Elegant Embellishments: Featuring the RenLu Collection - New York I September 21, 2020 - Bonhams
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Elegant Embellishments: Featuring the RenLu Collection New York I September 21, 2020
Elegant Embellishments:
Featuring the RenLu Collection
New York | Monday September 21, 2020 at 10am
BONHAMS BIDS Bruce Maclaren
580 Madison Avenue +1 (212) 644 9001 Vice President
New York, New York 10022 +1 (212) 644 9009 fax +1 (917) 206 1677
bonhams.com bruce.maclaren@bonhams.com
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PREVIEW www.bonhams.com/26224 Ming Hua 華銘
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bidding for this auction. Jacqueline Towers-Perkins - 2068426-DCA ILLUSTRATIONS
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International Chinese Works of Art
and Paintings Team
Global
Asaph Hyman
Global Head, Chinese Art
Colin Sheaf
Deputy Chairman
Dessa Goddard
US Head, Asian Art
Asia
Xibo Wang
Hong Kong
Keason Tang
Hong Kong
Iris Miao
Hong Kong
Europe
Benedetta Mottino
London, New Bond Street
Edward Luper
London, New Bond Street
Rachel Hyman
London, Knightsbridge
Rosangela Assennato
London, Knightsbridge
Aude Louis Carves
Paris
USA
Bruce MacLaren
New York
Ming Hua
New York
Daniel Herskee
San Francisco
Ling Shang
San Francisco
Amelia Chau
San Francisco
Dick Lin
San Francisco
Australia
Rachel Du
Los Angeles
Yvett Klein
Sydney
Asia Representatives
Bernadette Rankine
Singapore
Bobbie Hu
Taipei
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
4 | BONHAMS
The Ren Lu Collection 潤廬品金
The RenLu Collection is a love story. A collection of scholars works of art, furniture, sculpture and jewelry accumulated through years of acquiring one special object at a time. Each one a token of my father’s devotion and love for my mother — or at least that was his justification. My father is well known as a designer, with impeccable taste, and as a creator of fine objects and furniture. He is also an avid student of Chinese antiques and is always curious how they were created, what motivated the maker, and how individual personality and character is portrayed through the pieces. What most people do not know about him is his love for Chinese gold jewelry. His passion started during his business trips to China to work on his contemporary collections. This passion soon became his favorite pastime. Since he is a “maker” himself he was acutely aware, and in awe, of the intricate detail and work in the jewelry. He would be delighted and find joy in the whimsy and characteristics of each piece. He justified his collecting passion by saying they were birthday gifts, anniversary gifts, and holiday gifts for my mother - any reason to buy another special piece. Few people have seen or know about this collection. My father is a very private person, and that both insulates him and fosters a blissful naiveté of pure pleasure for my parent’s collection. From the craftsmen who create and communicate with their hands to the scholars that study the objects, those are the people with whom my father has an easy rapport. He is uncomfortable in the spotlight and would much rather be in a lively discussion with craftsmen prob- lem-solving and creating. He is able to ancient techniques to create modern pieces that are relevant yet steeped with history. And in doing so, he is considered an internationally renowned designer. My father was raised in a family that revolved around art, and mak- ing art is what he knows best. His father, Ming Chiao Kuo, was a calligraphy artist whose paintings are in the permanent collection of the Vatican Museum and the Natural History Museum in Taiwan. His applied art (cloisonné) was collected by museums and also given as diplomatic gifts to foreign visitors by Madame Chiang Kai-shek. Fam- ily friends included people like Li De (artist/professor), Mo Tian (artist), Max Chi Wai Liu (watercolor artist), Li Lin Can (vice director of National Palace Museum), Ma Bai Sui, and my grandfather’s mentor Jiang Zhao He who my grandfather lived with for 3 years before he left Beijing. This collection is my father’s way of sharing part of himself with others, his quirkiness, whimsy, joyfulness, and amazement at life - through the stellar objects that live in this collection. 6 | BONHAMS
潤盧收藏講述了一個愛情故事。收藏中的每一件文人畫、家
具、雕塑、珠寶首飾都是我父親在經年歲月中為我母親精挑細
選而得，以此作為他們鹣鲽 情深的見證。至少他是這麼解釋的。
我的父親是一位以品味超卓，能工巧匠而聞名的設計師。同時
他也是一位對中國古董癡迷而恭敬的爱好者。每件藝術品的創
作過程，背後的創作動機，以及透過它們流露出的匠人迥異的
個性和氣質通通都令他著迷。但很少有人了解我父亲對中國金
飾的熱情。有一次我父親去中國處理他当代艺术 品收藏的一些
相关事宜，卻意外發現了對中國金飾的喜愛。從此以後收藏金
飾很快發展成他最喜歡的消遣活動。由於他本人也是“匠人”
的緣故，我父親總能敏銳地注意到首飾中精巧繁複的細節，并
對之充滿珍愛甚至敬重之情。每一件首飾體現出的奇思妙想
都使他由衷感到快樂。他總以給我母親送禮物為由不停地收
藏獨特的首飾，生日、結婚紀念日、節假日，任何一個機會都
不會錯過。這個收藏幾乎無人知曉。我父親為人十分低調而注
重私密，這使他與世隔絕的同時也成全了我父母間純真而甜蜜
的幸福。
從以手工製品托物言志的匠人，到研究這些物件的學者，我父
親都能與之相談甚歡，相處融洽。但他不喜歡成為聚光燈下的
焦點，相較而言，與工匠進行一場解決問題或構思設計的討論
反而更使他自在愉快。他能用傳統的技法創造出飽含歷史韻味
又不失現代功能的設計，因此他被認為是一個享有國際盛名的
設計師。
我父親在一個充滿藝術氛圍的家庭中長大，因此藝術創作是他
最擅長的。他的父親郭明喬是一位書法藝術家，作品收藏於梵
蒂岡博物館和台灣自然歷史博物館中。他的景泰藍作品也被若
干博物館收藏，并曾作為外交禮物被蔣中正贈與各國友人。往
來的好友也大多是藝術家，包括李德（藝術家/教授），莫田
（藝術家），劉其偉（水彩畫家），李霖灿（原台北故宮博物
院副院長），馬白水等。蔣兆和曾是我爺爺的導師，搬到北京
之前兩人曾朝夕相處了三年之久。
潤盧收藏中這些如恆星般閃耀的藝術品，一件件都講述著我父
親的故事，講述著他的古怪，他的異想天開，他的快樂以及他
對生活的驚歎。
ELEGANT EMBELLISHMENTS | 7
Elegant Embellishments In the ‘Tributes of Yu’ chapter of the Book of Documents it is thus The flavor and appearance of gold and silver varied from era to era, recorded: “Its articles of tribute were three types of metal (gold, silver, each with its own beauty. and copper)”. Legend has it that more than four thousand years ago, in I first set foot in the field of Chinese antique collecting in 1979, acquiring the era when Yu was separated into nine states, the metallic tributes from numerous objects, directing my attention towards articles made from the areas along the Huai and Yangzte rivers were said to be separated wood, gold and silver, as well as other miscellanea. Afterwards, I into three levels of quality. Since early times then, China has held the spent many hours crisscrossing America, Hong Kong, Taiwan and the commodities of gold and silver as symbols of wealth and identity, Mainland. During my travels I had numerous excellent teachers and and the collection of gold and silver decorations as the exclusive helpful friends that provided lots of assistance, including Jan Stuart, provenance of the nobility. Na Chih-Liang, Wang Shixiang. While I was interacting with them, The fifty lots of gold and silver forming the ‘Elegant Embellishments’ I ceaselessly studied the materials, forms, and techniques of China’s collection is comprised of hair ornaments, earrings, necklaces, bangles, classical artworks, gradually getting a sense of the Eastern philosophy ‘ear cups,’ belt hooks and mat weights. Especially noteworthy within inherent in the techniques and craftsmanship of the ancient artisans the ‘Elegant Embellishments’ collection are the early gold and silver of these objects. decorations, rarely seen on the market. In 1984, I founded a company in West Hollywood. Because of Because of the scarcity of the commodity itself, in addition to the my continued research and collection of China’s ancient arts, my intricacy, complexity and virtuosity of the artistic creativity of their perspectives widened, and my business development process was accomplished artisans, gold and silver objects have historically greatly inspired. Regardless of an artwork’s material or region or date of been held in high esteem by the imperial family and the aristocracy, manufacture, the prerequisite for the creation of any good piece of art serving variously the functions of currency, reward, tribute, and objets is to recognize clearly the relation between old and new as well as the d’art—their preservation a valuable witness to their historical and melding of Eastern and Western elements—this has been of extremely cultural legacy. important significance in my search for design inspiration. Due to many varied reasons, though the early gold and silver decorations After its policy of Reform and Opening, I traveled nearly everywhere have a high cultural and economic value, they have always been a searching for pieces I loved and that had their own artistic feel, the act somewhat neglected category. The most readily visible of these older of collection becoming my own systematic process, creating a far- types of gold and silver are for the most part found in the collections of reaching influence upon my design. Of these objects, the collection of cultural institutions, inaccessible for the private collector. gold and silver was formed between 1979 and 2005. Very few pieces The accumulation of pieces forming this dedicated ‘Elegant entered my care after that. Embellishments’ collection was both via a lengthy process over an The objects included in this ‘Elegant Embellishments’ sale were the best extended period of time as well as via occasional chance encounters items chosen by me from the many years I spent collecting. Gold and of serendipity. When I was in college, I helped my father, painter Kuo silver are rare precious metals, especially gold which does not oxidize Ming Chiao in the business of cloisonné. During its production I was or decompose easily. Though a thousand years may pass, the work brought in contact with the field of Chinese artistry and handicrafts. still shines like new, regarded as treasure to be passed through the It was specifically the craftsmanship of gold and silver items from the generations. Spring and Autumn, and Warring States periods through the Eastern The soul of gold and silver collection is in the aesthetics of form and and Western Han that struck me as particularly interesting and inspired craftsmanship, these are the things most worthy of our attention. Gold me towards their collection and research. and silver artifacts where the form and materials are both of equally In the ‘Elegant Embellishments’ auction, Lot 300, A rare inlaid gilt bronze high quality are not commonly seen. That I could briefly possess belt hook, Warring States, and Lot 308, A fine and rare inlaid bronze these perfect testaments to history gives me a heartfelt sense of garment hook, Warring States/Western Han period, one can see that gratitude and joy. the production technology of these pieces is adapted and extrapolated The level of complexity and elegance of the craftsmanship, as well as its from techniques for soldering and casting bronzes. Engraving, gold weight and color decide the price of a piece of gold and silver. However, and silver inlay, and gilding are notable features of gold and silver from to a collector, to evaluate a piece’s value, it is even more important to this era. consider its cultural and historical significance. The decoration and form of the Song dynasty gold and silver pieces ‘A beauty’s necklace, a marquis’ kingly seal; all come dredged from trended towards more simple elegance. The patterns and subject matter sands and waves.’ I hope that these timeless masterpieces can continue of Lot 316, A pair of gold ‘bird’ earrings, and Lot 324, A pair of gold to elegantly accompany modern man. bracelets took their inspiration from the natural world. The appearance ‘Gold and silver of luminous shine; brilliant beauty in all directions.’ of these shapes and motifs was closely linked to a renewed aesthetic and artistic focus in the Song dynasty upon mood and feeling. ROBERT KUO Objects of the Ming and Qing dynasties were cast in forms solemn, sumptuous and resplendent, redolent of a notably imperial aura. Lot 318, A pair of gold ‘figural’ earring pendants, moves with a rustic simplicity, whereas Lot 335, A gold ‘dragon bracelet, is an exquisite technical tour de force, elegant and stately. 8 | BONHAMS
潤盧品金
《尚書·禹貢》記載「厥貢惟金三品」——傳說四千多年前禹分 美。我從1979年開始涉足中國古代藝術品收藏，以木器、金銀
九州的時代，淮揚之地進貢的金屬已經分為三等。中國自古以 器、雜項為方向，積累了很多藏品。此後，我把很多時間用在
黃金白銀為身份財富象徵，金銀器更是專屬貴族的收藏。 穿梭於美國、香港、臺灣、大陸之間，在這段旅程中，有很多
「潤廬品金」專場五十組金銀器中，有發飾、耳飾、頸飾、臂 良師益友為我提供了許多幫助，Jan Stuart、那志良、王世
釧、耳杯、帶鉤、席鎮等飾件。比較特別的是，「潤廬品金」 襄……在與他們的交往中，我通過對中國古代藝術品材質、造
專場彙集多件高古時期的金銀器，這在市場上很罕見。 型、工藝的不斷學習，逐漸摸索到古人製作器物的技巧和工藝
因為金銀本身的稀缺性，加上能工巧匠繁複精絕的藝術創作， 之中蘊含的東方哲學。
金銀器歷來為皇家、貴族推崇，被賦予貨幣、賞賜、供奉、觀 1984年，我在美國西好萊塢成立公司，因為持續研究、收藏中
賞等功能，是歷史文化珍貴的遺存和見證。 國古代藝術品，開拓了我的視野，在創業過程中得到很多啟
受很多因素限制，高古金銀器雖然文化價值、經濟價值很高， 發，不論材質、地域、年代，做好藝術品的前提是認清舊與新
但一直是偏冷僻的門類，大家能夠經常見到的金銀器，大多屬 的關係、東方與西方元素的融合，對我找尋設計靈感也有著非
於文博藏品，私人無法庋藏。 常重要的意義。
「潤廬品金」專場的這些藏品，也都是經過漫長的時間和偶然 中國改革開放後，我到各個地方找尋自己喜愛且具有藝術感的
的機緣才收集到的。我大學時幫父親郭明橋（畫家）經營景泰 藏品，形成了自己的收藏體系，對我的設計也產生了深遠的影
藍，在製作過程中接觸到中國工藝美術的領域，對春秋戰國 響。其中，對金銀器的收藏，時間從1979年到2005年，之後就
和兩漢時期的金銀器製作工藝特別感興趣，有了研究和收藏 很少入手了。
的發心。 本次「潤廬品金」專場中的器物，是從歷年來我收集到的藏品
從本次「潤廬品金」專場中的Lot 300：戰國銅鎏金包銀嵌寳 中精選出來的。金與銀都是稀有的貴金屬，尤其是黃金不易氧
帶鈎、及Lot 308：戰國/西漢時期局部鎏金銅錯銀嵌松石雙獸 化腐蝕，歷經千年，仍新亮如初，被視為傳世之寶。
首帶鈎，人們能夠看出製作工藝是青銅器冶煉和鑄造工藝的移 工藝、造型的美感是金銀器收藏中最為靈魂，最應值得關注的
植和延伸。鏨花、金銀錯、鎏金是這一時期金銀器的特色。 東西。造型和品質俱佳的金銀器並不常見，我為能短暫擁有過
宋代金銀器在造型和紋飾上變得素雅。Lot 316的半月形鳥紋 這些見證了歷史的美好器物，感到由衷的感激和歡喜。
金耳環、及Lot 324的金跳脫均為很好的範例。Lot316紋樣取 金銀器工藝的複雜性及精美程度，重量及成色決定著一件器物
材於自然，這種造型風格的出現，與宋代以心境意緒為藝術和 的價值高低。對藏家來說，考量其價格更要看器物本身所包含
美學主題的審美有密切的關係。 的人文價值和歷史價值。
明清金銀器造型莊重，華麗繁縟，宮廷氣息濃厚。Lot 318的 「美人首飾侯王印，盡是沙中浪底來。」希望這些穿越時空的
人物金耳墜生動古樸; 而Lot 335：雙龍首金手鐲，技巧細膩 佳作，可以成為現代人優雅的陪伴。
精工，雍容華貴。 金銀曜爍，美熠四方。
金銀器在每個時期表現出的氣息和面貌很不一樣，各有各的 ROBERT KUO
ELEGANT EMBELLISHMENTS | 9300 300 A RARE INLAID GILT BRONZE BELT HOOK Warring States period The gilt bronze surface cast as a feline mask embellished with twisted sashes heightened with raised commas enclosing a circular plaque inlaid with six radiating clusters of degraded stone, and joined to a silver housed shaft terminating in a dragon-headed hook, the gilt underside supported by a broad stud. 4 1/4in (10.7cm) long US$6,000 - 8,000 戰國 銅鎏金包銀嵌寳帶鈎一件 For a closely related belt hook, see Inspired Metalwork: Precious Metal Objects in Early Chinese Art by Gisèle Croës (Brussels, 2005), p.54. Compare an inlaid belt hook from the Junkunc collection sold by Sotheby’s New York, 9 March 2019, lot 114. See also a belt hook of related shape, published in Julia White et al Adornment for the Body and Soul: Ancient Chinese Ornaments from the Mengdiexuan Collection (Hong Kong: The Univ. Museum and Art Gallery, 1999), p 110. 10 | BONHAMS
301
301
A RARE GILT BRONZE MODEL OF A SILKWORM
Han dynasty
The segmented body solid cast and supported on four paired legs
on the dimpled body, the neck and lifted head further segmented and
with three paired legs, large patches of gilding evident under the rich
encrusted patina.
2 7/8in (7.4cm) long
US$10,000 - 15,000
漢 鎏金蝅形銅飾一件
The worship of the silkworm can be traced to the Shang Dynasty (
1600 – 1027 BCE ) when it was common to make human sacrifices
during the silkworm ceremony. Representations of the silkworm are
associated with the domestication, rearing of the silk worm, and the
all-important silk weaving industry which was part of the essential
economy of China. From the 3rd Century CE the spirit of the silkworm
personified the Empress Xiling after which the spirit of the silkworm
was worshiped in a special ceremony officiated by the Empress
every year during the second half of the lunar month, with offerings of
mulberry leaves and woven silk at a special altar set up in the silkworm
temple or palace. See examples in the Minneapolis Museum of Art; Gift
of Ruth and Bruce Dayton 96.55.1; J.J. Lally & Co., Chinese Works of
Art May 27-June 18, 1998, no. 21,
潤廬品金 ELEGANT EMBELLISHMENTS | 11303
303
TWO GILT BRONZE BEAR-FORM SUPPORTS
Han dynasty
Each hollow cast and seated with left fore-paw on folded leg and right
fore-paw on well-rounded thigh, each head downcast with gaping
mouth showing large teeth and surrounded by a large ruff under
pointed ears framing small eyes, the deep sockets and rounded belly
cast to receive inlays, the back of each figure cast with a perforated
lug for attachment.
1 3/8in (3.5cm) high (2).
US$8,000 - 12,000
302
漢 铜鎏金熊形器足兩件
302
Bears were depicted in Chinese art at least as early as the Shang
FOUR GILT BRONZE ANIMAL SCULPTURES
dynasty (c. 1600–c. 1050 BC). The bear imagery was popular during
Han dynasty
the Han Dynasty symbolizing heroic power and has been associated
Each hollow ornament cast in high relief with a recumbent panther or
with legendary rulers. Bears are observed in Han art as integral
feline, the well-defined head resting on back haunches.
supports for bronze, lacquer and ceramic vessels, as solid-cast
Average length: 1 1/8in (2.8cm)
bronze sculptural mat-weights, in molded ceramic tiles, in textiles and
Average height: 3/4in (2cm) (4).
as carved jade and hardstone figures. For a fine inlaid example, see
Ancient Chinese Bronzes and Gilt Bronzes from the Wessen and Other
US$2,500 - 4,000 Collections (Eskenazi, Ltd., London, 11-25 July 1980) no. 22. See
also a small gilt bronze bear mat weight sold at Christie’s New York,
漢 銅鎏金獸雕四件 17 March 2015, from the Robert Ellsworth collection, a closely related
seated bear in the Cleveland Museum collection (acquisition number
Hollowed Ornaments such as these were used as either mat 1994.203), and a set of four Han bear support fittings in the National
weights with the addition of filler，or part of a horse bridle or saddle Museum of Korea, (acquisition number Bongwan 4799).
embellishments.
For a related group, see Christie’s, New York, 16 March 2017, lot 851,
from the Erwin Harris Collection, Miami, Florida.
12 | BONHAMS304 305
304
A JADE BIRD-FORM BELT HOOK
Late Warring States/Early Western Han dynasty
Raised on a large circular stud for attachment, elegantly carved with
long tail feathers set off by a short neck and slender head turned
back to form the hook, the stone a pale greenish-yellow with white
alterations from burial.
1 3/8in (3.5cm) long
US$3,000 - 5,000
戰國晚期/西漢早期 鳥形玉帶鈎一件
306
See a closely related bird-form belt hook published by J.J. Lally &
Co., New York, June 1 to 25, 1994, catalog 41. Bronze examples of
306
this type are illustrated in Bernhard Karlgren, Chinese Agraffes in Two
AN INLAID GILT BRONZE BELT HOOK
Swedish Collections (Stockholm, BMFEA, 1966), no. 38, pl. 75. See
Warring States period
also Sotheby’s New York, September 10, 2019, lot 238.
The curved shaft set with a supporting boss under a central recumbent
dragon head rendered in gilt and silver sheet set with turquoise
305 separating a further dragon head on one end and a serpent-headed
TWO PARTIAL GILT SILVER HANDLE FITTINGS terminal on the other, the top ridge with turquoise inlay amidst areas of
Han dynasty degradation.
Of a curving boat-form, each fitting decorated in gilt with angled 8 3/8in (21.2cm) long
geometric patterns to the exterior walls.
5 3/8in (13.7cm) long (2).
US$3,000 - 5,000
US$2,000 - 3,000
戰國 銅鎏金包銀嵌松石雙獸首帶鈎一件
漢 漆耳杯錯金銀扣一對
Metal fittings of this shape were used to ornament the ear-shaped
handles of lacquered vessels during the Han dynasty.
潤廬品金 ELEGANT EMBELLISHMENTS | 13307 307 A GILT BRONZE EAR CUP Han dynasty The concave oval dish raised on a shallow foot and worked with two small flanges on opposing long edges, the surface richly gilt. 4 1/8in (10.5cm)long; 1in (2.5 cm) high US$6,000 - 9,000 漢 銅鎏金耳杯一件 For a spectacular jade version of this type of vessel, see the Western Han example sold in our Hong Kong rooms，5 April 2016, lot 36. This shape (also called yushang), popular during the Western and Eastern Han dynasties, can be traced back to the Warring States period. Han examples in lacquer, rock crystal, and bronze have also appeared at auction. See also a Liao example from the Songzhutang Collection, sold in our same room on 30 May 2017, lot 59 . 14 | BONHAMS
潤廬品金 ELEGANT EMBELLISHMENTS | 15
308 A FINE AND RARE INLAID BRONZE GARMENT HOOK Warring States/Western Han period Imaginatively cast on the crest with a mythical winged bixie, its long tail and open mouth joined to a curved shaft finely inlaid with silver and turquoise and terminating in gilt bronze hooks, one end in the form of a fantastic bear, the precocious animal standing on hind legs in a dynamic pose with front paws resting on powerful thighs and mouth agape, the opposing hook modeled as a dragon head with ears laid back flanking deep-set eyes, the whole with patches of green encrustation and supported by a knop for attachment. 8 3/8in (21.3cm) long US$20,000 - 30,000 戰國/西漢 局部鎏金銅錯銀嵌松石雙獸首帶鈎一件 There are two turquoise inlaid belt hooks of thin elongated shape published in Julia White et al Adornment for the Body and Soul: Ancient Chinese Ornaments from the Mengdiexuan Collection (Hong Kong: The Univ. Museum and Art Gallery, 1999, pp. 109 and 111; the former dated to the Warring States period and the latter as Han. See the gold harness fitting with a bear design published in Simon Kwan and Sun Ji Zhongguo Gudai Jinshi [Chinese Gold Ornaments] (Hong Kong: Muwen Tang Meishu Chubanshe, 2003), pp. 232- 233. Sun there notes that this artifact is likely related to recent archaeological finds excavated from the area of the modern city of Guangzhou. 16 | BONHAMS
308
潤廬品金 ELEGANT EMBELLISHMENTS | 17309 310
309
A GILT BRONZE BELT HOOK
Warring States/Western Han period
The curved shaft designed as the body of a long-tailed bird and
elegantly cast with broad raised spirals tapering to a narrow beaked
head set off by opposing c-shaped tail feathers
US$2,500 - 3,500
戰國/西漢 銅鎏金鳥首帶鈎一件
310
A GOLD INLAID BRONZE GARMENT HOOK
Han dynasty
The tapered shaft finely inlaid in gold and silver in a geometric pattern
of interlocking spirals and banded lozenges extending the length of the
crest to the dragon-head hook, the underside showing traces of inlay
on the large button for attachment.
4 1/2in (11.5cm) long
US$2,000 - 3,000
漢 銅錯金銀幾何紋龍首帶鉤一件
Belt hooks with this elegant and fluid geometric design can be found
on Warring States and Western Han lacquer and painting. For a
discussion of this, see a related example published in Julia M. White
311
and Emma C. Bunker, Adornment for Eternity (Denver, Denver Art
Museum, 1994), catalog no. 27, page 108. Compare also a similar
example from the Kempe collection, sold at Sotheby’s London, 14
May 2008, lot 24, and published in Bo Gyllensvard, Chinese Gold and
Silver in the Carl Kempe Collection (Stockholm, 1953), cat. no 78,
and another published and exhibited in Ancient Chinese and Ordos
Bronzes (Hong Kong Museum of Art, Hong Kong 1990）, cat. no 134.
18 | BONHAMS312 313
311 313
A GILT BRONZE GARMENT HOOK A GILT BRONZE AXE-HEAD GARMENT HOOK
Warring States period Han dynasty
The curved panel cast as a powerful dragon head, the bulging eyes Cast in the form of a flattened axe-head inlaid with fine gold in a
and curved horns forming the center of the crest under a narrow neck geometric pattern of whorls and c-commas, and joined to the hook
extending to a bird-head hook with open beak. by a taotie mask carefully inlaid in gold along with the narrow shaft
3in (7.7cm) long terminating in a dragon head hook, the details further accented in gold
inlay, the reverse boss once inlaid and now covered with a malachite
US$3,000 - 5,000 patina.
3 1/2in (8.8cm) long
戰國 銅鎏金鳥形帶鈎一件
US$3,000 - 5,000
See a comparable hook published in Simon Kwan and Sun Ji
Zhongguo Gudai Jinshi [Chinese Gold Ornaments] (Hong Kong: 漢 銅錯金饕餮紋斧形龍首帶鈎一件
Muwen Tang Meishu Chubanshe, 2003), pp. 224-225, no. 85.
Several hooks from the Warring States period through the Han with
312 repeating geometric inlay patterns reminiscent of the present lot
A GOLD AND SILVER INLAID BRONZE BELT HOOK are illustrated in Julia White et al Adornment for the Body and Soul:
Han dynasty Ancient Chinese Ornaments from the Mengdiexuan Collection (Hong
The plump shield-form body elegantly inlaid with two addorsed birds Kong: The Univ. Museum and Art Gallery, 1999), pp. 107-114. See
sharing a central ‘tail’, each head and claw finely executed in silver notably the example described as a ‘garment hook’ on p. 113 with the
under gold inlaid bodies extending to flared ‘wings’ bordered in silver wide body like that of the present lot.
above a bovine head at the base, and upward to further silver talons
at the narrow neck of the serpent head, the underside with extensive Compare a related example from the Sze Yuan Tang collection, sold at
silver bands of geometric pattern inlaid under the domed stud, Christie’s New York, 16 Sept 2010, lot 862, and in the British Museum
together with a ring of plain hammered silver. (acquisition number 1936,1118.113) dated Warring States to Han.
3in （97.7cm) long (2).
US$4,000 - 6,000
漢 銅錯金銀鳥獸紋帶鈎及銀環各一件
潤廬品金 ELEGANT EMBELLISHMENTS | 19314
315
314 315
A GOLD INLAID BRONZE GARMENT HOOK TWO BRONZE ANIMAL-SHAPED ORNAMENTS
Han dynasty Han dynasty
Elegantly inlaid with a cut gold geometric pattern of continuous The first a bird-form finial dingshi cast with a broad tail and crescent-
c-commas and volutes extending toward a well-modeled bird head, shaped body supported by a circular socket; the second a miniature
the design accented by silver wire inlays repeated on the sides and the vessel modeled as a crouching tiger resting on folded legs, its mouth
raised boss. open forming a spout and tail curled back joining a narrow curved
6in (15.3cm) long handle, the body with incised details.
finial 41/4in (10.8cm) long, 3 1/8in (7.9cm) high
US$3,000 - 5,000 tiger vessel 4in (10.1cm) long; 2in (5.1cm) high (2).
漢 銅錯金嵌銀絲龍首帶鈎一件 US$3,000 - 6,000
For a Han example of an elongated hook with geometric pattern and 漢 動物形青銅飾物兩件
turquoise inlay，see Julia White et al Adornment for the Body and
Soul: Ancient Chinese Ornaments from the Mengdiexuan Collection See an elaborately cast and inlaid bronze dingshi finial sold in these
(Hong Kong: The Univ. Museum and Art Gallery, 1999), p. 111. For a rooms on 16 March 2015 as lot 2001, and a finely detailed bronze
Warring states version, see ibid p. 107. example as 2002. The tiger-form vessel has its larger comparable in
animal-form vessels. See a fine example of a larger type in J.J. Lally.
Compare also a related Warring States example with elaborate Archaic Chinese Bronzes, Jades and Works of Art (June 1 to 25,
gold geometric pattern inlay published in Simon Kwan and Sun Ji 1994), no 59.
Zhongguo Gudai Jinshi [Chinese Gold Ornaments] (Hong Kong:
Muwen Tang Meishu Chubanshe, 2003), pp. 220-221.
20 | BONHAMS潤廬品金 ELEGANT EMBELLISHMENTS | 21
316
317
316 317
A PAIR OF GOLD ‘BIRD’ EARRINGS, ERHUAN TWO GOLD ‘CELESTIAL DEITY’ EARRINGS, ERHUAN
Song dynasty 10th-14th century
Each rendered in the form of a bird with an open beak, its curving Each decorated with a deity seated on floating clouds holding a fruit-
body resembling the shape of a crescent moon, etched with stylized like offering in two hands, the figure’s head surmounted with a crown,
feathers, the tail thinning into a distinctive 几-form pin. framed by a halo with incised lines, the curving pin thinning towards its
7/8in (2.2cm) wide from head to tail (2). tip.
1 3/8in (3.5cm) long excluding pin (2).
US$3,000 - 5,000
US$4,000 - 6,000
宋 半月形鳥紋金耳環一對
十至十四世紀 仙人雲紋金耳環一對
Simple crescent moon-shaped earrings represent one of the distinctive
jewelry designs during the Song dynasty. For further discussion on In Zhongguo Gudai Jinyin Shoushi (Beijing: Gugong, 2014), Yang
this subject，refer to Zhongguo Gudai Jinyin Shoushi, Yang Zhishui Zhishui states that earrings carrying the images of young boys or
(Beijing: Gugong, 2014), vol. 1, p. 282. celestial figures were favored during the Song and Yuan dynasties.
The popularity of such themes continued into the Ming dynasty (vol.
Compare a similar example in Ancient Chinese Gold Earrings, The 2, p. 614). In his book Yang refers to two pairs of earrings, both
Cheng Xun Tang Collection, Xu Xiadong (Hong Kong, Arts of Asia, featuring a figurine design, excavated from the same Ming burial site in
2006), vol. 36, no. 6, p. 75, pl. 10. Also, a related pair of earrings was Daqiangmen, Wuxi.One pair was made in gold, the other in gold inset
referred in The Art of the Chinese Goldsmith, The Cheng Xun Tang with jade (p. 615, pl. 6.19.1 & 6.19.2).
Collection (Hong Kong: Art Museum, The Institute of Chinese Studies,
The Chinese University Hong Kong, 2007), The referred pair was found Refer to a set of eight small gold ornaments depicting the Eight Daoist
from a Northern Song Tomb dated to 1090 CE in Pengze, Jiangxi Immortals, originally applied to a gold headband that belonged to
Province (Part II, pp. 216-217, no. D19). a Ming dynasty princess. The figurines were unearthed in Jiangxi
Province and published in Chinese Gold Ornaments, Simon Kwan and
Sun Ji (Hong Kong: Muwen Tang Fine Art Publication Ltd., 2003), pp.
470-471, pl. 311. Deity images were often utilized during the Ming
dynasty to ornament gold jewelries. Compare also lot 318 in this sale,
a pair of Ming dynasty gold ‘figural’ earring pendants. The figures are
depicted in a lively and yet austere fashion, exhibiting some similarities
with the style of the present earrings.
22 | BONHAMS318
318
A PAIR OF GOLD ‘FIGURAL’ EARRING PENDANTS, ERZHUI
Ming dynasty
Each rendered as a female figure in layered leaf-form robes standing
on a flower pedestal and carrying a basket on her back containing a
lingzhi branch, identified either as the Deity of Medicine yaoshen or as
Maonu, her rounded face framed by thick hair and surmounted with a
large lotus blossom with a wire loop in the center for attaching a pin.
2in (5.1cm) high overall (2).
US$8,000 - 10,000
明 人物金耳墜一對
A virtually identical pair of earrings was recovered from a Ming (Yongle
period) burial in the Xu Da Family cemetery near Nanjing in the 1970s.
The figure decorating the earrings is identified as the Yaoshen (Deity of
Medicine) in Jin yu Yu (金與玉，2004). The earrings are also published
and illustrated in Zhongguo Gudai Jinyin Shoushi (Beijing: Gugong,
2014), vol. 2, p. 623, pl. 6.24. Yang Zhishui, author of the book, states
that the depicted figure is in fact called Yujiang, known as Maonu
(hairy girl) – an immortal known after the collapse of the Qin dynasty.
The information related to Maonu is recorded in the Han dynasty book
Liexian Zhuan (Biographies of Immortals).
Compare also another example of an almost identical figure appearing
on a hairpin, excavated from a Ming tomb in Qizhou County, Hubei
Province, illustrated in The Golden China, Gold Artifacts of Ancient
China, (Nanjing: Nanjing Museum, 2013), pp. 342-343.
It is believed that there were inlaid beads on each of the flower petals
above the figure’s head, now missing.
潤廬品金 ELEGANT EMBELLISHMENTS | 23319
A GOLD FLOWER HAIRPIN, ZAN
Ming dynasty
The tapering shaft with subtly beveled top and decorated with incised
lotuses to the upper section, supporting a slightly tilted neck encircled
by thin rings below an angled flower head and three sensitively
rendered leaves.
5 3/4in (14.7cm) long
US$2,500 - 3,500
明 花卉紋金簪一支
There are many different terms for hairpins in Chinese depending on
the design, and how and where they are used for. Broadly, hairpins can
be classified as zan (one-tined hairpins) and chai. (two-tined hairpins).
zan can be found in use by both men and women, while chai is mostly
reserved for women.
319
In Chinese Gold Ornaments (Hong Kong: Muwen Tang Fine Art
Publication Ltd., 2003), Simon Kwan and Sun Ji point out that the
zan was more popular than chai during the Ming dynasty, when there
exist a greater variety of shape and design on the shaft of the zan style
hairpins (p. 100), such as featuring two beveled sides sloping from
the central raised ridge as shown in the present example. Other zan
hairpins with alike shaped shafts are illustrated on page. 101, pl. 213.
320
A GOLD ‘DRAGON’ HAIRPIN, CHAI
Yuan dynasty
The two-tined hairpin gently curved, cast and chased to the upper
portions with two confronting dragons joined by a flower head, the
prongs rendered thin and flat.
6 1/2in (16.5cm) long
US$3,000 - 5,000
元 卷龍紋金釵一件
In Chinese Gold Ornaments (Hong Kong: Muwen Tang Fine Art
Publication Ltd., 2003), Simon Kwan and Sun Ji discuss the curving
finishing seen on hairpins during the Yuan and early Ming dynasties, as
well as the gold hairpins with coiled dragon design which is peculiar
to the Yuan dynasty (pp. 458-460, pl. 299 and 300). In addition, a
set of seven gold head ornaments, included a similarly decorated
320
gold hairpin, excavated from a Yuan dynasty burial at Zhoujiatian in
Huangpi, Hubei province, are illustrated in Ancient Chinese Cultures of
Gold Jewellery and Ornamentation by Yang Boda (Arts of Asia, March-
April 2008), vol. 38, no. 2, pl.58.
Compare also similar examples in Radiant Legacy; Ancient Chinese
Gold from the Mengdiexuan Collection by Jenny F. So (Hong Kong:
The Chinese University, 2013), Part II, pp. 112–113, no. 3, and
in Chinese Gold and Silver in the Carl Kempe Collection by Bo
Gyllensvärd, (Stockholm, 1953), p. 121, pl. 63.
24 | BONHAMS321
321
A GOLD HAIRPIN WITH FLOWER DECORATION, TONGZAN
12th-14th century
Worked in beaten gold sheet folded into a hollowed, slightly tapering
shaft, the upper section with repoussé flowers and leaves between
two key-fret bands, crowned with a flower head top further decorated
with raised leafy blossoms.
8 3/4in (22.2cm) long
US$8,000 - 12,000
321 (detail)
十二至十四世紀 花紋金筒簪一支
Compare a gold nail-form hairpin with floral design and dated to the
Southern Song dynasty, illustrated in Chinese Gold Ornaments (Hong
Kong: Muwen Tang Fine Art Publication Ltd., 2003), p. 395, pl. 240.
Simon Kwan and Sun Ji compare the illustrated gold hairpin to a
similar example unearthed from the Zhu Family cemetery and dated to
year 1197 in Jiangxi province. P. 394.
In addition, Yang Zhishui described a related gold hairpin, excavated
from a Yuan dynasty tomb in Hunan province, illustrated in Zhongguo
Gudai Jinyin Shoushi (Beijing: Gugong, 2014), vol. 1, pp. 176-177, pl.
3.15.5. In contrast to the Song hairpin, the shaft of the Yuan dynasty
hairpin appears to taper more dramatically, and finished with a thinner
tip.
潤廬品金 ELEGANT EMBELLISHMENTS | 25322 323
322
A GOLD ‘DRAGON’ AIRPIN, CHAI
Yuan dynasty
The two-tined hairpin molded and chased with two coiled dragons
topped with a flower blossom, the shafts hammered flat.
5 1/2in (14cm) long
US$3,000 - 4,000
元 卷龍紋金钗一件
Compare two very similar gold hairpins excavated from a Yuan
dynasty tomb belonged to the Huang Family in Yuanling, Hunan
province, illustrated in Zhongguo Gudai Jinyin Shoushi, Yang Zhishui
(Beijing: Gugong, 2014), vol. 1, p. 152, pl. 4.3.1 & 4.3.2.
See also gold hairpins cast and chased with a twisted dragon design,
illustrated in Radiant Legacy, Ancient Gold from the Mendexuan
Collection, Jenny F. So (Hong Kong: The Chinese University, 2013),
vol. 3, p.113, pl. C & D, as well as in Adornment for Eternity by Julia
M. White and Emma C. Bunker (Denver Art Museum, 1994), p. 192,
pl. 105, where the authors note that the “twisted gilt hairpins of this
two-tined type have also been found in Inner Mongolia and appear to
belong to a type that originated in the north and was brought to the
south during the Yuan dynasty.” (p. 192).
322 (detail)
26 | BONHAMS324
323 324
A PAIR OF GOLD DRAGON-FORM BRACELETS, QIANZHUO A PAIR OF GOLD BRACELETS, TIAOTUO
Ming dynasty or earlier Song-Yuan dynasty
Each penannular-form bracelet with a solid, rounded shank flattening Of circular form, each made from a long strip of gold sheet, one side
towards its terminals, with worn hammered details to present a pair of hammered with two parallel grooves, the narrower ends wrapped with
facing dragons. spiraled wire, terminating in loops surrounding the body of the bracelet
2 5/8in (6.7cm) wide (2). to create a spring-like effect for expansion.
2 3/4in (7cm) diameter (2).
US$7,000 - 9,000
US$8,000 - 12,000
明或更早期 雙龍紋金鉗鐲一對
宋元 金跳脫一對
The rudimentary format of the bracelets appears to have taken
inspiration of the jue-form gold bracelets found as early as the Shang In Zhongguo Gudai Jinyin Shoushi (Beijing: Gugong, 2014), Yang
and Zhou dynasties. Jue(玦）is distinctive design better known in early Zineng mentions of a pair of related silver bracelets from the Song
Chinese jade carving characteristically presented in the form of a ring dynasty excavated from a site in Jiangxi (p. 327). He suggests that
with a small break in the circumference. bracelets during this period could be divided into looser types versus
tighter types. Aspects of the present lot suggest that it is one of the
A group of gold jue-form jewelries excavated from Shang and Zhou ‘looser’ types as he describes it.
tombs near Beijing are illustrated and discussed in Chinese Gold
Ornaments (Hong Kong: Muwen Tang Fine Art Publication Ltd., In Chinese Gold Ornaments (Hong Kong: Muwen Tang Fine Art
2003), P. 41, no. 49, and pp. 136-137, pl. 137. Simon Kwan and Publication Ltd., 2003), Simon Kwan and Sun Ji make note of a gold
Sun Ji point out that the measurements of this group of distinctive bracelet (tiaotuo), found in a Song dynasty burial site in Luoyang,
gold jewelries vary notably. It is believed that they could have been which is nearly identical to the present pair, illustrated on p. 84, no.
bracelets, earrings, or nose ring hoops. This group of penannular-form 161.
gold jewelries all feature a rounded shank and flattened termini but in a
flared, ‘trumpet shape’. It is possible that the present pair of bracelets Compare another related example in Celestial Creations, Art of the
evolved from the early gold jue-form jewelries. Chinese Goldsmith, The Cheng Xun Tang Collection Part 1 (Art
Museum. The Institute for Chinese Studies, The Chinese University
Hong Kong, 2007), pp. 220-221, no. D23,
潤廬品金 ELEGANT EMBELLISHMENTS | 27325 326
325 326
A PAIR OF GILT SILVER AND RUBY EARRINGS, ERHUAN A PAIR OF GEMSTONE-INSET GOLD EARRINGS, ERHUAN
Ming/early Qing dynasty Ming dynasty
The pendant of each earring modeled as a single flower head with The lavish pendant of each earring modeled with two plum flower
a central ruby cabochon set within a roped collar surrounded by heads below a butterfly-shaped design to the front and reverse, and
realistically rendered flower petals housing granulated balls, the curving paired by intricate tubes enmeshed with thin wires, each flower head
flower stem issuing from behind served as the pin. and the butterfly adorned with a central ruby cabochon set within a
1/2in (1.3cm) diameter of pendant (2). high collar, the top surmounted with a long, elaborately curved pin
rising between a pair of flanking leaves.
US$2,000 - 3,000 1 1/2in (3.8cm) long excluding pin (2).
明/清初 鍍金銀嵌寶石花形耳環一對 US$5,000 - 7,000
For additional gold ‘flower head’ earrings with inlaid precious stones, 明 嵌寶石蝶趕梅花金耳環一對
refer to Adornment for the Body and Soul, Ancient Chinese Ornaments
from the Mengdiexuan Collection, Emma C. Bunker and Julia M. Long wire pins and elaborate, layered gold work with sumptuous
White with Jenny F. So (Hong Kong, the University of Hong Kong precious stone inlays are characteristic of Ming dynasty jewelry and
Museum Society, 1999), p. 301, pl. 145， and The Art of the Chinese was a style favored by the Ming Imperial Family. Similar examples were
Goldsmith, The Cheng Xun Tang Collection (Hong Kong: Art Museum, found in the Mausoleum of Ding Ling according to Zhong Guo (Beijing:
Institute of Chinese Studies, The Chinese University Hong Kong, 1989), pl. 126.
2007), Part II, pp. 462-463, no. G65.
The combination of a butterfly or a bee and flower blossoms on
Gold earrings with inset gemstone decoration are seen in both the gemstone-inlaid jewelry belongs to a distinctive motif common
Ming and Qing dynasties. But generally, the earring pins from the Qing during the Yuan and Ming dynasties, called feng die gan hua (bee
dynasty tend to be thinner and more delicate than the bolder and and butterfly chasing flowers). For more information related to this
thicker pins shown in the present pair of earrings. prototype, refer to Zhongguo Gudai Jinyin Shoushi by Yang Zhishui
(Beijing: Gugong, 2014), vol. 2, p612-614.
For detailed treatment and workmanship similar to the present pair
of earrings, compare a gemstone-inlaid gold hairpin illustrated in
The Golden China, Gold Artifacts of Ancient China, (Nanjing: Nanjing
Museum, 2013), p. 330, p. 333, and p.345.
28 | BONHAMS327
327
A PAIR OF GEMSTONE-INLAID GOLD HAIRPINS, ZAN
Late Ming/early Qing dynasty
Each single-tined hairpin decorated with bamboo stalk pattern to
the flattened shaft, branching into large filigree lotus blossoms and
buds inset with red cabochon rubies and sapphires interspersed
with lively leaves.
5 1/2in (14cm) long (2).
US$6,000 - 8,000
明末/清初 金纍絲嵌寶荷花簪一對
Gold hairpins with branched flowers and embellished with inset
gemstones were fashionable in the Ming and Qing dynasties. For
more examples, refer to Zhongguo Gudai Jinyin Shoushi, Yang
Zhishui (Beijing: Gugong, 2014), vol. 3, pp 812-818, and The
Golden China, Gold Artifacts of Ancient China, (Nanjing: Nanjing
Museum, 2013), p. 350, p. 360, and p. 362. Similar pair of earrings
is also published and illustrated in Art of the Chinese Goldsmith, The
Cheng Xun Tang Collection (Hong Kong: Art Museum, The Institute
of Chinese Studies, The Chinese University Hong Kong, 2007), Part
II, pp. 568-569, no. H27.
327 (detail)
潤廬品金 ELEGANT EMBELLISHMENTS | 29328 328 AN IMPRESSIVE GOLD ‘LONGEVITY’ HAIRPIN, TONGZAN Late Ming dynasty Made by rolling a beaten gold sheet into a tapering shaft with an openwork lotus reserve between repoussé bands, the shaft slightly curved toward the top and terminated in a mushroom head with a pierced shou character between two additional shou roundels. 9in (22.9cm) long US$8,000 - 12,000 明末 蘑菇首壽紋金筒簪一支 According to Yang Zhishui, the distinctive shape of this hairpin, characterized by its long conical shaft gently angled toward a mushroom-form head, was fashionable during the Ming dynasty. This type of hairpins was generally used by men and was also made in other materials, including jade, agate, and amber. Compare a pair of gold hairpins of this type, unearthed from the Xu Da Family cemetery of the Ming dynasty in Nanjing, measuring 11.5cm, published and illustrated in Zhongguo Gudai Jinyin Shoushi (Beijing: Gugong, 2014), vol. 2, pp. 438-439, pl. 5.43. The present example is distinctive for its unusually large size. See also a similar gold hairpin in Celestial Creations. Art of the Chinese Goldsmith, The Cheng Xun Tang Collection (Art Museum, The Institute for Chinese Studies, The Chinese University, Hong Kong 2007), Part II, pp. 396-397, no. G28. 30 | BONHAMS
329
329
A CRYSTAL AND GOLD BEAD NECKLACE
The crystal： Liao dynasty or later
The bead crystals carved as flattened ovals, melon shape，or fish-
form set between hollow gold beads of various sizes linked to a
cylindrical neck piece, wrapped gilt wire chain for suspension.
14 5/8in (37cm) long
US$10,000 - 15,000
水晶金珠項鏈一條
水晶：遼或晚期
Emma Bunker cites in Adornment for the Body and Soul: Ancient
Chinese Ornaments from the Mengdiexuan Collection (Hong Kong:
The Univ. Museum and Art Gallery, 1999), that a Liao example of a
rock crystal necklace with amber plaques found intact at Yemaotai (p.
155 and 163).
Another Liao necklace with tubular gold spacers and rock crystal
beads was sold at Sotheby’s London, 10 November 2010, lot 161.
A set of rock crystal belt fittings dated Jin/Liao was sold at Christie’s
London, 18 June 2002, lot 83. They noted there that ‘rock crystal and
agate were among the most popular materials chosen as adornments
by the Liao aristocracy, and often carved as ornaments or belt
plaques.’
Compare also a gold and crystal necklace from the Ch. Deydier
Collection, dated to the Liao dynasty, illustrated in Ancient Chinese
Gold (Paris: ARHIS, 2001), Han Wei & Christian Deydier, p. 191,
pl.481.
潤廬品金 ELEGANT EMBELLISHMENTS | 31330
THREE GOLD HAIRPINS
Two-tined hairpin chai: Tang-Song dynasty
One-tined hairpins zan: Qing dynasty
Including a two-tined hairpin split to the top into an arched, double
saddle-form head rendered from a thin gold sheet, and two similar
one-tined hairpins, each of slender tapering form, the top of the shaft
slightly angled to a tripartite floral design.
3 3/4, 3 5/8, and 3 5/8in (9.5, 9.2, and 9.2cm) long (3).
US$3,000 - 5,000
金並頭釵一件及金簪兩件
金並頭釵 唐宋
金簪 清
330
331
THREE GOLD HAIRPINS, CHAI
Tang-Song dynasty
All two-tined, including a Tang dynasty hairpin rendered in U-form, cast
with a simple bridge-shaped head, and two hairpins of Tang-Song
dynasty, each with long tapering prongs, connected to the top with a
small saddle-form head.
3 1/2, 6 1/16 and 7 1/16in (8.9, 15.5 and 18.1cm) (3).
US$4,000 - 6,000
唐宋 金折股釵三件
Compare a similar gold hairpin from the Tang dynasty with a bridge-
like head, illustrated in The Golden China, Gold Artifacts of Ancient
China, (Nanjing: Nanjing Museum, 2013), p. 318. It is stated in The Art
of the Chinese Goldsmith, The Cheng Xun Tang Collection that simple
two–pronged hairpins were found in Sui tombs and an early Tang tomb
331
in Xianyang, Shaanxi Province ((Hong Kong: Art Museum, The Institute
of Chinese Studies, The Chinese University Hong Kong, 2007), Part
II, pp. 140-141. See also a gold hairpin with a double saddle-shaped
head, dated to the Tang dynasty, illustrated in Chinese Gold and Silver
in the Carl Kempe Collection by Bo Gyllensvärd , (Stockholm, 1953), p.
104, pl. 46.
32 | BONHAMS332
A GOLD-MOUNTED WHITE JADE PENDANT
Qing dynasty
The white jade carved in openwork and incised line with a central cash
design surrounded by seven flower petals, mounted with a gold bee
with two spiral antennae each terminated with a small pearl, the body
of the bee inset with a large ruby cabochon above a pair of leaves
inset with additional pearls.
2 1/4in (5.7cm) diameter of jade
US$3,000 - 5,000
清 白玉鑲金嵌珍珠紅寶石飾牌一枚
Ornaments such as the present example would be used either as
garment appliques or personal adornment such as those attached to
pins to form hairpins during the Qing dynasty.
Compare similar examples published and illustrated in Celestial
Creations, Art of the Chinese Goldsmith, The Cheng Xun Tang 332
Collection (The Art Museum, The Institute for Chinese Studies, The
Chinese University Hong Kong 2007), Part II, pp. 446 – 449, as well
as in Chinese Gold Ornaments (Hong Kong, Muwen Tang Fine Art
Publication Ltd., 2003), Simon Kwan and Sun Ji, p. 494, no. 336.
333
A GOLD HAIRNET ORNAMENT, DIANSHI
Qing dynasty
Skillfully worked in delicate filigree technique to display three bats
surrounding clouds and encircled by auspicious ruyi cloud scrolls,
backed by wires and four central ruyi collars soldered with two thin
tubes for attachment.
2 1/8 x 2 7/8in (5.4 x 7.3cm)
US$3,000 - 5,000
清 祥雲蝙蝠紋金鈿飾一件
Hair ornaments with sumptuous filigree design were favored during
the Qing dynasty. They were often attached to a wire and silk-woven
hairnet called ‘dianzi’ worn by females in elite families. A piece such as
the present example may have originally had inlay work of kingfisher
feather.
333
For discussion and additional examples of gold filigree hair ornaments
used to decorate dianzi, refer to Chinese Gold Ornaments by Simon
Kwan and Sun Ji (Hong Kong: Muwen Tang Fine Art Publication Ltd.,
2003), p. 106, and pp. 546-547, pl. 184.
潤廬品金 ELEGANT EMBELLISHMENTS | 33334
334
A PAIR OF GEMSTONE-INLAID GOLD EARRINGS, ERHUAN Compare a pair of almost identical earrings with inlaid precious
Late Ming/early Qing dynasty stones，each designed as two chrysanthemum heads arranged
Each modeled in the shape of two blossoms below a butterfly-like vertically below a butterfly, unearthed from the Zou Lingren Cemetery
design, the inlaid cabochons of green and pink tourmaline and pearl from the Ming dynasty in Jiangyin, Jiangsu Province illustrated in
bead set within high collars, surrounded by delicate and layered filigree Zhongguo Gudai Jinyin Shoushi, Yang Zhishui (Beijing: Gugong,
work resembling chrysanthemum petals, mounted with an elaborate 2014), vol. 2, p. 613, pl. 6.18.1 & 6.18.2. See also similar earrings with
S-shaped pin. shorter pins, dated to the Yuan dynasty, illustrated in Adornment for
1 5/8in (4.1cm) long excluding pin (2). the Body and Soul, Ancient Chinese Ornaments from the Mengdiexuan
Collection, Emma C. Bunker and Julia M. White with Jenny F. So
US$4,000 - 5,000 (Hong Kong, the University of Hong Kong Museum Society, 1999), p.
293, pl. 135, and in Celestial Creations, Art of the Chinese Goldsmith,
The Cheng Xun Tang Collection (Hong Kong: Art Museum, Institute of
明末清初 金鑲寶蝶趕菊耳環一對 Chinese Studies, The Chinese University of Hong Kong 2007), Part II,
pp. 454–455, no. G59.
The earring style of the present example was favored by the Ming
Imperial Family and is similar to those found in the Mausoleum of Ding
Ling according to Zhongguo (Beijing: 1989), pl. 126.
34 | BONHAMS335
A GOLD ‘DRAGON’ BRACELET, SHOUZHUO
Qing dynasty, 18th/19th century
The hollowed bracelet designed with two confronting dragons,
the inner side of the shank left plain, and stamped with a maker’s
cartouche, reading ‘Deyuan’, the exterior with meticulously chased
details depicting the scaly body of the creature undulating through
clouds, each dragon head with a wide open mouth, revealing its teeth
and tongue, its mane rendered in densely incised lines.
Outer diameter: 3 1/8in (7.9cm)
Inner diameter: 2 5/8in (6.7cm)
US$8,000 - 12,000
清 十八/十九世紀 雙龍首金手鐲一支
Yang Zhishui cites in Zhongguo Gudai Jinyin Shoushi（Beijing:
Gugong, 2014） that bracelets with dragon head ends can trace
their origin to the Yuan dynasty, saw development through the Ming
dynasty, and provided inspiration to later bracelets in the Qing dynasty
(vol. 2, p.635).
Compare similar examples illustrated in Collection of Beijing Palace
Museum (Beijing, 1992), pl. 263, and in Celestial Creations, Art of the
Chinese Goldsmith, The Cheng Xun Tang Collection (Art Museum, The
Institute of Chinese Studies, The Chinese University Hong Kong 2007),
Part II, pp. 628–629, no. H65.
335 (detail)
潤廬品金 ELEGANT EMBELLISHMENTS | 35336 337
336 337
A PAIR OF GOLD EARRINGS AND FOUR GOLD ORNAMENTS A PAIR OF OPENWORK GOLD BEADS
Gold earrings: Qing dynasty, 19th century Liao dynasty
Each earring constructed as a large blossom with three layers Each of spherical profile, formed by twelve curvilinear loops and two
of granulated balls suspending a flower-decorated crescent and circular rings connected together with tiny granulated beads.
teardrop-shaped leaves, the reverse of the bloom mounted with a 1/2 x 3/4 x 5/8in (1.4 x 1.9 x 1.6cm) dimensions of each (2).
loop, holding a thin curving pin; the bird-shaped ornaments each
portrayed as a goose in flight rendered with a hollowed body and US$2,000 - 3,000
outstretched wings with hammered and pinched details, and pierced
at one end for mounting.
Earrings: 1 5/8in (4.1cm) long excluding pin 遼 金項珠兩枚
‘Bird’ ornaments: 1 1/4 x 1 1/4in (3.2 x 3.2cm) (6).
Gold beads such as these would be used in necklace during the Liao
dynasty.
US$4,000 - 6,000
Compare a group of five similar gold beads illustrated in Adornment
瓔珞花卉半月紋金耳環一對及飛雁鳴春金飾四枚 for the Body and Soul, Ancient Chinese Ornaments from the
金耳環：清 十九世紀 Mengdiexuan Collection, Emma C. Bunker and Julia M. White with
Jenny F. So (Hong Kong, the University of Hong Kong Museum
The subject matter of the earrings suggests that the pair could be Society, 1999), p. 237, pl. 104. See also Chinese Gold Ornaments,
made for the Muslim community. Simon Kwan and Sun Ji (Hong Kong: Muwen Tang Fine Art Publication
Ltd., 2003), pp. 366-367, pl. 217.
36 | BONHAMS338
338
A PAIR OF TWISTED GOLD BRACELETS, QIANZHUO
19th century or later
Of penannular form, each executed from a solid strand of gold,
finished in a twisted rope design.
2 7/8in (7.3cm) wide (2).
US$8,000 - 12,000
十九世紀或晚期 金紐絲鉗鐲一對
Bracelets with similar design but carved from jade were also
fashionable during the Qing dynasty. Compare a white jade rope-twist
bangle, dated to the 18th century, sold in our Hong Kong rooms, 28
May 2019, sale 25664, lot 83.
潤廬品金 ELEGANT EMBELLISHMENTS | 37You can also read
