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1
A CHINESE BUFFALO HORN ‘PEACH TREE’ LOG RAFT, QING DYNASTY, 19TH CENTURY
the crescent-shaped raft is formed from a large peach tree trunk with a carved and pierced canopy of leafy fruiting branches, to the rafts prow and stern are two figures steering, 24cm long
Provenance: From the collection of John Linton Palmer (1824-1903), Fleet Surgeon, Royal Navy and amateur naturalist and painter. He served on hospital ship, HMS Melville, stationed in Hong Kong Harbour from 1860-65.
£100-200
清十九世纪 水牛角雕桃木槎
A
CANTON CARVED WOOD WATCH CASE, QING DYNASTY
of architectural form, the rectangular body rising from a spreading foot to a broken pediment, profusely carved to the front face and sides with figures in pavilions, all within foliate borders, 14.5cm high
Provenance: From the collection of John Linton Palmer (1824-1903), Fleet Surgeon, Royal Navy and amateur naturalist and painter. He served on hospital ship, HMS Melville, stationed in Hong Kong Harbour from 1860-65.
£150-250
清 雕花木表盒
2
A CHINESE CARVED INKSTONE, QING DYNASTY, 19TH CENTURY
the rectangular block carved to one end of the interior with a scaly dragon, contained within a fitted wood case, 12.5 by 8.5cm
Provenance: From the collection of John Linton Palmer (1824-1903), Fleet Surgeon, Royal Navy and amateur naturalist and painter. He served on hospital ship, HMS Melville, stationed in Hong Kong Harbour from 1860-65.
£200-300
清十九世纪 雕花砚台
5
A WHITE PORCELAIN BRICK FROM THE NANKING PORCELAIN PAGODA, MING DYNASTY, 15TH CENTURY
the rectangular brick with white-glazed face, inscribed ‘Brick from the Porcelain Pagoda at Nanking, 1861 China, Linton Palmer’, 14.5 by 11.5cm
Provenance: From the collection of John Linton Palmer (1824-1903), Fleet Surgeon, Royal Navy and amateur naturalist and painter. He served on hospital ship, HMS Melville, stationed in Hong Kong Harbour from 1860-65.
Footnote: The Nanjing porcelain pagoda was built of white porcelain bricks made at Jingdezhen, completed in the Ming Dynasty circa 1431, and mostly destroyed during the Taiping Rebellion in 1856.
£100-200
明15世纪 南京大报恩寺白瓷砖
4
A CHINESE ARCHAISTIC BRONZE ‘BIXIE’ WATER POT AND DROPPER, LATE MING DYNASTY
the standing mythical beast with long horns and scaly body has an oblong ‘ear’ cup projecting below a small hole in its mouth, the haunches are decorated with scrolls and a cylindrical water dropper fits into an opening in the back of the hollow body, 16.5cm long
Provenance: From the collection of John Linton Palmer (1824-1903), Fleet Surgeon, Royal Navy and amateur naturalist and painter. He served on hospital ship, HMS Melville, stationed in Hong Kong Harbour from 1860-65.
£300-500
晚明 仿古铜辟邪水注
6
A CHINESE CARVED WHITE JADE ‘CHILONG’ SEAL, QING DYNASTY, 19TH CENTURY
the square domed seal carved in high relief with a pair of confronted chilong, each with sinuous body and bifurcated tail, the stone of creamy-white colour, the seal face uncarved, 6.5cm wide
Provenance: From the collection of John Linton Palmer (1824-1903), Fleet Surgeon, Royal Navy and amateur naturalist and painter. He served on hospital ship, HMS Melville, stationed in Hong Kong Harbour from 1860-65.
£400-600
清十九世纪 白玉螭龙印
7
A CHINESE CARVED HEDIAO NUT SEED NECKLACE, QING DYNASTY, 19TH CENTURY
comprising twenty-eight strung beads, variously carved and pierced with figures and flowers, 33cm long
Provenance: From the collection of John Linton Palmer (1824-1903), Fleet Surgeon, Royal Navy and amateur naturalist and painter. He served on hospital ship, HMS Melville, stationed in Hong Kong Harbour from 1860-65.
£150-250
清十九世纪 核雕项链
8
A CHINESE MOTHER-OF-PEARL INLAID WOOD APOSTLE CROSS, PROBABLY MACAU, 18TH/19TH CENTURY
the cross with ruyi-shaped ends, inlaid to the front face with incised mother-of-pearl to depict fruiting vines, lotus, flowers and foliage, the sides and base plain, 42.2cm high
£400-600
约澳门 十八/十九世纪 贝母细木镶嵌使徒十字架
9
A CHINESE CARVED BAMBOO ‘LOTUS POND’ BRUSH POT, BITONG, QING DYNASTY, 18TH CENTURY
the cylindrical body finely carved in low relief with a bird perched on a lotus stem amidst further leaves and lotus pods, all supported on three short bracket feet, 14.5cm high
£800-1,200
清十八世纪 竹雕【荷莲图】笔筒
A CHINESE SEATED LACQUERED WOOD BUDDHA, MING DYNASTY, 17TH CENTURY
carved seated in uttarabodhi mudra on a lotus pedestal, the face with serene expression and downcast eyes, the hair worn in tight curls, wearing a simple robe open at the chest, traces of lacquer decoration, 30.5cm high
Provenance: Collection Serge Blazy Paris (label)
‡ £1,200-1,800
明十七世纪 漆木佛坐像
11
A
CHINESE PALE CELADON JADE PEACH AND BAT GROUP, QING DYNASTY, 19TH
CENTURY
naturalistically carved in high relief as two plump peaches issuing from a leafy stem, with two bats in flight amidst incised ruyi clouds to the top of the fruit, the stone of very pale celadon-white tone, wood stand and ‘Peking Arts and Crafts Company’ fitted silk box, 7.5cm high
Provenance: Acquired in Hong Kong in the 1960/70s.
£1,000-2,000
清十九世纪 青白玉雕桃蝠
12
A CHINESE PALE CELADON JADE PLAQUE, QING DYNASTY, 19TH CENTURY
carved and pierced to the centre with a coin flanked by two large lotus leaves, pierced at the top edge for suspension, 7.5cm wide
Provenance: Acquired in Hong Kong in the 1960/70s.
£400-600
清十九世纪 青白玉板
A CHINESE PALE CELADON AND RUSSET JADE
‘DOUBLE-GOURD PENDANT, QING DYNASTY, 19TH CENTURY
carved in high relief with a pair of chilong clambering over the fruit, the stone of pale celadon tone with a russet skin, pierced for suspension, 5cm high
Provenance: Acquired in Hong Kong in the 1960/70s.
£400-600
清十九世纪 带皮玉葫芦坠
14
A CHINESE JADE BEAD NECKLACE, 20TH CENTURY
each of the five beads carved as a seated figure, the largest bead 2.3cm high; together with a spinach green jade letter opener, pierced for suspension, 8.1cm long
Provenance: Acquired in Hong Kong in the 1960/70s.
£200-300
二十世纪 玉珠项链
16
A CHINESE AGATE ‘DOUBLE PEACH’ PENDANT, QING DYNASTY, 19TH CENTURY
15
A CHINESE GREY AND WHITE JADE CARVING OF A SQUIRREL AND GRAPEVINE, QING DYNASTY, 19TH CENTURY
carved and pierced with a squirrel atop a spray of leafy grape vine, pierced for suspension, 4.5cm high
Provenance: Acquired in Hong Kong in the 1960/70s.
£400-600
清十九世纪 「松鼠葡萄」灰白玉雕
carved and pierced with the two large fruit issuing from leafy stems, the translucent stone of pale to dark amber tone, pierced for suspension, 3cm wide
Provenance: Acquired in Hong Kong in the 1960/70s
£200-300
清十九世纪 玛瑙双桃挂坠
A LARGE PAIR OF CHINESE BLACK STONE FENGSHUI ‘DRUM’ STATUES, LATE MING/EARLY QING DYNASTY
each of drum shape supported on a scrolled L-shaped pedestal base, carved in medium relief to either side of the pedestal with dragons, 54cm high
Footnote: Historically, stone drums were placed in front of important Chinese buildings, including homes, palaces and temples, to assert the owner’s authority and signify importance of the structure. Symbolically, the stone drums represent stability, prosperity and protection. The round shape is believed to symbolize harmony and completeness. The presence of stone drums was thought to ward off evil spirits.
£400-600
18
A CHINESE SANDSTONE HEAD OF A LUOHAN, MING DYNASTY
the stone of pinkish-buff colour, the bare head carved with high arched brows, over almond-shaped eyes, extending to an aquiline nose and above the pursed mouth, all flanked by a pair of long pendulous ears, Perspex stand, the head 31cm high Provenance: Acquired from Zenith Oriental Art, Maastricht, 2010. ‡ £2,500-3,500
A CHINESE CARVED GREY STONE PANEL FRAGMENT
carved in low relief with equestrian figures and horse drawn chariots, 38 by 64cm
Provenance: PC Lu Gallery Hong Kong.
Acquired by Peter O’Toole, 5 January 1964.
Works of Art from the Collection of Peter O’Toole, Katherine House Gallery, Marlborough, 13 May - 24th June 2017.
Peter O’Toole (1932-2013) was an English stage and film actor. He attended RADA, the Royal Academy of Dramatic Art, and began working in the theatre, gaining recognition as a Shakespearean actor at the Bristol Old Vic and with the English Stage Company. In 1959 he made his West End debut in The Long and the Short and the Tall, and played the title role in Hamlet in the National Theatre’s first production in 1963. Excelling on the London stage, O’Toole was known for his “hellraiser” lifestyle off it.
Making his film debut in 1959, O’Toole achieved international recognition playing T. E. Lawrence in Lawrence of Arabia (1962) for which he received his first nomination for the Academy Award for Best Actor. He was nominated for this award another seven times.
His interest in Chinese Art emerged from his time spent on location filming ‘Lord Jim’ in 1964, the locations including Hong Kong and Mainland China and again when he played the tutor in ‘The Last Emperor’.
Footnote: The present panel is stylistically close to the Eastern Han (25-250AD) wall carvings found in the Wu Family Shrines in Shandong Provence, China; see Cary Y Liu, Recarving China’s Past, New Haven and London: Yale University Press, 2005, p. 204.
£2,000-3,000
青石雕板碎片
20
A RARE PAIR OF CHINESE WHITE MARBLE TERMINALS, MING DYNASTY
(1368-1644)
each of cylindrical form, one carved in medium relief with a scaly dragon, the other a phoenix, 50cm high
£1,000-2,000
明 汉白玉柱头一对
21
A CHINESE STONE FLAGPOLE HOLDER, LATE MING/EARLY QING DYNASTY
of stepped cylindrical form, rising from a circular base carved with ruyi bracket feet, 34cm diameter
£200-300
明末清初 旗杆石
22
A LARGE CHINESE JUN BOWL, YUAN DYNASTY (1279-1368)
the deep rounded sides rising from a short spreading foot, covered overall in a bluish-white glaze save for the unglazed footring, 19.8cm diameter; together with a Yingqing dish, Song Dynasty (960-1279), carved to the interior with a lotus and covered in a pale blue glaze, 13.2cm diameter, and a carved and combed celadon-glazed bowl, Song Dynasty, 16cm diameter
£300-500
元朝（1279-1368年）钧窑大碗
23
A CHINESE UNGLAZED POTTERY HORSE, TANG DYNASTY (618-907AD)
modelled standing four square on a rectangular base, the head slightly raised and looking to the left, the back supporting a saddle over a saddle cloth, 28cm high
£200-300
唐朝（618-907年）生瓷马
A RARE CHINESE GREEN AND AMBER-GLAZED FIGURE OF A LION, SOUTHERN SONG-JIN DYNASTY (12/13TH CENTURY)
powerfully modelled standing four-square, the head with teeth bared, poised for attack, the body glazed green with the head and mane in amber, 32cm long
Provenance: Acquired from Peter Wain, circa 2000.
Footnote: Oxford Authentication Thermoluminescence test no. C100u3 is consistent with the suggested period of manufacture.
For a green-glazed lion, dated to the same period, see the Collection of Cheng Huan, Sotheby’s Hong Kong, 18 December 2020, lot 1068; and for an amber-glazed figure of a lion, also dated to the Southern Song-Jin Dynasty, see Christie’s New York, 13 September 2019, lot 847.
£8,000-12,000
南宋-晋朝（12-13世纪）绿釉褐彩狮子
A LARGE CHINESE FAHUA FIGURE OF GUANDI, MING DYNASTY, 16TH/17TH CENTURY
the God of War depicted in full armour seated on a rockwork base, brightly glazed in cream, green, aubergine and ochre glazes, 43.5cm high
£800-1,200
明 十六/十七世纪 大法华彩关帝像
26
A CHINESE BRONZE MIRROR, TANG DYNASTY (618-907)
lobed and cast to the interior with a medallion enclosing Xi Wangmu and an apsara, centered by a pierced boss and encircled at the rim by lotus, ruyi and birds in flight, the front face plain, the metal with mottled malachite encrustation, 15.7cm diameter
£300-500
27
A CHINESE LOBED BRONZE ‘PHOENIX AND LOTUS’ MIRROR, TANG DYNASTY (618-907)
the octofoil mirror cast with a pair of phoenix divided by leafy lotus, all encircled by foliate scrolls at the rim, all centered by a simple loop knop, 16.5cm wide
Provenance: Acquired in Japan in 1991.
£500-700
OFFERED WITHOUT RESERVE
唐朝
28
A SMALL CHINESE BRONZE TRIPOD CENSER FOR THE ISLAMIC MARKET
the compressed globular body rising from three short conical legs to a flaring rim set with a pair of loop handles, cast with a rectangular cartouche enclosing Quranic script, the bronze patinated to a dark chocolate tone, the base with a single character Xuan mark, 5.5cm wide
£300-500
外销伊斯兰铜三足鬲式炉
30
A CHINESE CLOISONNÉ ENAMEL AND BRONZE
TRIPOD CENSER FOR THE ISLAMIC MARKET, LATE QING DYNASTY
the slightly compressed globular body rising from three short conical feet to an everted rim set with a pair of loop handles, cast to the front and back with a medallion enclosing Quranic script, reserved on a yellow cloisonné enamel ground with lotus and florets, the base with an apocryphal Xuande seal mark, 9cm diameter
£800-1,200
晚清 外销伊斯兰铜胎珐琅三足鬲式炉
29
A SMALL MING-STYLE BRONZE CENSER FOR THE ISLAMIC MARKET, QING DYNASTY
of rectangular tapering form, supported on four bracket feet and set with an angular handle to each end, cast to either side with a rectangular panel enclosing Quranic inscriptions, the base with an apocryphal Xuande mark, 11cm wide
£600-800
清 外销伊斯兰铜香炉
32
A CHINESE ENGRAVED PAKTONG BASIN, QING DYNASTY, 19TH CENTURY
the straight sides rising from a flat base to an everted broad rim set with a pair of loop handles, finely engraved to the interior with tumultuous waves and rocks below cloud scrolls, the rim with stylised lotus cartouche, 36cm diameter
£400-600
清十九世纪 雕花白铜大盆
31
A CHINESE BRONZE TRIPOD CENSER, QING DYNASTY, 18TH CENTURY
the compressed globular body rising from three short conical feet to an everted rim set with a pair of simple loop handles, apocryphal Xuande mark to the base, 18cm wide
Provenance: From the collection of the late A.J.(John) Lippitt (1928-2019), Hampshire.
£200-300
清十八世紀 銅三足鬲式爐
33
A CHINESE ARCHAISTIC GOLD AND SILVER-INLAID BRONZE VASE, HU, QING DYNASTY, 19TH CENTURY
the pear-shaped body rising from a short spreading foot to a flaring short neck, set at the lower neck with a broad liewen band divided by a pair of tubular handles, inlaid in silver and gold around the shoulder with flower-filled lotus lappets and a key-fret band at the neck, 33cm high
£800-1,200
清十九世纪 仿古铜错金银壶
34
A CHINESE GILT-COPPER AND CHAMPLEVE ENAMEL JARDINIERE, QING DYNASTY (1644-1911)
the square flaring body rising from a flat base to an everted rim, decorated to each side with a large lotus amidst scrolling foliage and reserved on a rich turquoise-blue ground, all supported on four ruyi-shaped bracket feet, wood stand, 22cm wide
£1,500-2,500
清 銅胎琺瑯景盆
36
A CHINESE CANTON ENAMEL SEGMENTED SWEET MEAT DISH SET, QING DYNASTY, CIRCA 1900
brightly enamelled to the central circular shallow dish with Shou Lao and attendants in a mountainous landscape, encircled by six shaped dishes enclosing figures in a landscape, mounted for suspension, 36cm diameter
£80-120
35
A CHINESE GILT-BRONZE FIGURE OF A LUOHAN, QING DYNASTY, 18TH CENTURY
seated cross-legged on a cushion, wearing a long-sleeved robe, his left hand resting on his left knee and his right hand raised towards his mouth, 6.5cm high
£800-1,200
清十八世纪 描金铜罗汉像
A RARE CHINESE ENAMELLED LEAD FIGURE OF A PRIEST, QING DYNASTY, 18TH CENTURY
seated on a horseshoe back chair resting his feet on a footstool, wearing a long red robe and detachable red peaked cap and holding a small jar in his left hand, the face with almond-shaped eyes below high arched brows, 38cm high
Provenance: Acquired from Susi Bacharach.
£600-800 清十八世纪
38
A SMALL CHINESE BRONZE FIGURE OF SHOU LAO, QING DYNASTY, 17TH/18TH CENTURY
the God of Longevity standing, wearing a long-sleeved robe tied at the chest, with both hands raised above his waist, 7.2cm high
£100-200
清十七/十八世纪 小铜寿老像
39
A CHINESE BRONZE BUDDHISTIC LION, QING DYNASTY (1644-1911)
cast seated with head raised and jaws wide open as if to roar, all mounted on a square marbled black stone base, the lion 5.5cm high
£150-250
清（1644-1911年）铜佛狮
40
A CHINESE BRONZE FIGURE OF A LAUGHING BOY, QING DYNASTY, 19TH CENTURY
standing on a rockwork base wearing a simple apron tied at the back and holding a large ruyi sceptre for good fortune, the plump face laughing, 8.7cm high
£120-180
清十九世纪 铜笑童像
A LARGE PAIR OF ELM WOOD RED LACQUERED TAPERING CABINETS, QING DYNASTY, MID 19TH CENTURY
each with an elegantly rounded protruding top, set on subtly splayed corner posts housing single paneled doors, opening to reveal the interior fitted with a shelf over a pair of drawers, with a metal rectangular lock plate, all above a plain apron, covered overall in a rich red lacquer, 95 by 48 by 190cm
Provenance: Acquired from Chine Gallery, Hong Kong, circa 2000.
£1,500-2,000
43
A RARE SET OF EIGHT CHINESE FAMILLE-VERTE DAOIST IMMORTALS, QING DYNASTY, KANGXI PERIOD (1662-1722)
each standing on a rectangular base holding their respective attribute by which they are identifiable, and wearing long brightly glazed robes, the tallest 29cm high
£4,000-6,000
清康熙（1662-1722） 绿地素 三彩八仙过海像
42
A CHINESE BLUE AND WHITE MIEPING AND COVER, MING DYNASTY, 16TH CENTURY
the waisted baluster body rising from a spreading foot to a round shoulder set with a narrow and short trumpet neck, painted around the body with a broad lotus scroll band between ruyi and keyfret bands, the bell-shaped cover with a ruyi band and surmounted by a lotus bud finial, 27cm high
£200-300
明十六世纪 青花梅瓶连盖
44
A CHINESE MING-STYLE BLUE AND WHITE ‘DRAGON’ BOTTLE VASE
the globular body rising from a short spreading foot to a tall tapering neck set with a pair of tubular handles, painted around the exterior with a pair of scaly dragon in pursuit of flaming pearls, all between lappet and wave bands, the neck with scrolling lingzhi, 28.5cm high
£1,000-1,500
OFFERED WITHOUT RESERVE
45
A CHINESE BLUE AND WHITE SLEEVE VASE, TRANSITIONAL PERIOD, CIRCA 1640
the tapering baluster body rising from a flat foot to a trumpet neck, painted around the exterior with a scholar and his attendant in a fenced garden,19.5cm high
£600-800
46
A LARGE CHINESE MING-STYLE
BLUE AND WHITE AND IRON-RED ‘NINE DRAGON’ BOWL
the deep rounded sides rising from a short slightly tapering foot to an everted rim, painted around the exterior with eight scaly iron-red dragons in pursuit of flaming perals, all above a wave band, the interior with a medallion enclosing a single red dragon above tumultuous foaming waves, the base with apocryphal Jiajing six-character mark, 37.5cm diameter
£1,000-1,500
OFFERED WITHOUT RESERVE 仿明青花矾红九龙纹碗
47
A PAIR OF CHINESE MING-STYLE DOUBLE-GOURD VASES
each double-gourd body rising from a short spreading foot to a short narrow neck, painted around the exterior of the body in underglaze-blue with phoenix roundels divided by floral strapwork and reserved on an iron-red ground, the base with apocryphal Jiajing mark, 21cm high
£1,000-1,500
OFFERED WITHOUT RESERVE 仿明葫芦瓶一对
48
A CHINESE FAMILLE-VERTE BRUSHPOT, BITONG, QING DYNASTY, KANGXI PERIOD
the slightly waisted cylindrical body rising from a flat base, brightly enamelled with a scholar and two attendants, one bringing him a basket, the other watering his plants, all within a continuous rocky landscape, 12.5cm high
£3,000-5,000
清康熙 绿地素三彩笔筒
50
A CHINESE FAMILLE-VERTE ‘DAOIST IMMORTAL’ BRUSHPOT, QING DYNASTY
the slightly waisted cylindrical body rising from a flat base with circular recess, enamelled around the exterior with a square panel enclosing the Daoist figure Kuixing, the God of examinations, standing on one leg on the head of a dragon fish emerging from waves, divided by a three line calligraphic poetic inscription, 13.5cm high
£800-1,200
清 绿地素三彩「仙人图」笔筒
49
A CHINESE FAMILLE-VERTE ‘PEACOCK’ DISH, QING DYNASTY, KANGXI PERIOD
the rounded sides rising from a short tapering foot to an everted rim, brightly enamelled to the interior with a medallion enclosing a peacock perched on rockwork amidst peony sprays, all encircled in the well by bands of lotus and the ‘Three Friends of Winter’, 33cm, diameter
£300-500
清康熙 绿地素三彩孔雀纹盘
52
A RARE CHINESE RED, BLUE AND ANHUA DECORATED BOTTLE VASE, QING DYNASTY, KANGXI PERIOD (1662-1722)
the globular body rising from a short tapering foot to a tall knopped trumpet neck, finely painted in underglaze-blue around the exterior with four medallions enclosing Immortals in landscapes, the knop with a leafy lotus scroll, all reserved against anhua scrolling lotus on a copper-red ground, 35cm high
£600-800
51
A CHINESE BLUE AND WHITE JAR, QING DYNASTY, KANGXI PERIOD (1662-1722)
the ovoid body rising from a recessed base to a short incurved neck, painted around the exterior in rich cobalt-blue tones with figures in an interior, wood stand, 22cm high
£1,000-2,000
53
A CHINESE BLUE AND WHITE JAR, QING DYNASTY, KANGXI PERIOD (1662-1722)
the globular body rising from a recessed base to an incurved short rim, painted around the exterior in rich cobalt-blue tones with two quatrafoil panels enclosing antiques, all reserved on a cracked ice and prunus ground, 17.5cm high
£400-600
清康熙（1662-1722年）青花瓷罐
54
54
CHINESE SCHOOL, INK AND COLOUR ON FABRIC, MING DYNASTY (1368-1644)
depicting a seated demonic figure amongst cloud and fire scrolls, 167 by 77cm
Provenance: Christie’s South Kensington, 12 May 2005, lot 150.
£300-500
明（1368-1644
55
CHINESE SCHOOL, HAND SCROLL, QING DYNASTY, 19TH CENTURY
after “Up the River During Qingming”, ink and colour on paper, depicting Kaifeng, the Song capital city, along the banks of the Bianhe river during the Qing Ming Festival, 27.5 by 456cm
Provenance: Acquired at auction in Paris, circa 2000.
Footnote: The Song Dynasty (960-1279) scroll, “Up the River During Qingming”, is currently on view in the National Palace Museum in Taipei.
£300-500
清十九世纪 长卷
55 (detail)
56
A REPUBLIC OF CHINA SILK FLAG, CIRCA 1912-28
mounted in a hinged wooden glass-fronted cabinet, 42 by 58cm
By repute, the flag was ‘liberated by Navy or Marine Corps personnel, during Yangste River service 1st Deployment, 3 September 1926 to 21 October 1927’.
The Wanhsien incident of 1926 was a series of maritime conflicts on the Yangtze river between British merchant shipping and regional Chinese military leaders, culminating in a battle with Royal Navy gunboats, which also fired cannons into the city of Wanxian (romanised as “Wanhsien” at the time).
£500-700
约1912年-1928年 中华民国丝绸国旗
58
A RARE PAIR OF CHINESE MINIATURE BOUND SHOES, QING DYNASTY, CIRCA 1850
each shoe with yellow silk ground embroidered with a floral band, 9cm long
Provenance: From the collection of Colette Ghysels, Belgium.
‡ £150-250
清 约1850年 小三寸金莲一对
57
A RARE PAIR OF CHINESE BOUND FOOT SHOES, QING DYNASTY, CIRCA 1850
each shoe with dark-red silk ground embroidered with floral sprays, 17cm long
Provenance: From the collection of Colette Ghysels, Belgium.
‡ £150-250
清 约1850年 三寸金莲一双
59
A RARE PAIR OF CHINESE BOUND FOOT SHOES, QING DYNASTY, CIRCA 1850
each shoe with turquoise-blue silk ground embroidered with floral sprays, 17cm long
Provenance: From the collection of Colette Ghysels, Belgium.
‡ £150-250
清 约1850年 三寸金莲一双
A SET OF TEN CHINESE EXPORT PAINTINGS OF FIGURES, 19TH/20TH CENTURY ink and colour on paper, each brightly coloured depicting a standing figure in robes, image size 35.5 by 23cm, framed and glazed
£800-1,200 十九/二十世纪
A SET OF NINE CHINESE EXPORT PAINTINGS OF BIRDS, 19TH/20TH CENTURY ink and colour on paper, each brightly coloured depicting a bird, image size 35.5 by 23cm, framed and glazed
£800-1,200
十九/二十世纪 外销飞鸟画一组十幅
62
A CHINESE CORAL-RED GROUND EMBROIDERED SILK WOMAN’S ROBE, CHANGYI, LATE QING DYNASTY
the coral-red ground finely embroidered with large butterflies amidst blossoming peony, all woven within a black border further decorated with a profusion of butterflies and floral sprigs, 115cm long
£400-600
晚清 缎绣红地氅衣
63
A RARE CHINESE EMBROIDERED SILK MANCHU NOBLEWOMANS HAT, JIGUAN, QING DYNASTY, 19TH CENTURY
of domed shape, the upturned brim embroidered with a polychrome lotus scroll on a black ground, with orange and red silk interior, surmounted by a white metal hat finial, two streamers to the rear, each decorated with gold thread floral and geometric designs, 29cm long; together with a black wool winter hat, a gold thread on black ground embroidered hat; a pair of priest boots; and a silk embroided pouch with tassels
£100-200
A LARGE CHINESE AMBER-GLAZED BIXIE, QING DYNASTY (1644-1911)
the horned mythical beast modelled seated with arched back, the head turned sharply to the right, the face with staring eyes and jaws wide open to reveal a set of sharp teeth, all covered in a rich streaky amber glaze, 42.5cm high
£600-800
清（1644-1911年）黄釉辟邪摆件
65
A CHINESE CARVED PORCELAIN IMMITATION BAMBOO BRUSHPOT, BITONG
of cylindrical form, carved with a scholar seated beneath a pine tree watching his attendant get water from a river, all within a mountainous landscape, glazed overall with a light honey-brown glaze, the base with apocryphal Qianlong mark, 12.5cm high
Provenance: Acquired in Hong Kong in the 1960/70s.
£200-300
66
A CHINESE DEHUA ARCHAISTIC CENSER
of archaic bronze gui form, the compressed globular body rising from a short spreading foot to an everted rim, carved around the exterior with a geometric band divided by a pair of dragon handles, 15cm wide
Provenance: Acquired in Hong Kong in the 1960/70s.
£200-300
德化窑仿古香炉
68
A CHINESE SONG-STYLE ‘GE-TYPE’ TRIPOD CENSER, QING DYNASTY
67
A LARGE CHINESE DEHUA FIGURE OF BUDDHA, QING DYNASTY, 19TH CENTURY
seated cross-legged on a double lotus base, wearing a long flowing robe open at the chest, the face with gentle smile framed by his pendulous earlobes and the tightly knotted hair, covered overall with an ivory-white glaze, 32cm high
Provenance: Ralph M Chait Galleries, New York, label to base.
£400-600
清十九世纪 德化窑佛像一尊
the compressed globular body rising from three short feet to a short straight neck and broad everted rim, covered overall with a celadon glaze suffused with a matrix of grey and golden crackles, 15cm diameter
£500-700
清 仿宋三足鬲式炉
70
A CHINESE CELADON-GLAZED EWER AND COVER
the pear-shaped body rising from a short spreading foot to a tall neck, carved to either side of the body with a crane in flight above ruyi-clouds, divided by a loop handle and an S-shaped spout, covered overall in a pale bluish-green glaze the domed cover surmounted by a lotus bud finial, 21.3cm high
Provenance: Acquired in Hong Kong in the 1960/70s.
£100-200
青瓷釉壶连盖 69
A
CHINESE COPPER-RED BOWL, QING DYNASTY, 19TH CENTURY
the deep rounded sides rising from a short tapering foot to a slightly everted rim, covered overall with a rich red glaze thinning to white at the rim, the base white, with an apocryphal Daoguang six-character seal mark in underglazeblue, 15.3cm diameter
£800-1,200
清十九世纪 红釉碗
71
A CHINESE SANG-DE-BOEUF-GLAZED MEIPING, QING DYNASTY (1644-1911)
the baluster body rising from a recessed base to a short narrow neck with everted rounded rim, covered overall in a rich dark red glaze thinning to a buff tone at the rim, 14.8cm high
£500-700
清 铜红釉梅瓶
72
A CHINESE ARCHAISTIC JADE SCARAB BEETLE PLAQUE
of oval form, carved with large eyes and the wings neatly tucked over the rear of the body, the stone of mottled white and russet colour, the flat base pierced for suspension, 6.7cm long
£300-500
仿古金龟子板
73
A CHINESE ARCHAIC JADE AWL-SHAPED PENDANT
carved in the Liangzhu style, the tapering square shaft carved with two masks between three bands, the stone of mottled russet and celadon colour, pierced for suspension, 20.5cm long
£200-300
仿古管状玉佩
74
A CHINESE ARCHAISTIC JADE EAGLE PENDANT
carved in the Hongshan style, the bird with wings outstretched, the stone of mottled green and reddish-brown colour, the reverse pierced for suspension, 5.3cm high
£100-200
仿古鹰形玉佩
A
CHINESE THREE-TIERED JADE
TRIPOD CENSER AND
COVER the compressed globular body rising from three short lion mask and paw feet to a broad everted rim set with a pair of phoenix-head handles suspending loose rings, each of the three tiers of compressed globular form carved around the exterior with bands of confronting dragon and phoenix, the domed cover with lotus bud finial, wood stand, 13.5cm high (without stand)
Provenance: Acquired in Hong Kong in the 1960/70s.
£800-1,200
三层玉鬲式炉连盖
76
A CHINESE CELADON JADE LION
the recumbent feline with head resting on its front paws and tail swished over its rear haunches, the stone of greyish-celadon colour with caramel inclusions, 9cm wide
£60-80
青白玉狮子摆件
77
A CHINESE ARCHAISTIC GREEN JADE BOX AND COVER
the octagonal straight-sided body rising from a pierced and carved ruyi foot and set at the side with a pair of dragon handles, the flat cover surmounted by a chilong finial, the stone of pale green tone with mottled creamy-white inclusions, 7.5cm high
£150-250
仿古翡翠盖盒
78
A CHINESE ARCHISTIC JADE BIRD-FORM MINIATURE WINE VESSEL, ZUN
carved in the round to depict a standing bird, the body with scrolls forming the wings and plumage, the detachable head with hooked beak and large eyes, wood stand, 6.5cm high
£300-500
79
A CHINESE GREEN AND WHITE STONE ARCHERS RING, QING DYNASTY
of slightly waisted hollowed cylindrical form, the stone of mottled olive green and white colour, 2.6cm high
£200-300
清 木玛瑙扳指
80
THREE CHINESE CELADON JADE ‘RUYI SCEPTRE’ PLAQUES, LATE QING DYNASTY
each of oval shape carved in medium relief with a basket variously laden with peaches, finger citron and lotus, the largest 12cm wide
£100-150
晚清 青白玉如意瓷板一组三件
A CHINESE WHITE JADE LOCK-SHAPED PLAQUE, QING DYNASTY, 19TH CENTURY
the cusped plaque carved and pierced with a boy riding a mythical beast amidst foliate scrolls, the stone of very pale celadon-white colour, wood stand, 9cm wide
£300-500
清十九世纪 白玉如意形佩
Lots
ACQUIRED IN HONG KONG IN THE 1960/70s
82
THREE CHINESE CARVED OVERLAY GLASS SNUFF BOTTLES
comprising: a ruby-red overlay clear glass pear-shaped bottle, carved to each face with an Immortal, and to the sides with a pair of taotie mask handles suspending fixed rings; a flattened ovoid ruby-red overlay clear glass bottle, carved to each face with a coiled dragon; and a carved blue overlay opaque white glass bottle, carved with insects hovering above lotus and peony, the tallest bottle 7.6cm high
£300-500
雕花套料鼻烟壶一组三件
83
TWO CHINESE CARVED TRANSPARENT RUBY-RED GLASS SNUFF BOTTLES
comprising: a flattened globular bottle carved to each face with a pair of dragons amidst cloud scrolls; and an ovoid bottle carved with a lotus scroll band, the tallest bottle 6cm high
£200-300
雕花宝石红料鼻烟壶一组两件
84
THREE CHINESE INSIDE-PAINTED CLEAR GLASS SNUFF BOTTLES
comprising: a clear yellow glass compressed ovoid snuff bottle, painted to one side with a pomegranate branch and to the other with a poetic calligraphic inscription; a clear yellow glass compressed globular bottle, painted with nine dragons in mutual pursuit of a flaming pearl; and a clear glass compressed ovoid bottle, carved to the front face with a gnarled pine tree and painted to the interior with a landscape, the reverse with calligraphic inscription, the tallest bottle 6.2cm high
£150-250
玻璃内画鼻烟壶一组三件
85
THREE CHINESE INSIDE-PAINTED CLEAR
GLASS
SNUFF BOTTLES
each of compressed ovoid shape, one painted to the interior with scholars playing go, another with scholars relaxing in a river landscape, and one with figures amidst bamboo, the tallest 7cm high
£150-250
玻璃内画鼻烟壶一组三件
86
TWO CHINESE CARVED AGATE SNUFF BOTTLES
comprising a cylindrical bottle, cleverly carved in high relief using the rich amber tones of the stone with a goldfish amidst a lotus pond, and a pear-shaped bottle carved in high relief with a pair of chilong, the stone of pale to dark amber tone, both bottles 6.2cm high
£200-300
THREE CHINESE CARVED HARDSTONE SNUFF BOTTLES
comprising a black hair crystal snuff bottle of slightly compressed globular form, carved to the shoulder with a pair of lion mask handles suspending fixed rings; a similarly carved moss agate bottle; and an ovoid amethyst bottle carved with grapevine, the tallest bottle, 6.1cm high
£300-500
雕花硬石鼻烟壶一组三件
88
TWO CHINESE CARVED SNUFF BOTTLES
comprising: a cinnabar lacquer spade-shaped bottle carved to each side with a maiden and two boys in a fenced garden, the base with apocryphal Qianlong four-character seal mark; and an imitation lapis lazuli blue porcelain snuff bottle, of flattened baluster vase form, densely carved to one face with a dragon and to the other with a phoenix, all amidst cloud scrolls, the tallest bottle 7cm high
£100-200
雕花鼻烟壶一组两件
89
THREE CHINESE PORCELAIN SNUFF BOTTLES, QING DYNASTY, 19TH CENTURY
comprising: a flattened globular blue and white bottle painted with figures in a landscape, the base with Shen de tang zhi four-character mark; a square bottle famille-rose enamelled to each face with an oval panel enclosing a beautiful maiden, all reserved on a blue ground, the base with Daoguang four-character seal mark; and a cylindrical bottle painted in underglaze-blue and red with lion dogs playing with a ribbon-tied ball, the base with single lion in copper-red, the tallest bottle 7.9cm high
£300-500
90
TWO CHINESE ENAMELLED SNUFF BOTTLES
comprising: a white glass flattened globular bottle, enamelled with figures in a landscape; and a famille-rose flattened baluster form porcelain bottle, enamelled to each side with a tapering ovoid panel, one enclosing a scholar and his attendant, the other a peony spray, all reserved on a gilt and blue ground and set with a pair of animal mask handles suspending fixed rings at the shoulder, the base with apocryphal Qianlong four-character seal mark, the tallest bottle 5.4cm high
£100-200
珐琅鼻烟壶一组两件
91
A LARGE CHINESE OPAQUE YELLOW GLASS SNUFF BOTTLE
of compressed globular form raised on an oval foot, carved around the exterior with two scaly dragons in mutual pursuit of a flaming pearl, all amidst cloud scrolls, jadeite stopper, 7.2cm high
£300-500
92
A COLLECTION OF TEN CHINESE INSIDE-PAINTED GLASS SNUFF BOTTLES, DATED 1972
each of rounded rectangular shape, finely painted to the inside with figures in a mountainous landscape, inscribed ‘Eighteen Scholars Ascending Yin Zhou’ and cyclically dated 1972
£400-600
年 彩绘鼻烟壶一组十只
93
A CHINESE SOAPSTONE RUYI SCEPTRE SEAL, 20TH CENTURY
the broad shaft carved in high relief with a pair of confronting pixiu mutually grasping a ‘gold’ coin in their jaws, the base carved with the four-character seal, the stone of reddish-brown colour, 15.5cm long
£100-200
二十世纪 皂石如意印
94
A CHINESE FAMILLE-ROSE YELLOW-GROUND BOTTLE VASE, GUANGXU SIX-CHARACTER MARK, 20TH
CENTURY
the globular body rising from a short straight foot to a tall waisted neck and everted rim, enamelled around the exterior with four medallions enclosing antiques, all reserved on a prunus strapwork and yellow ground repeated at the neck and divided by a lotus scroll collar, all within lotus lappets at the base and a ruyi band at the rim, 39cm high
£1,000-1,500
清二十世纪 黄地粉彩长颈瓶《大清光绪年制》款
95
A PAIR OF CHINESE YELLOW-GROUND GRISAILLE-DECORATED ‘DAYAZHI’ BOWLS, QING DYNASTY, 19TH CENTURY
each bowl with deep round sides rising from a short tapering foot, grisaille-decorated around the exterior with birds and chrysanthemum flowers reserved on a rich yellow ground, all below the three-character mark Dayazhi in iron-red below the rim, the interior and base glazed white, the base with yong qing chang chun four-character mark in iron-red, 11.7cm diameter; together with, an iron-red ‘Bat’ saucer dish, Qing Dynasty, 19th Century, the rounded sides rising from a short tapering foot to an everted rim, painted to the interior with an underglaze-blue medallion enclosing the wufu in iron-red, encircled by further bats in flight and repeated on the exterior, the base with Tongzhi six-character mark in underglazeblue, 15.5cm diameter
96
A CHINESE FAMILLE-ROSE YELLOW-GROUND WATERPOT
the beehive-shaped body rising from a recessed base to an incurved rim, brightly enamelled around the exterior with two pair of confronting dragon and phoenix amidst floral strapwork, all between ruyi and lappet bands and reserved on a rich yellow ground, the turquise-glazed base with apocryphal Qianlong seal mark, 9.5cm wide
£800-1,200
OFFERED WITHOUT RESERVE
黄地粉彩水盂
£500-700
清十九世纪 大雅斋黄地墨彩碗一对
A CHINESE DAYAZHI-TYPE WALL VASE, QING DYNASTY, 19TH CENTURY
the flat backed double-gourd body rising from a short spreading foot to a short flaring neck, finely enamelled to the front face with a leafy floral spray reserved on a rich turquoise ground, 16.5cm high
£1,000-1,500
清十九世纪 大雅斋壁瓶
98
A CHINESE FAMILLE-ROSE ‘PHOENIX’ BOWL GUANGXU MARK AND PERIOD (1875-1908)
the deep rounded sides rising from a short foot to an everted rim, brightly enamelled around the exterior with three phoenix amidst scrolling lotus, the base with the six-character mark in iron red, 11.3cm diameter
£400-600
清光绪年款（1875-1908年） 粉彩凤凰图瓷碗
100
TWO CHINESE EXPORT FAMILLE-ROSE BOWLS AND COVERS, QING DYNASTY, 18TH CENTURY
each body of deep U-shape, one enamelled to the front and back with a pair of cockerel and divided by a pair of shell-shaped handles, the other with flowers issuing from antiques similarly divided by a pair of shell-shaped handles, the domed covers with flower sprays and surmounted by a lotus bud finial, 13.5 and 13cm wide
£300-500
清十八世纪 外销粉彩瓷碗两只
99
A CHINESE DOUCAI ‘ANBAXIAN’ OGEE DISH
brightly enamelled to the interior with a ruyi medallion enclosing a full-faced flower-head encircled by four peaches, the flaring rim with the Eight Daoist Emblems, anbaxian, tied to flower sprays with ribbons, the exterior with exotic blooms on a foliate scroll, all above a ruyi band at the foot, the base with apocryphal Yongzheng six-character mark, 22.2cm diameter
£800-1,200
OFFERED WITHOUT RESERVE
斗彩暗八仙纹束腰盘
A LARGE AND IMPRESSIVE CHINESE FAMILLE-ROSE ‘IMMORTALS’ BALUSTER VASE, QING DYNASTY, 19TH CENTURY
the baluster body brightly enamelled around the exterior with Immortals making their way on the sea to the Immortals Paradise, all between the bajixiang at the shoulder and a broad butterfly and foliate band at the spreading foot, the tall cylindrical neck with lotus strapwork reserved on a rich ruby-red ground and divided by a large pair of elephant head handles, 59cm high £800-1,200
清十九世纪 粉彩「仙人图」观音瓶
102
A CHINESE MING-STYLE BLUE AND WHITE BOTTLE VASE
the tapering cylindrical body with shallow vertical lobes, painted in the Ming-style with simulated ‘heaping and piling’ within panels of alternating flower stems, all within horizontal borders of floral meander and a classic scroll band at the foot, the angled shoulder with a lotus lappet band and the tall tapering neck with peony stems, the base with an apocryphal Qianlong seal mark, 30.5cm high
£1,000-1,500
OFFERED WITHOUT RESERVE
103
A STUDY COLLECTION OF NINE CHINESE BIRD FEEDERS
comprising: six blue and white porcelain bird feeders, one with an apocryphal Qianlong mark; a famille-rose ‘butterfly’ bird feeder with apocryphal Qianlong mark; an agate bird feeder; and a robins-egg-glazed porcelain bird feeder
Provenance: Acquired in Hong Kong in the 1960/70s.
£300-500 鸟水罐一组九只
104
A LARGE CHINESE BLUE AND WHITE DEEP DISH, QING DYNASTY, QIANLONG PERIOD (1736-95)
the deep rounded sides rising from a short tapering foot to a broad flaring rim, finely painted to the interior with a medallion enclosing bamboo and Buddhas hand finger citrus issuing from rockwork, the well with four quatrefoil panels enclosing auspicious objects reserved on a dense diaper ground, the rim with peony sprays, 44cm diameter
£800-1,200
清乾隆（1736-1795年）青花瓷大盘
105
A CHINESE WANG BU-STYLE VASE, HU, REPUBLIC PERIOD
the pear-shaped body of ancient bronze form, rising from a high spreading foot to a tall waisted neck, set with a pair of ruyi handles suspending ‘Auspicious Emblems’, set to either side with a large blue and white circular panel painted in the style of Wang Bu, one with a landscape, the other with birds perched on a branch, all reserved on a dark brown low relief carved ground in imitation of cast bronze, the base with apocryphal Qianlong seal mark, 31cm high
£1,000-1,500
OFFERED WITHOUT RESERVE
民国时期 王步式瓷壶
106
CHEUNG YEE (1936-2019), ‘FORTUNE’ papercast, signed lower right and titled ‘Fortune’, Perspex display case, image 37 by 30cm
£300-500
107
CHEUNG YEE (1936-2019), ‘FORTUNE SQUARE’ papercast, signed lower right and titled ‘Fortune Square’, Perspex display case, image 36 by 30cm
£300-500
108
A CHINESE SCULPTURAL PORCELAIN PLAQUE ‘RIVER AND LAKE’ BY ZHANG YUN, 2000
the rectangular panel depicting water reeds issuing from high relief rockwork, wood frame and certificate of authenticity, 43 by 32cm
Provenance: Acquired from Peter Wain.
Footnote: Zhang Yun is a senior lecturer in ceramic sculpture at the National Institute of Ceramic Art, Jingdezhen. This sculpture was made for the Institute’s Millenium Exhibition (2000-2001) and shows that nature transgresses the boundary of time.
£1,500-2,500
2000年「江与湖」瓷雕板
109
ANG AH TEE (SINGAPOREAN, B.1942), ‘WHITE FLOWER’
watercolour on paper, signed lower right, framed and glazed, image 40 by 49cm
£600-800
110
ANG AH TEE (SINGAPOREAN, B.1942), ‘RED TEMPLE’
watercolour on paper, signed lower left, framed and Perspex, image 58 by 45cm
£800-1,200
A
JAPANESE SIX-FOLD SCREEN, ‘EGRETS IN SNOW’, EDO PERIOD, LATE 17TH CENTURY
anonymous, a six-panel folding screen: ink, colour, gold and gofun on paper, silk brocade border, black lacquer mounts, each panel 170 by 65cm
Provenance: The Property of a Lady, formerly in the collection of the actor Laurence Harvey (1928-1973).
£6,000-8,000
112
URUSHIBARA MOKUCHU (JAPANESE, 1888-1953)
a signed woodblock print of a horse, 38 by 25cm
£100-150
113
SAITO KIYOSHI (1907-1997), SANPO-IN, KYOTO, 1968
colour woodblock print, dated 1968, edition 80/100, signed lower right, 39 by 53.5cm
£500-700
114
TAKEUCHI SEIHO (1864-1942), BAT AND GOURD
ink and colour on paper, one seal of the artist, silk mount, 112 by 41cm
Footnote: Takeuchi Seiho was a Japanese painter of the Nihonga genre, active from the Meiji through the early Showa period. One of the founders of Nihonga, his works spanned half a century and he was regarded as master of the prewar Kyoto circle of painters.
£150-200
115
TSUKIOKA YOSHITOSHI (1839-1892), FUJIWARA YASUMASA PLAYS THE FLUTE BY MOONLIGHT, 1883
woodblock print, triptych, left sheet signed zu oju Taiso Yoshitoshi sha, with artist’s seals Taiso and Yoshitoshi, published by Akiyama Buemon (Kokkeido), 12th February 1883
£2,000-3,000
116
UTAGAWA HIROSHIGE (1797-1858)
Six woodblock prints from the series from the series Famous Places in the Sixty-odd Provinces (Rokujuyoshu meisho zue), each signed Hiroshige hitsu, published by Koshimuraya Heisuke, and comprising: Bungo Province: Minosaki (Bungo, Minosaki), 4th month 1856; Buzen Province: The Passage Under the Rakan Monastery (Buzen, Rakanji shita michi), 11th month 1854; Kii Province: Waka-no-ura Bay (Kii, Waka-no-ura), 9th month 1855; Edo: Asakusa Fair (Edo, Asakusa no ichi), 10th month 1853; Izumi Province: Takashi Beach (Izumi, Takashi no hama), 7th month 1853; Mikawa Province: Hôrai Temple Mountains (Mikawa, Horaiji sangan), 8th month 1853, each vertical oban
£1,200-1,800
117
UTAGAWA HIROSHIGE lll (1843-1894)
‘THE STEAM TRAIN FROM THE FOREIGN ESTABLISHMENTS OF YOKOHAMA’, 1876
woodblock print, 36.5 by 73.6cm
£300-500
118
A FRAGMENTARY JAPANESE CARVED AND POLYCHROME
WOOD FIGURE, PROBABLY KAMAKURA PERIOD, 13TH CENTURY
depicted standing, wearing leggings and a knee-length robe open at the chest and tied at the waist, traces of pigment, wood stand, 37cm high
£200-300
约镰仓时期13世纪 日本多彩木雕人像残片
120
A JAPANESE GILT-BRONZE APSARA, PROBABLY KAMAKURA PERIOD, 13TH CENTURY
cast in the Chinese Tang dynasty style, the heavenly maiden depicted in full flight, wearing a long flowing robe and scarf billowing around the shoulders, playing a musical wind instrument, traces of gilding, mounted on a wood stand, the figure 15cm wide
Footnote: For a similar bronze, see The Museum of East Asian Art, Bath, item ref: BATEA:1044.
£400-600
119
A LARGE JAPANESE SHIGARAKI
WARE JAR, MOMOYAMA/EDO PERIOD (LATE 16TH/EARLY 17TH CENTURY)
the ovoid body rising from a flat base to a short neck with rolled rim, covered overall with brown, green, ochre and black glazes, 57.5cm high
£1,500-2,500
A JAPANESE LIFE-SIZED BRONZE OKIMONO OF A CRANE, 19TH CENTURY
naturalistically modelled, standing with head raised, all supported on an oval rockwork base, 121cm high
Provenance: Michael Goedhuis, London.
£800-1,200
A LARGE AND IMPRESSIVE JAPANESE PARCEL-GILT BRONZE OKIMONO OF BODHIDARMA, MEIJI PERIOD, LATE 19TH CENTURY
the bald deity standing barefoot, with bushy eyebrows, curly beard and moustache framing his face, wearing loose-fitted robes revealing his frame, the hands, face and torso gilt, 60cm high
£5,000-7,000
123
THREE JAPANESE METALWORK TOBACCO POUCH PLAQUES, MEIJI PERIOD (1868-1912)
of rectangular, oval and heart shape with matching back plate, each with gold detail depicting a figure, 4cm, 4cm and 5cm wide
Provenance: From the collection of John Linton Palmer (1824-1903), Fleet Surgeon, Royal Navy and amateur naturalist and painter. He served on hospital ship, HMS Melville, stationed in Hong Kong Harbour from 1860-65.
£150-250
124
A JAPANESE TWO-FOLD WOOD SCREEN, MEIJI PERIOD (1868-1912)
each panel 164 by 74cm
£200-300
125
A JAPANESE BRONZE MIRROR, MEIJI PERIOD (1868-1912)
the circular body cast to the rear with a medallion enclosing the characters shuangxi for ‘double happiness’, encircled by five bats, set to the lower rim with a shaped rectangular handle, Chinese embroidered silk pouch, the mirror 15.5cm diameter
Provenance: From the collection of John Linton Palmer (1824-1903), Fleet Surgeon, Royal Navy and amateur naturalist and painter. He served on hospital ship, HMS Melville, stationed in Hong Kong Harbour from 1860-65.
£80-120
126
A
JAPANESE LACQUER TEA JAR, NATSUME, EDO PERIOD, 19TH CENTURY
with deep rounded sides and flush-fitting cover, decorated in gold hiramaki-e on a black lacquer ground, with aoi mon (leaves of wild ginger crests) and sasa (young bamboo grass), black lacquer interior, fundame rims, 6cm high
Footnote: For a very similar teapowder box and cover, from the Danish National Museum, no.AC597, see the Society for Japanese Arts, Andon 69, 2001, no.6.
£100-200
127
A JAPANESE BRONZE ALLOY BODHISATTVA, MEIJI PERIOD (1868-1912)
modelled standing holding a long lotus stalk, wearing a simple dhoti tied at the waist, adorned with a headdress and elaborate jewllery, later marble circular base, 21.5cm high
£200-300
128
A SMALL JAPANESE LACQUER INCENSE CASE, KOGO, FOR THE TEA CEREMONY, MEIJI PERIOD (1868-1912)
the rectangular box with over-hanging cover, decorated in gold, silver, red and black hiramaki-e, takamaki-e, keuchi and kimpun on a black lacquer ground, with a Takabune (Treasure Ship) adrift in rolling waves, silvered fittings in the form of yastume mon (‘four eyes’ crests), accompanied with a fitted wood storage box, the cover signed Hirayasu Zohiko and with seal Zohiko, 5.8cm long
£200-300
129
AN ARITA BLUE AND WHITE BRAZIER, 19TH CENTURY
the deep rounded sides rising from a recessed base to a broad incurved rim, painted around the exterior in rich cobalt-blue tones with three lobed landscape panels divided by pine trees and within lotus lappet, keyfret and foliate bands, 36cm diameter
£200-300
130
A LARGE PAIR OF JAPANESE IMARI VASES, LATE EDO/EARLY MEIJI PERIOD (19TH CENTURY)
each ovoid body rising from a short tapering foot to a tall trumpet neck set with a pair of iron-red and gilt acanthus handles, enamelled around the body with two large cusped panels enclosing birds perched on blooms, all reserved on a dense leafy foliate ground, the neck similarly decorated, the base inscribed Zoshuntei Sanpo Zo, 59cm high Footnote: The Zoshuntei Sanpo Zo mark refers to a type of Imari porcelain in the Ko-Imari style created by Hisatomi Yoshibe for export to the West and was produced in the Arita region from the late Edo into the Meiji period.
£800-1,200
131
A PAIR OF JAPANESE CLOISONNÉ ENAMEL
‘FLOWER AND GRASSHOPPER’ VASES, MEIJI PERIOD (1868-1912)
each elongated oval vase rising from a short spreading foot to a short waisted neck, finely decorated around the exterior with composite floral sprays, one vase with a grasshopper, all reserved on a pale-blue ground, 36cm high
£600-800
132
A PAIR OF JAPANESE CLOISONNÉ ENAMEL VASES, MEIJI PERIOD (1868-1912)
each ovoid body rising from a short spreading foot to a narrow trumpet neck, decorated around the exterior with composite flower heads reserved on a light-blue ground, 30cm high
£150-250
133
OTAGAKI RENGETSU (JAPANESE, 1791-1875), A LARGE STONEWARE FLOWER VASE, EDO PERIOD, 19TH CENTURY
the tall slender bauster body set with a pair of lug handles at the shoulder, covered overall in a thick pale cream glaze and decorated in black enamel with a poem, 49.5cm high, Japanese wood box
£800-1,200
134
OTAGAKI RENGETSU (JAPANESE, 1791-1875), A LARGE STONEWARE FLOWER VASE, EDO PERIOD, 19TH CENTURY
the tall slender baluster body set with a pair of lug handles at the shoulder, covered overall in a thick pale brown glaze and decorated in black enamel with a poem, 51cm high
£800-1,200
135
OTAGAKI RENGETSU (JAPANESE, 1791-1875), A LARGE STONEWARE BRAZIER, EDO PERIOD, 19TH CENTURY
the ovoid body rising from a flat base to an incurved rim, covered overall in a crackled cream glaze suffused with bubbles, decorated in black enamel with a poem, the similarly glazed domed cover pierced with a simple floral motif and a medallion, 28cm high
£500-700
136
OTAGAKI RENGETSU (JAPANESE, 1791-1875), A JAR AND COVER, EDO PERIOD, 19TH CENTURY
the ovoid body covered overall with a finley crackled cream and brown glaze, decorated in black enamel with a poem, the dished cover with loop handle glazed cream,14.2cm high, Japanese wood box
£300-500
137
HAMADA SHOJI (JAPANESE, 1894-1978), VASE, SHOWA ERA (1926-1989)
the ovoid vase with contrasting tenmoku and nuka glazes, 25cm high, Japanese wood box
£300-500
IMPORTANT INFORMATION FOR BUYERS
SECTION A
1. INTRODUCTION
The following notes are intended to assist Bidders and Buyers, particularly those who are inexperienced or new to our saleroom. The sale of goods at our auctions are governed by our Terms of Sale (for Live Auctions or Online Auctions as applicable), our Privacy Policy, the Important Information for Buyers, and any notices that are displayed in our saleroom or announced by the Auctioneer (in the case of a Live Auction) or displayed on any Listing for a Lot in our Online Auction catalogue (in the case of an Online Auction) (collectively, the “Terms and Conditions of Business”). The Terms and Conditions of Business are available for inspection on our Website and at our saleroom on request. Our staff will be happy to help you if there is anything in our Terms and Conditions of Business that you do not fully understand.
Please make sure that you read the applicable Terms of Sale carefully before bidding. If your bid is successful, you will be obliged to comply with our Terms of Sale.
2. AGENCY
As Auctioneers we usually act on behalf of the Seller whose identity, for reasons of confidentiality, is not normally disclosed. If you buy at auction your Contract for your purchase of the goods is with the Seller, not with us as Auctioneer.
3. ESTIMATES
Estimates are designed to help you gauge what sort of sum might be involved for the purchase of a particular Lot. Estimates may change and should not be thought of as the Lot’s value or predicted sale price. The lower Estimate may represent the Reserve price (the minimum price for which a Lot may be sold) and will not be below the Reserve price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the auction and may be altered by a saleroom notice or announcement by the Auctioneer before the auction of the Lot (for Live Auctions), or on the Listing for a Lot in our Online Auction catalogue before the auction of the Lot (for Online Auctions). They represent a matter of opinion and are not definitive.
4 BUYER’S PREMIUM
The Terms of Sale oblige you to pay a Buyer’s Premium at 25% on the Hammer Price of each Lot purchased. The Buyer’s Premium is subject to VAT at the standard rate (currently 20%).
5. VAT
The following paragraphs are intended to give general advice on VAT for items purchased at auction. We have covered the common situations, and this may not be comprehensive. We are unable to offer Tax advice and we suggest you seek independent advice if you require clarifications or further information.
5.1 Items in our catalogue may be marked in the following ways:
(a) (†) indicates that VAT is payable by the Buyer on both the Hammer Price and the Buyer’s Premium. VAT will be chargeable at the standard rate (presently 20%) for most Lots. Qualifying books will be charged at 0%. This imposition of VAT is likely to be because the Seller is registered for VAT within the UK and is not operating the Dealers’ Margin Scheme on their consignment to us.
(b) (‡) indicates that the Lot has been imported from outside the UK using customs Temporary Admissions procedures. Import VAT of 5% (reduced rate due to nature of the Lot) is due on the Hammer Price and an amount in lieu of VAT at 20% will be included in the Buyer’s Premium. This VAT on the Buyer’s Premium cannot be itemised separately on our invoices. The successful Bidder and therefore Buyer of the Lot will become its importer.
(c) (Ω) indicates that the Lot has been imported from outside the UK using customs Temporary Admissions procedures. Import VAT of 20% (higher rate) is due on the Hammer Price and an amount in lieu of VAT at 20% will be included in the Buyer’s Premium. This VAT on the Buyer’s Premium cannot be itemised separately on our invoices. The successful Bidder and therefore Buyer of the Lot will become its importer.
(d) Lots which do not display one of the above symbols (referred to herein as unmarked Lots) have no VAT payable on the Hammer Price. This is because such Lots are sold using the Auctioneers’ Margin Scheme. Therefore, an amount in lieu of VAT at the standard rate is included within the Premium and will not be shown separately on our invoice or be recoverable as input Tax.
5.2 For the items marked (‡) or (Ω), Buyers registered for VAT in the UK should notify us as soon as possible after the sale so that we can correctly instruct our shipping agents to complete the import into the UK under the Buyer’s VAT registration and HMRC can issue a form C79. The charge on our invoice for the import VAT is not sufficient evidence to make a claim for the import VAT.
6. REFUNDS OF VAT
6.1 For Buyers from outside the UK, the VAT charged on the Hammer Price and Buyer’s Premium or included in lieu of VAT in the Buyer’s Premium can be refunded so long as the Buyer has:
(a) registered to bid with an address outside the UK; and
(b) discussed with us the proof of export we require and the timeframes to complete the export.
6.2 Once we are satisfied that the requirements referred to in Clause 1.6.1 have been met, and with the proof of export provided, the following VAT will be refunded:
(a) For Lots marked (†): The VAT on the Hammer Price and on the Buyer’s Premium.
(b) For Lots marked (‡) and (Ω): the import VAT and, the VAT in lieu in the Buyer’s Premium.
(c) For unmarked Lots: the amount in lieu of VAT in the Buyer’s Premium.
6.3 To enable us to refund the VAT charged correctly we normally require the use of our international shippers to assist with the required paperwork. For private Buyers, we will only be able to refund the VAT if our shippers are used for the export of the Lot outside the UK.
7. REINVOICING SALES
For unmarked Lots, you can request a Lot to be reinvoiced outside the Auctioneers’ Margin Scheme. VAT at 20% will be charged on the Hammer Price and the VAT on the Buyer’s Premium will be itemised separately on our invoice. This will enable a VAT registered business to reclaim all the VAT. Please note that the item will no longer be eligible to be sold in the Margin Scheme. We recommend you seek advice before proceeding. Requests must be made within 6 months of the sale and certain conditions apply.
8. INSPECTION OF GOODS BY THE BUYER
As we act on behalf of the Seller, we are dependent on information provided by the Seller about their goods. We may inspect Lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do. You will have the opportunity to inspect the goods (upon request). Where a Lot is made available for inspection, we strongly recommend that you inspect any Lots that you are interested in prior to bidding at the auction. Please carefully note the exclusion of liability for the condition of Lots set out in the Terms of Sale for Online Auctions at Clause 22.5 and the Terms of Sale for Live Auctions at Clause 18.5.
9. GOODS WITH ELECTRICAL COMPONENTS
These are sold as “antiques” for their historical and decorative attributes, and for collection and display only. They are not intended for use. If you buy goods with electrical components and intend to use them, you must ask a qualified electrician to check them for compliance with safety regulations before you use them.
10. ENDANGERED SPECIES
If you intend to buy goods which contain endangered species, you need to find out if there is a prohibition on the purchase of goods of that character. For goods containing elephant ivory, you also need to satisfy yourself that they have been correctly registered or certified and meet the exemption conditions under applicable legislation.
11. EXPORT OF GOODS
If you intend to export goods you must find out:
11.1 whether an export licence is needed; and
11.2 if there is a prohibition on exporting goods of that character outside of the UK or on importing goods of that character in your intended country of import such as because the goods contain prohibited materials such as elephant ivory or other protected flora and fauna.
12. BIDDING
Bidders will be required to register with us before the auction starts. We Reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a commission bid. If you wish to bid on high value Lots this deadline may be several days before the auction in order to allow us sufficient time to carry out the necessary checks. Lots will be invoiced to the name and address on the registration form. Please enquire in advance about our arrangements for telephone or online bidding. You will need to provide us with proof of your identity in a form acceptable to us and such other information as we may require. Please note that we may refuse to register you if you do not provide us with all the information and documentation that we ask for or at our discretion.
13. BIDDING PLATFORMS
We offer free online bidding directly through our Website (www.olympiaauctions. com). You may also bid using an independent Bidding Platform. Bidders using an independent Bidding Platform or service should note that the platform may impose an additional fee or charge, which will be added to the total amount payable in the event your bid is successful. Please refer to the terms and conditions on the relevant independent platform for rates.
14. FINANCIAL CHECKS
As Auctioneers we may have to conduct various checks into our customers under the Money Laundering Legislation, under sanctions legislation and other related legislation. Unless we confirm we already have this information, on registration to bid you will be required to provide the following:
(a) For individuals, official photo identification (driving licence, passport or equivalent) and proof of address (if this is not included in your ID document).
(b) For corporate entities, the certificate of incorporation (or equivalent) with the entity’s official name, registered number (if any) and registered address, as well as details and ID documentation for directors and beneficial owners of the entity.
(c) For trusts and estates, details and ID documentation for executors/trustees and details of beneficiaries: please contact us for further information.
14.1 You may be asked for further information if we deem this necessary.
14.2 If you are bidding for another person (your Principal) you will be required to provide the above information for yourself and your Principal, along with a signed letter from your Principal authorising you to bid on his/her behalf.
14.3 If you require further information about ID requirements, please contact enquiries@olympiaauctions.com. If we deem that you have not provided sufficient information for us to complete our anti-money laundering, terrorist financing and sanctions checks to our satisfaction, we may refuse to register you to bid and we may postpone completion of or cancel any Contract made by you and the Seller in the event you have made a successful bid.
15. COMMISSION BIDDING
You may leave commission bids with us indicating the maximum amount to be bid against a Lot (excluding the Buyer’s Premium and/or any applicable VAT). We will execute commission bids as cheaply as possible having regard to the Reserve (if any) and competing bids. If two Buyers submit identical commission bids, we may prefer the first bid received (where this can be reasonably ascertained). Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax/email or via our Website or online Bidding Platform.
16. METHODS OF PAYMENT
16.1 Online: Payment can be made at www.olympiaauctions.com/payments.
16.2 Cheque: Usually any cheques will need to be cleared before you can take the goods away. We require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale.
16.3 Bank Transfer: Payments must be received from a bank account held in the name of the person or entity named on the invoice for the Lot.
16.4 Cash: £6,000 and “card holder not present” payments above £2,000 cannot be accepted.
16.5 Credit Card payments in person: Payments above £6,000 cannot be accepted.
16.6 Debit card payments in person: Payments are without limit.
17. COLLECTION AND STORAGE
Please note what the applicable Terms of Sale say about collection and storage (see Clause 13 of the Terms of Sale for Live Auctions and Clause 15 of the Terms of Sale for Online Auctions). It is important that you pay for and collect goods promptly. Any delay may involve you having to pay storage charges. You (or your agent) must bring photographic ID for collection. Please note that collection may be made during working hours only, usually Monday to Friday 09:30 to 17:00.
18. POTENTIAL CANCELLATION RIGHTS
If you purchase a Lot in an Online Auction as a Consumer in the UK or EU from a Seller who is a Trader, you may have a right to cancel your purchase of that Lot from the day of the auction up to the day which is 14 days after the date on which you take possession of the Lot. You may also have the right to cancel Services provided by us. Further information is set out in the Terms of Sale for Online Auctions.
CATALOGUING PRACTICE
SECTION B
1.
Please note that all measurements are approximate and that illustrations are not to scale. The condition of a Lot is not usually included in catalogue descriptions, and no assumptions should be made in the absence of this information. Condition reports are available on request.
2. CERAMICS
Obvious faults may be recorded in italics at the end of a description for ceramics.
3.CLOCKS AND WATCHES
All Lots are sold “as is” and the absence of any reference to the condition of a clock or watch does not imply that the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches have been repaired in the course of their normal lifetime and may now incorporate parts not original to them. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, the Bidder should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. The Bidder should be aware that the importation of watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches may not be shipped to the USA and can only be imported personally.
4. DISPLAY ACCESSORIES
Please note that armour stands and many of the display mounts used in the catalogue(s) and the sale exhibition(s) do not form part of the Lot unless stated in the catalogue, though they may be made available to the successful Buyer of the relevant Lot(s). Please contact us for prices and further details.
5. FIREARMS
Please note that all bore sizes are approximate.
6. JEWELLERY
It is common practice for many gemstones to be treated by a variety of methods to enhance their appearance and the international jewellery trade has generally accepted these methods. Although heat enhancement of colour is usually permanent, in some cases this could affect the durability of a gemstone. Oiled gemstones may need reoiling after a certain period. If no gemmological report is published in the catalogue, prospective Buyers should be aware that the gemstones or pearls could have been enhanced by some method.
7. PHOTOGRAPHS
In addition to the explanations set out below regarding categorising terms for works, please note the following. The date given is that of the image (negative). Where no further date is given, this indicates that the photographic print is vintage (the term “vintage” may also be included in the Lot description). A vintage photograph is one which was made within approximately 5–10 years of the negative. Where a second, later date appears, this refers to the date of printing. Where the exact printing date is not known, but understood to be printed later, "printed later" will appear in the Lot description.
Unless otherwise specified, dimensions given are those of the piece of paper on which the image is printed, including any margins. Some photographs may appear in the catalogue without the margins illustrated.
All photographs are sold unframed unless stated otherwise in the Lot description.
8. PICTURES
A work catalogued with the name(s) or recognised designation of an artist, without any qualification, is, in our opinion, a work by the artist. In other cases, the following expressions with the following meanings are used:
(a) “Attributed to”: means in our opinion it is probably a work by the artist in whole or in part.
(b) “Studio of ” or "workshop of ”: means in our opinion a work executed in the studio or workshop of the artist, possibly under his supervision.
(c) “Circle of ”: means in our opinion a work of the period of the artist and showing his influence.
(d) “Follower of ”: means in our opinion a work executed in the artist's style but not necessarily by a pupil.
(e) “Manner of ”: means in our opinion a work executed in the artist's style but of a later date.
(f) “After”: means in our opinion a copy (of any date) of a work of the artist.
(g) “Signed”, “dated”, “inscribed”: means in our opinion the work has been signed, dated or inscribed by the artist. The addition of a question mark (?) adds an element of doubt.
(h) “Bears signature”, “bears date”, “bears inscription”: means in our opinion the signature, date, inscription or stamp is by a hand other than that of the artist.
9. SILVER, GOLD AND PRECIOUS METALS
Weights may only be accurate to within 5 grams. Weights shown as “(* oz)” are in troy ounces and usually rounded down to the full ounce.
10. THE FOLLOWING SYMBOLS MAY BE USED IN OUR AUCTION CATALOGUES:
(a) () indicates a Lot with no Reserve.
(b) (✧) indicates a “Premium Lot”. For Premium Lots, you must complete the required Premium Lot preregistration application and deliver to us such necessary financial references, guarantees, deposits and/or such other security as we may in our absolute discretion require, as security for your bid. Our decision as to whether to accept any pre-registration application shall be final.
(c) (◉) indicates items that have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export, such as a CITES certificate. The absence of the symbol is not a warranty that there are no restrictions regarding import or export of the item. We accept no liability for any Lots which may be subject to restrictions but have not been identified as such. Please refer to section A, paragraph 10 above.
(d) (⊕) indicates a Lot that may be subject to Artist’s Resale Right.
(e) (○) indicates “Guaranteed Property”. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by Olympia Auctions or jointly by Olympia Auctions and a third party. Olympia Auctions and any third parties providing a guarantee jointly with Olympia Auctions benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party providing a guarantee jointly with Olympia Auctions may provide an irrevocable bid, or otherwise bid, on the guaranteed property. If the Guaranteed Property symbol for a lot is not included in the printed or pdf auction catalogue (where applicable), then Olympia Auctions will notify bidders that there is a guarantee on the lot by one or more of the following means: the lot’s specific webpage will be updated to include the guaranteed property symbol, a notice will be added to the Olympia Auctions webpage for the auction, or a pre-sale or pre-lot announcement will be made indicating that there is a guarantee on the lot. If every lot in a sale is guaranteed, a Special Notice will be included to this effect and this symbol will not be used for each lot.
(f) (∏) indicates “Monumental”. Lots with this symbol may, in our opinion, require special handling or shipping services due to size or other physical considerations. Buyers are advised to inspect the lot and to contact Olympia Auctions prior to the sale to discuss any specific shipping requirements.
(g) (W) indicates property stored and to be collected from off-site storage. Please note that property can only be released once payment has been received in full and cleared funds. If you are sending your own authorised agent to collect property from Olympia Auctions on your behalf, please provide a letter of authorisation, a copy of your paid invoice and photographic ID.
(h) (#) Book sales. Although these items are not free from VAT, Olympia Auctions is able to use the margin scheme and VAT will not normally be charged on the hammer price. Olympia Auctions must bear VAT on the buyer’s premium and hence will charge an amount in lieu of VAT at the standard rate on this premium. This amount will form part of the buyer’s premium on our invoice and will not be separately identified.
AUCTION CALENDAR
Make a date in your diary to view our forthcoming auctions
30TH OCTOBER 2024 | Viewing 27-29 October MODERN & CONTEMPORARY AFRICAN AND MIDDLE EASTERN ART
6TH NOVEMBER 2024 | Viewing 3-5 November CHINESE & JAPANESE WORKS OF ART
13TH NOVEMBER 2024 | Viewing 10-12 November INDIAN, ISLAMIC, HIMALAYAN & SOUTH-EAST ASIAN WORKS OF ART
21ST NOVEMBER 2024 | Viewing 18-20 November
EUROPEAN OBJECTS & WORKS OF ART
21ST NOVEMBER 2024 | Viewing 18-20 November JEWELLERY
4TH DECEMBER 2024 | Viewing 1-3 December FINE ANTIQUE ARMS, ARMOUR & MILITARIA
11TH DECEMBER 2024 | Viewing 8-10 December FINE PAINTINGS, WORKS ON PAPER AND SCULPTURE
To be added to our invitation list for private views and catalogue alerts, please contact enquiries@olympiaauctions.com | +44 (0)20 7806 5541
Please note these dates may be subject to change www.olympiaauctions.com | 25 Blythe Road, London W14 0PD
ABSENTEE BID FORM
OLYMPIA AUCTIONS
SALE TITLE: CHINESE & JAPANESE WORKS OF ART
DATE: 6 NOVEMBER 2024
COD E: OA0149
Please mail, fax or scan and email to: Olympia Auctions, 25 Blythe Road, London W14 0PD Fax +44 (0)20 7806 5546
Email: pictures@olympiaauctions.com
Important
Please bid on my behalf at the above sale for the following Lot(s) up to the hammer price(s) mentioned below. These bids are to be executed as cheaply as is permitted by other bids or reserves and in an amount up to but not exceeding the specified amount. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing responsive or consecutive bids for a lot.
I agree to be bound by Olympia Auctions Conditions of Business. If any bid is successful, I agree to pay a buyer’s premium on the hammer price at the rate stated in the front of the catalogue and any VAT, or amounts in lieu of VAT, which may be due on the buyer’s premium and the hammer price.
Methods of Payment
Olympia Auctions welcomes the following methods of payment, most of which will facilitate immediate release of your purchases.
Online: www.OlympiaAuctions.com/payments
Bank Transfer: Payments must be received from a bank account held in the name of the person or entity named on the invoice for the Lot.
HSBC Bank Plc, 38 High Street, Dartford, Kent, DA1 1DG
IBAN No: GB39HBUK40190422033119
BIC: HBUKGB4B
Sort Code: 401904
Account No: 22033119
Account Name: Olympia Auctions
Sterling Bankers Draft: Drawn on a recognised UK bank.
Cheque: Usually any cheques will need to be cleared before you can take the goods away. We require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale.
Cash: £6,000 and “card holder not present” payments above £2,000 cannot be accepted.
Credit Card payments in person: Payments above £6,000 cannot be accepted.
Debit card payments in person: Payments are without limit.
Please print or type
Please note that if you have not dealt with us before, you will need to supply us with a copy of photographic ID and proof of address.
