidden City, May 1989.

Note: Imperial noblewomen wore surcoats called longgua or 'dragon coats' with semi-formal court dress. Eighteenth century sumptuary laws, based on the Huangchao liqi tushi ('Illustrated Precedents for the Ritual Paraphernalia of the Imperial Court') promulgated by the Qianlong emperor in 1759, specified two distinct styles. The first was decorated on the body with eight roundels and a rainbow-striped hem. The second style was decorated with up to eight roundels but had no striped hem. The primary means of identifying the wearer's rank was the number and portrayal of the dragons; front-facing being superior to profile dragons. The first style was restricted to the empress and imperial consorts of the highest ranks. Imperial consorts of the fourth and lowest degree wore front-facing dragons on the upper body but highly conventionalized gui long dragons in the lower four roundels and were not permitted to have the striped hem.

Other imperial noblewomen were only allowed the second type of surcoat, without striped hem, and had to display their husband's insignia. These rules appear to have been properly adhered to during the eighteenth century. But, by the late nineteenth century, almost all Manchu noblewomen were wearing surcoats decorated with eight roundels and a rainbow striped hem. This example combines various elements of earlier designs including the eight roundels, as well as profile dragons on the chest and back.

Compare the kesi surcoat of similar date illustrated by J.E. Vollmer, Decoding Dragons: Status Garments in the Ch'ing Dynasty China, University of Oregon Museum of Art, 1983, pl. 49, as well as the earlier example (late 18th century) also illustrated by J.E. Vollmer, Silks for Thrones and Altars, Chinese Costume and Textiles, Paris, 2003, pp. 42-3, no. 16. Both of these examples have bands of dragons instead of dragon roundels above the lishui stripe at the cuffs. However, another noblewoman's surcoat sold at Christie's New York, 22 March 2007, lot 465, also of late nineteenth century date, is embroidered with the eight dragon roundels and has the same configuration of roundels at the cuffs as the present lot.

Christie's. The Imperial Sale, Hong Kong, 30 May 2012

Lot 244. An embroidered brown-ground 'dragon' robe, 19th century; 133cm (52 3/8in) long. Estimate £ 5,000-7,000. Sold for £ 10,000 (€ 11,497). Photo Bonhams.

The robe of brown silk finely worked in couched gold threads with nine five-clawed dragons on the front and back panels, one on the underflap, the dragons chasing flaming pearls amidst a ground of multi-coloured clouds interspersed with bats and shou characters, above a hem of cresting waves tossed with the Eight Buddhist Emblems, and the lishui stripe, the collar and cuffs of black silk further embellished with further dragons, clouds and auspicious symbols, the lower sleeves gilt striped. 

Provenance: a British private collection.

Bonhams. FINE CHINESE ART, London, 12 November 2015