Fine Chinese and Asian Art Auction catalogue. Artvisory Melbourne. 13 November 2022

Fine Chinese & Asian Art

BY LUKE GUAN

AUCTION Sunday 13 November 2022, 11.00am

Artvisory 310 Toorak Road, South Yarra VIC 3141

VIEWING Wednesday 9 November 11am–5pm

Thursday 10 November 11am–5pm

Friday 11 November 11am–5pm Saturday 12 November 11am–5pm

COLLECTIONS Monday 14 November 11am–5pm

Tuesday 15 November 11am–5pm

Wednesday 16 November 11am–5pm

ONLINE View catalogue and bid online at www.artvisory.com.au

ENQUIRIES Specialist Enquiries:

Luke Guan 0455 891 888 luke@artvisory.com.au

Auction administration enquiries: Amanda Swanson 0414 592 234 amanda@artvisory.com.au

How to Bid at our Auctions

Catalogues and Viewing

Auction catalogues can be viewed on the Artvisory website www.artvisory.com.au approximately three weeks prior to the published date of an Auction.

If a printed catalogue has been produced for an Auction, it will be available complimentary at Artvisory, 310 Toorak Road, South Yarra 3141.

The Auction viewing is open to the public and generally takes place during the three days prior to the Auction date, from 11am-5pm at the advertised location/s in the Auction catalogue.

Lot Descriptions

The Lot/ Catalogue descriptions provide the overall information of an item including size, date or age, medium, attribution, quantity and if known, provenance.

Estimates

The estimate accompanies each lot in the printed and online catalogue. This estimate takes into consideration the quality, condition, rarity, condition and provenance of the item. Each estimate also has a reserve, and the reserve is the undisclosed and confidential amount set at or below the low estimate. Please note the reserve will never exceed the low estimate at Artvisory, however many lots are sold without a reserve.

Condition Reports

Condition reports supplement the lot/ catalogue description and focus on the condition of the item. We strongly advise obtaining a condition report if you are unable to view the lot in person. Condition reports and additional images are available to view as part of the auction item listing at Invaluable.com

Symbols

Occasionally a symbol is printed next to a lot number in the catalogue, this indicates a special clause that is associated with the sale of that item.

Please refer to the Terms and Conditions for specific symbol meanings and information.

Buyers Premium

Artvisory charges a Buyers Premium of 24% plus GST on the hammer price of all Auction items unless otherwise stipulated.

Bidding

Artvisory offers four options for bidding at our Auctions:

Live Bidding

If this is your first-time bidding with Artvisory you will be required to register with us, and we suggest that you arrive at the Auction with your pre-filled registration form (available to download and print from our website) and you will then receive your bidding number at the Auction. To facilitate this please bring along your Government issued photo identification, such as a driver’s licence or passport as this is the only form of identification that will be accepted.

Please make sure you register in the name you want your final invoice to be made out to as invoices once issued cannot be changed, and in certain cases a deposit may be required before you can bid.

Online Bidding

Online bidding via Invaluable.com allows you to bid via the internet in real time, whilst also allowing you to view the live feed of the Auction.

Please register for this service with Invaluable.com at least 24 hours prior to the Auction to ensure you do not miss your lot.

Invaluable.com charges a 5% fee on any successful lots purchased which will be added to your final invoice.

Please note if you have not bid with Artvisory previously, then Government issued photo identification verifying your name and address will be also be required before you can be approved to bid with Artvisory via the Invaluable.com site, and in certain cases a deposit may be required before you can bid.

Please note Artvisory cannot be held responsible for any errors that occur with internet connectivity during an auction or buyer bidding errors.

Telephone Bidding

Complimentary telephone bidding is available at all our live Auctions, and involves an Artvisory representative calling you approximately 3–5 lots in advance of your nominated lot and you then instruct them to bid on your behalf.

Telephone Bids must be requested at least 24 hours prior to the commencement of the Auction and are provided on a first come first served basis, as the number of phone lines available are limited.

See our website to download and complete a telephone bidding form and please note if this is your first time bidding with Artvisory we will require a clear, scanned copy of Government issued photo identification such as a drivers licence or current passport verifying your name and address and in certain cases a deposit may be required before you can bid.

Absentee Bidding

Absentee bidding offers convenience if you are unable to attend an Auction in person, bid over the telephone, or if you wish to stick to your budget.

An absentee bid should be set at the maximum amount you wish to bid on the lot/s you are interested in purchasing. Should the lot/s be knocked down at an amount lower than the bid recorded on your form, the lot will be sold to you for the lesser hammer price plus buyers premium. If identical bids are received for the same lot, then the first bid received by Artvisory will take precedence.

Absentee bids must be received by Artvisory at least 24 hours prior to the Auction commencing and the Company cannot be held responsible for activating any late bids that are received.

See our website to download and complete an absentee bidding form and please note if this is your first time bidding with Artvisory we will require a clear, scanned copy of Government issued photo identification such as a drivers licence or current passport verifying your name and address and in certain cases a deposit may be required before you can bid.

Payment and Collection

If you are successful with your bid/s your invoice will be emailed to you immediately after the Auction finishes.

You will pay the hammer price, plus the Buyers Premium of 24% plus GST on each lot, together with any additional charges such as GST on hammer or the Artist Resale Royalty if applicable.

As per our terms and conditions, payments must be made in full by three (3) days after the Auction as printed in the catalogue.

Personal, Company and Bank cheques are not accepted unless prior approval has been sought.

We accept Direct Deposit into the Company Trust Account, Eftpos (up to your daily limit) or credit card in person with the following merchant fee applicable (1.5% inc GST for Visa, Mastercard and American Express)

Cash payments must be deposited direct to the Company Trust account via any Commonwealth Bank Branch, and goods can be released upon supplying the deposit receipt.

All payment options and Company Trust Account details are included on the invoice that is emailed to you after the Auction if you are a successful bidder.

All items must be paid for in full and collected within the collection times advertised for each individual Auction. If items are not collected within this time frame then Artvisory reserves the right to charge removal, storage and release fees.

Packing and Delivery

Artvisory recommends Pack and Send for all packing and interstate and international deliveries and we are happy to help co-ordinate this for you with Pack and Send.

Regarding larger items such as furniture and large artworks, we have a list of recommended specialist carriers for local, interstate and international deliveries that we can provide to buyers and this will be sent to you with your invoice if you are successful at the auction.

An Important Private Collection, QLD

1–74)

A PAIR OF CHINESE CLOISONNÉ ENAMEL GARLIC-HEAD VASES, JINGTAI MARK, LATE MING-EARLY QING DYNASTY,

high (each)

CENTURY

A CHINESE CLOISONNÉ BOX AND COVER, QING DYNASTY (1644-1912)

PROVENANCE

cloisonné bowl dated to the second half of 16th century decorated with a similar style of sea horses on the interior, is illustrated in Chinese Cloisonne: Helmut Brinker & Albert Lutz, The Pierre Uldry Collection, London, 1989, no.

PROVENANCE

from Collection of the Late Ross Gordon on 11/4/1974.

from Jewell's Antiques, Melbourne, 13/12/1977.

A CHINESE FINE CLOISONNÉ DISH, QING DYNASTY, 18TH CENTURY

from Leonard Joel's, Melbourne, 24/5/1986.

LARGE CHINESE CANTON FAMILLE ROSE PUNCH BOWL, QIANLONG PERIOD (1736-1795)

from a private English collection, 2/3/2012

CANTON ENAMEL YIXING WATER DROPPER, QING DYNASTY (1644-1912)

Late Blumenthal Collection.

from above in 1979.

Collection遺產。

A GROUP OF THREE CHINESE SMALL COPPER RED GLAZED VESSELS, LATE QING DYNASTY, LATE 19TH-EARLY 20TH CENTURY

a garlic head vase, a washer and a box and cover with Xuande mark.

13cm high

PROVENANCE

from Leonard Joel, Melbourne in 22/9/1997 .

Joel拍賣行。

online at artvisory.com.au

A CHINESE CELADON GU-FORMED VASE, YONGZHENG MARK, EARLY 20TH CENTURY

18cm high

PROVENANCE Acquired from the Belgian Collection, in 14/9/1995. 1995年9月14日購於

Belgian

A GROUP OF CHINESE FAMILLE ROSE TEA VESSELS, QING DYNASTY, 18TH CENTURY

a teapot, a cup and a saucer.

15cm wide

from Leonard Joel, Melbourne, 2/6/1986.

CHINESE CARVED AND APPLIED FAMILLE ROSE BOX

COVER, QIANLONG MARK, QING DYNASTY (1644-1912)

artvisory.com.au

A CHINESE CINNABAR LACQUER SQUARE VASE, QING DYNASTY, 19TH CENTURY with a fitted wood stand.

30.9cm

42

A CHINESE RED CARVED CINNABAR LACQUER BOX AND COVER, 19TH CENTURY

diameter

PROVENANCE Acquired from Late L. Blumenthal Collection in 1982. 1982年購於L. Blumenthal Collection遺產。

$1,000–2,000

Illustrated online at artvisory.com.au

43

A CHINESE GREEN MARBLE TABLE SCREEN, 20TH CENTURY

PROVENANCE Acquired in Brisbane in 5/12/2006.

online at artvisory.com.au

44

A CHINESE JADE FLOWER, SONG DYNASTY (927-1279)

inset into a wood box.

5cm diameter; box: 13.5cm long; 10cm wide

online at artvisory.com.au

CHINESE DEHUA STANDING FIGURE,

A CHINESE IMARI JAR AND COVER, KANGXI PERIOD (1661-1722)

15.4cm high

The lid was engraved "N: 94 +". According to the letter of Dr. F. Reichel from Staatliche Kunstsammlungen Dresden, Germany, This inventory number can be found in the oldest inventory book of the musuem which was commenced in 1721. He translated one relevant paragraph from this book: " In the same year and month (i. e. July 1723) His Royal Majesty bought from Miss Bassetouche:... N: 94. 6 pieces of such kind (i. e. coffee pots with compressed spouts, big handles and flat round covers) with round bodies; one piece is different. 6 Zoll (15.4cm) high and 4 Zoll in diameter."

PROVENANCE Miss Bassetouche, Germany.

of Augustus II the Strong (1670 –1733), who was Elector of Saxony from 1694 as well as King of Poland and Grand Duke of Lithuania in the years 1697–1706 and from 1709 until his death in 1733.

CHINESE INK ENAMEL ON BISCUIT VASE, QIANLONG MARK, GUANGXU PERIOD (1875-1908)

PROVENANCE

Estate of the Late Bundy Collection, 26/11/1981.

Collection遺產。

CHINESE FAMILLE ROSE PEACH BOWL, GUANGXU IRONRED SIX-CHARACTER MARK AND OF THE PERIOD (1875-1908)

diameter

PROVENANCE

Christie's London,

Conely Antiques, Australia, 29/12/2010.

Conely

A CHINESE ROBIN’S EGG GLAZED BOTTLE VASE WITH APPLIED DECORATION, LATE QING DYNASTY,

19TH CENTURY

CHINESE FAMILLE ROSE CANDLE-STICK, GUANGXU PERIOD (1875-1908)

CHINESE FAMILLE ROSE TUREEN AND COVER, 18TH CENTURY

CHINESE DEHUA FIGURE OF MULAN AND HORSE, 20TH CENTURY

PAIR OF CHINESE FAMILLE ROSE DISHES, QING DYNASTY, 18TH CENTURY

diameter

PROVENANCE

from Lynette Cunnington Antiques Sydney.

Antiques藝廊。

TWO FAMILLE ROSE DISHES, QING DYNASTY, 18TH CENTURY

and 22.8cm diameter

PROVENANCE

Late Ross Gordon Collection. Acquired from above in 1989.

Ross Gordon Collection遺產。

artvisory.com.au

FAMILLE ROSE

MARK,

HONGXIAN FOUR CHARACTER

20TH CENTURY

A CHINESE OLD HUALI BURLWOOD INSET LOW TABLE, KANGXI, QING DYNASTY (1644-1911)

A CHINESE ROUNDED HONGMU WOOD STAND WITH A FAMILLE ROSE PLAQUE AND BONE INLAID, QING DYNASTY, 19TH CENTURY

diameter; 43cm high

PROVENANCE

of the late Father Peter Grice, Brisbane, Australia, acquired from the Brisbane Antique Fair.

PROVENANCE

The Estate of the Late Ross Gordon Collection. Acquired from Shapiro's Sydney, 7/4/2003. Ross Gordon遺產。

2003年4月7日購於悉尼Shapiro's藝廊。

online at artvisory.com.au

PAIR OF RARE CHINESE GOLD LACQUER DECORATED SHELLS, LATE QING DYNASTY, LATE 19TH CENTURY

PROVENANCE

from

Century

TWO CHINESE CARVED MOTHER OF PEARL SHELLS, LATE 19TH-EARLY 20TH CENTURY

23 x 19.5cm

PROVENANCE

Acquired from a private collection in 2002. 2002年購於私人舊藏。

$1,500–2,500

Illustrated online at artvisory.com.au

TWO CHINESE CARVED MOTHER OF PEARL SHELLS, LATE 19TH-EARLY 20TH CENTURY

PROVENANCE

from a private collection in 2002.

at

A CHINESE CARVED AGATE VASE, QING DYNASTY (1644-1911)

With fitted wood stand.

清 玛瑙雕福壽花瓶

9cm high

PROVENANCE

Acquired from James Conley Antiques, Australia & U.K., 2005. 2005年購於澳大利亞/英國 James Conley Antiques古董行。

$2,000–3,000

72

A CHINESE CARVED RED OVERLAY WHITE GLASS BOWL, QING DYNASTY (1644-1912)

清 紅套白琉璃盌

16cm diameter

PROVENANCE

Acquired Sotheby's Melbourne, 24/6/1986. 1986年6月24日購於蘇富比墨爾本。

$600–800

*This

73

A LARGE JAPANESE IMARI BOWL, MEIJI PERIOD, LATE 19TH CENTURY

With metal mounted stand

日本 明治時期 伊萬裡燒大盌 25.3cm diameter

PROVENANCE

Acquired from the Belgian Collection, in 14/9/1995. 1995年9月14日購於 the Belgian Collection私人舊藏。

$1,000–2,000

Illustrated online at artvisory.com.au

74

A RARE JAPANESE SATSUMA LOZENGE SHAPED JAR, MEIJI PERIOD, 19TH CENTURY

Signed to the base “Dai Nippon, Satsuma yaki, Momo Shuko ga”, translated:" Japanese Satsuma ware painted by Momo Shuko".

日本 明治時期 百百周紅 薩摩燒方罐 28 x 14cm

PROVENANCE

Acquired from Vanroys Antiques Sydney, in 11/2/1984.

1984年2月11日購於悉尼Vanroys Antiques藝廊。

$1,000–2,000

Illustrated online at artvisory.com.au

The Estate of the Late Walter Hochstadter & Alice Chu (Lots 75–83)

The Estate of the Late Walter Hochstadter and Alice Chu, these present pieces were all acquired by Walter Hochstadter prior to 1997 thence by descent. Walter Hochstadter was a well known and distinguished dealer of Chinese art, born in Krumbach (Germany) in 1914. In the late 1930's he emigrated to the United States and died in Melbourne, Australia in 2007. He was a member of the Oriental Ceramic Society (USA) from 1953-1982. A large number of the Hochstadter collection was sold at Christie's New York, 18th/19th March 2009, with a piece lot 518 reaching 2 million US dollars.

A VERY RARE CHINESE ARCHAIC BRONZE RITUAL TRIPOD VESSEL BOWL, HAN DYNASTY (202 B.C.–220 A.D.)

The bowl is cast supported on three small human figures that face outward, flanked by a pair of beast-mask handles each suspending a loose ring.

漢 青銅人形足弦紋雙耳洗

24cm diameter

Two almost identical examples, one is in the Capital Museum, China; the other one was excavated in Qinan longcheng Yuanjia Han tomb, now is in Gansu provincial museum, China.

$6,000–8,000

76

A CHINESE WHITE GLAZED VASE, SUI DYNASTY (581-618)

隋 白瓷長頸瓶 26cm high

$5,000–7,000

77

A CHINESE CIZHOU DENGFENG MEIPING VASE, NORTHERN SONG DYNASTY (960-1127)

北宋 登封窯白釉刻金錢紋梅瓶

38.4cm high

$2,000–3,000

IN THE FORM OF

BOXWOOD CARVED

19TH CENTURY

A FINE AND VERY RARE CHINESE ARCHAIC BRONZE RITUAL TRIPOD VESSEL, PAN, ZHOU DYNASTY (1100-256 BC)

The exterior of this vessel is decorated with a band of interlocking dragon scroll, flanked by a pair of handles decorated with abstract phoenix motif, supported on three finely cast taotie heads foot.

diameter

Pan were shallow basins used as ritual vessels to hold water. They were used in conjunction with a he or a yi to form a set of vessels for the washing of hands. Such vessels would have been included in the ritual vessel sets "required by an individual or family of a given period to perform the customary ritual food and wine offerings to the ancestors." See J. Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, vol. IIA, The Arthur M. Sackler Foundation, 1990, p. 98. Such a set, of Middle Western Zhou date, from Shaanxi Fufeng Qijiacun M19, is illustrated in a line drawing, ibid., p. 99, fig. 142d.

The present Pan with three taotie heads foot is extremely rare, a similar pan without three foot, is illustrated by J. A. Pope et al. in The Freer Chinese Bronzes, vol. I, Washington, 1967, pl. 82. Also see Christie's New York, 21/3/2014, lot 2018 for a similar pan without three foot. $5,000–8,000

EWER,

CHINESE BLACK-GLAZED MEIPING VASE, JIN DYNASTY (1115-1234)

黑釉刻弦紋梅瓶

high $5,000–7,000

A CHINESE CIZHOU BLACK-GLAZED BOWL WITH RUSSET SPLASHES, JIN-YUAN DYNASTY, 13TH CENTURY

18.4cm diameter $4,000–6,000

A CHINESE CARVED WHITE JADE STANDING FIGURE OF A FEMALE IMMORTAL, QING DYNASTY (1644-1912) with a fitted wood stand.

18.5cm high

For a smaller example see Sotheby's Hong Kong, 2/6/2015, lot 747, also see the same house, 9/10/2012, lot 3133. Also compare to a later (early 20th century) and a smaller (14.7cm high) example, see Christie's New York, 24/3/2011, lot 1545.

A CHINESE CARVED BAMBOO INCENSE HOLDER, QING DYNASTY, 17TH-18TH CENTURY with a fitted wood stand.

17.8cm high

For a similar example see: Sotheby's New York, 20/3/2007, lot 704; a 18th/19th century example with much rougher and simpler carving see: Bonhams San Francisco, 18/12/2007, lot 4217.

A RARE AND FINE CHINESE FLAMBÉ-GLAZED LINGZHI-FORM BRUSH WASHER, QING DYNASTY, 18TH CENTURY with moulded scrolling rim, decorated in a streaked red, cream and lavender glaze.

22cm wide

A similar example see Bonhams London, 13/5/2019, lot 185. $5,000–7,000

A RARE CHINSE 'TIXI' LACQUER BOX AND COVER, YUAN-MING DYNASTY, 14TH-15TH CENTURY

6.5cm diameter

The carved design on the current box, known as tixi or the Japanese term, guri (curves and circles), was a pattern established towards the end of the Song dynasty. The scrolling foliage design on the current box, referred to as juancao (scrolling grass) or xiangcao (fragrant grass), first appeared on Song dynasty lacquerwares and enjoyed considerable popularity well into the Yuan dynasty. See two tixi lacquer boxes of similar form and closely related design, one in the Asian Art Museum of San Francisco, published in Hai-wai Yi-chen. Chinese Art in Overseas Collections. Lacquerware, Taipei, 1987, pl. 73; and the other included in the exhibition East Asian Lacquer. The Florence and Herbert Irving Collection, The Metropolitan Museum of Art, New York, 1991, cat. no. 11.

Similar examples sold at auctions, see Sotheby's Hong Kong, 26/5/2021, lot 513. Sotheby's London, 16/5/2012, lot 68; and a larger (21.3cm) example, see Sotheby's New York, 16-17/09/ 2014, lot 546.

$5,000–7,000

The double-lozenge, also known as fang sheng 方勝, is one of the Eight Treasures, babao 八 寶, which was a much favoured design used in decoration during the Ming and Qing dynasties. Lozenge-shaped lacquer examples first appeared in Ming dynasty; see for example a qiangjin polychrome and gilt-lacquer lozenge-shaped box and cover, Jiajing mark and period, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Lacquer Wares of the Yuan and Ming Dynasties, Shanghai, 2006, no.151. The inspiration from previous generations was in line with the Qianlong Emperor's instructions to his Court and craftsmen to look to China's past for moral guidance and artistic inspiration. A similar double-lozenge shaped cinnabar lacquer tiered box and cover, Qianlong, decorated with dragons pursuing a Shou pearl of wisdom on the cover, and 'Precious Objects' around the sides, is in the collection of the National Palace Museum, Taipei (museum no.Gu-Qi000261N000000000). See also a related cinnabar lacquer lozengeshaped box and cover, 18th century, in the National Palace Museum, Taipei, illustrated in Carving the Subtle Radiance of Colours-Treasured Lacquerware in the National Palace Museum, Taipei, 2008, no.152. For an almost identical example sold at auction, see: Bonhams London, 2/11/2021, lot 309.

CHINESE BLUE AND WHITE BOWL, YUAN DYNASTY (1271-1368)

CHINESE BLUE AND WHITE BOWL, MING DYNASTY, 15TH CENTURY

CHINESE BLUE AND WHITE DRAGON BOX AND COVER, GUANGXU PERIOD (1875-1908)

diameter

Melbourne.

Edrina Collection, U.K., Hong Kong and Sydney.

Kong, Heavenly Boxes:

Edrina Collection of Tang, Song, Ming and Qing Boxes

Ming

Qing

A RARE IMPERIAL CHINESE MINIATURE TEA BOWL, YONGZHENG SIX-CHARACTER UNDERGLAZE BLUE MARK AND OF THE PERIOD (1723-1735)

The bowl is well painted with a pair of phoenix amongst clouds.

6.8cm diameter

For a similar cup decorated with bats and clouds, see: Bonhams New York, 19/09/2022, lot

PROVENANCE

Acquired from Raymond & Victoria Tregaskis, Oriental Antiques, June, 1999.

1999年6月購於悉尼Raymond & Victoria Tregaskis東方藝廊。 $4,000–6,000

99

A PAIR OF CHINESE BLUE AND WHITE CUPS, GUANGXU YUHAITANG HALL MARK AND OF THE PERIOD (1875-1908), DATED TO 1907

8cm diameter

PROVENANCE

Acquired from Raymond & Victoria Tregaskis, Oriental Antiques, February, 2004. 2004年2月購於悉尼Raymond & Victoria Tregaskis東方藝廊。 $4,000–6,000

A CHINESE YELLOW GLAZED BOWL, GUANGXU SIX-CHARACTER UNDERGLAZE MARK AND OF THE PERIOD (1874-1908)

diameter

112

A PAIR OF CHINESE FAMILLE-ROSE DISHES, QING DYNASTY, 18TH CENTURY

23cm diameter

$3,500–5,500

113

A CHINESE RED GLAZED DOUBLE GOURD VASE, DAOGUANG MARK

high

Illustrated online at artvisory.com.au

114

A CHINESE GE-GLAZED WASHER, QING DYNASTY (1644-1912)

diameter

$1,500–2,500

Illustrated online at artvisory.com.au

115

A CHINESE WHITE GLAZED CENSER, QING DYNASTY (1644-1912)

diameter

Illustrated online at artvisory.com.au

CHINESE JUN-GLAZED VASE, QING DYNASTY (1644-1912)

high

at artvisory.com.au

A PAIR OF CHINESE FAMILLE-VERTE FOLIATE RIM DISHES, LATE MING-EARLY QING PERIOD, 17TH CENTURY

diameter each

CHINESE FAMILLE-ROSE AND IRON RED DECORATED BRUSH POT, KANGXI MARK

diameter

CHINESE CELADON GLAZED UNDERGLAZE BLUE AND RED PEACH FORMED EWER, QING DYNASTY, 19TH CENTURY

wide

RARE CHINESE INCISED IRON-RED-DECORATED 'GOLD FISH AND BATS' DISH, DAOGUANG SIX CHARACTER SEAL MARK IN IRON RED AND OF THE PERIOD (1821-1850)

diameter

Compare to some examples with similar decorations and also in the same period, see Christie's Hong Kong, 4/10/2018, lot 59; and Christie's London, 9/11/2012, lot 1207.

PROVENANCE

Po Kok & Siu's Trading Co., Hong Kong (Label to the base).

Po Kok & Siu's Trading Co., Hong Kong。(底部標籤)

CHINESE DOUCAI SANDUO JAR, QIANLONG MARK, LATE QING, 19TH CENTURY

high

PAIR OF CHINESE DOUCAI DISHES, QING DYNASTY, 18TH CENTURY

diameter

Naser al-Din Shah was the King of Persia from 5th September 1848 to 1 May 1896. "Al-Sultan ibn Sultan" means "the Sultan (king) son of a Sultan (king)". For a discussion of Cantonese export wares for the Qajar market, see Daniel Nadler, "Chinese export porcelain with Arabic inscriptions in antiques", March 2000, pp. 464-73.

For a similar example sold at auction, see: Bonhams, London, 25/10/2007, lot 245.

Estate of George Baker (1822-1905), UK., thence by descent. George Baker in 1848 designed and supervised the creation of the garden at the British Embassy at Constantinople and, after completing the work,

in Constantinople went into the trading business, including the export of Turkish carpets. His two sons George Percival Baker (1856-1951) and James Baker founded G. P. & J. Baker-the famous textiles store in 1884, which is still operating today in London. G. P. Baker was an important collector of early Oriental fabrics and a leading export on calico panting and printing in the East Indies. Victoria and Albert Museum, London held the exhibition: From East to West: Textiles from G.

Baker, 9 May-14 October 1984. More detail of the family history and their textiles

see this exhibition catalogue by Bridget Heal.

A CHINESE FAMILLE-ROSE BARAGON TUMED DISH, QING DYNASTY, DAOGUANG PERIOD (1821-1850)

It's with two Iron-red Baragon Tumed mark in Mongolian script to the base.

17.5cm diameter

Baragon Tumed porcelain pieces appear to have been made at the Imperial factories at Jingdezhen as part of a service commissioned to celebrate the marriage of one of the daughters of the Daoguang Emperor to a Mongolian prince in 1842. Pieces from this service bear the two-character Mongolian name of the prince, who belonged to the Tumed group or clan.

Compare a bowl with similar decorations and same Baragon Tumed mark (with two hairline cracks), sold at Sotheby's New York, 22/6/2021, lot 11.

PROVENANCE

East and West Art, Kew, VIC. An Important private collection VIC.

135

TWO CHINESE FINE FAMILLE-ROSE BOWLS AND COVERS, DAOGUANG PERIOD (1821-1850)

well decorated, both with Gradatim family crests.

wide and 24.6cm wide

136

A PAIR OF CHINESE FAMILLE-ROSE VASES, YONGZHENG MARK, REPUBLIC PERIOD, EARLY 20TH CENTURY

high each

artvisory.com.au

137

A CHINESE FAMILLE-VERT VASE, LATE MING-EARLY QING PERIOD, 17TH CENTURY

high

'hundred deer' subject matter was very popular, as the landscape depicted contains important symbolic references. The depiction of deer has a long history in Chinese art, as it refers to the rebus where the Chinese word for 'deer' is a homophone for 'emolument' or 'civil service salary'. The 'hundred deer' motif therefore represents the ultimate success, a career in government service in Imperial China.

A Qianlong-marked vase of larger size (45cm.) in the Beijing Palace Museum, is illustrated in The Complete Collection of Treasures of the Palace Museum - 39 - Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 85. Other examples include a pair in the Shanghai Museum, illustrated in Selected Ceramics from the Collection of Mr. and Mrs. J. M. Hu,Shanghai, 1989, pl. 67; one in the Nanjing Museum, included in the joint exhibition with The Chinese University of Hong Kong, Qing Imperial Porcelain, 1995, no. 86; and another from the Grandidier Collection in the Musée Guimet, Paris, illustrated in Oriental Ceramics, The World's Great Collections, Tokyo, 1981, vol. 7, pl. 190.

An almost identical example also with same Guangxu mark and of the period, see Christie's New York, 23/3/2018, lot 834. Another example with dragon handles and with Qianlong mark but dated to Republic period, see Sotheby's Paris, 9/11/2021, lot 115.

$8,000–12,000

140

A GROUP OF THREE CHINESE FAMILLE-ROSE VESSELS, 20TH CENTURY

二十世紀 粉彩瓷三件 Largest: 22.9cm high $1,000–2,000

online at artvisory.com.au

IMPORTANT AND RARE CHINESE IMPERIAL BLUE AND WHITE DRAGON BOWL, XUANDE SIX-CHARACTER UNDER GLAZED BLUE MARK AND OF THE PERIOD (1339-1435)

The bowl is finely decorated with a continuous frieze of four five-clawed dragons chasing flaming pearls and surrounded by cloud scrolls, the interior centre with a circular panel enclosing a scaly dragon within blue circles, the base with a finely written six-character Xuande mark within double blue circles.

diameter,

This extremely rare bowl represents the finest quality of porcelain produced at the Imperial kilns in the Xuande reign. The design of Imperial five-clawed dragons flying through the clouds and each chasing a flaming pearl is one of the most classic designs of all in Chinese porcelain, but that said this is one of the rarest patterns of the Xuande period. Originating as early as the Hongwu period (1368-1398) as seen on a blue and white and moulded bowl in the Tianminlou collection, illustrated in The Radiant Ming 1368-1644 through the Min Chiu Society Collection, Hong Kong, 2015, p. 18, no. 1. However, it was not until the Yongle period (1426-1435) that this design became standardised. A Yongle blue and white stem bowl of very similar decoration with fitted gold cover and silver stand was found in the tomb of Prince Zhuang of Liang in Zhongxiang city, Hubei province, illustrated in the British Museum, Ming: 50 years that changed China, London, 2014, p. 87, fig. 70.

On the Prince Zhuang of Liang example, not only the porcelain stem bowl but also the gold cover and silver stand bear a conforming five-clawed dragon design. It is important to note that an inscription on the gold cover dates it to the second year of Zhengtong (1437). The consistency of this design across precious mediums and different reign periods might suggest that in the early 15th century this design became one of the

standard designs supplied by the court to various imperial workshops. Bowls of this type continued to be made in the following periods in the Ming dynasty (1368-1644) such as a Chenghua (1465-1487) example and a Hongzhi (1488-1505) example in the Shanghai Museum, illustrated by Lu Minghua in Porcelain Wares from the Official Kilns of the Ming, Shanghai, 2007, fig. 3-61 and fig. 3-69 respectively. Two Xuande bowls of related design are in the National Palace Museum, Taipei, illustrated in A Panorama of Ceramics in the Collection of the National Palace Museum: Hsuan-te Ware I, Taipei, 2000, nos. 64 and 65. Xuande ‘dragon’ bowls of this form also exist in a slightly different version, in which the dragons have three claws and the interiors are decorated with various floral scrolls and sprays in underglaze blue. This group includes four examples in the National Palace Museum, Taipei, illustrated in ibid, nos. 69-73; one in the British Museum, illustrated by Jessica Harrison-Hall, Catalogue of Late Yuan and Ming Ceramics in the British Museum, London, 2001, p. 134, no. 4:26; one in the Matsuoka Art Museum, Tokyo, illustrated in the Toji Taikei (Ceramics of East Asia), vol. 42, Tokyo, 1975, figs. 51 and 52; and the other one sold at Sotheby’s Hong Kong, 2 November 1994, lot 36. A band of lappet design around the base of these bowls is more common, instead of the crashing waves seen on this example, making this design exceptionally rare.

Sydney, Australia.

OF

CHINESE FAMILLE-ROSE PORCELAIN PLAQUES,

to the inscriptions, this set of plaques were the gift to the Republic government military official General Maio Peinan (1895-1970). Miao's military career began in 1926 when he was appointed commanding officer of the 35th Regiment, 12th Division, 4th Army. Within a year he in command of the division and within a few months he was made officer in-charge of the 4th Army. In 1931, he became Chief of Staff of the 8th Route Army. The same year he was also appointed Chief of Staff of the 1st Army Group. Then in 1936 he was given the post of the Commanding Officer 5th Army. Miao moved higher up the military command chain when in 1940 he became the Deputy Commanding Officer Guangdong-Fujian-Jiangxi Border Area as well as the Commanderin-Chief, 9th Army Group. In 1945 he was made Acting Director of Dongjiang Field Headquarters, 7th War Area. He was the representative of the Republic of China government to accept the Japanese surrender in Guangdong in 1945. His continued to move up the army hierarchy with his appointment as the Deputy Director of Guangdong Pacification Headquarters in 1947.

of Chinese Republic government Official-General Miao Peinan

Mrs. Semsei, Wahroonga, NSW,

an Insurance

$6,000).

from

before 1980s,

BUDDHA,

DYNASTY

CHINESE POLYCHROME LACQUER ON WOOD FIGURE OF A LUOHAN, MING DYNASTY, 17TH CENTURY

CHINESE WOOD CARVED SEATED FIGURE OF GUANYIN,

MING DYNASTY

LATER

163

A NEPALESE GILT BRONZE REPOUSSE FIGURE OF DHRITARASHTTA, 19TH CENTURY

high

164

A CHINESE GILT BRONZE SEATED BUDDHA, QIANLONG PERIOD (1736-1795)

high

165

A TIBETAN GILT BRONZE SEATED FIGURE OF A LAMA, 18TH CENTURY

The lotus base is inscribed in Tibetan characters on the back, the top is inlaid with a blue semi-precious stone.

high

PROVENANCE

private collection, Melbourne.

A CHINESE JIAN HARE'S FUR TEA BOWL, SONG DYNASTY (960-1279)

宋 建窯兔毫盞

12cm diameter

An almost identical example is illustrated in Robert D. Mowry, Hare's Fur, Tortoiseshell, and Partridge Feathers, no. 79.

PROVENANCE

Sotheby's Melbourne, 1/12/2005, lot 537.

A private collection, Melbourne. 蘇富比墨爾本，2005年12月1日，拍品號：537。

墨爾本私人收藏。

$6,000–8,000

176

A CHINESE JIAN OIL-SPOT TEA BOWL, SONG DYNASTY (960-1279)

宋 建窯油滴盞

12.9cm diameter

PROVENANCE

Mossgreen Melbourne, 6/5/2014, lot 571.

A private collection, Melbourne. 慕仕閣墨爾本，2014年5月6日，拍品號：571。

墨爾本私人收藏。

$2,000–3,000

177

A CHINESE QINGBAI DOUBLE-FISH BOWL, SOUTHERN SONG DYNASTY (1127-1279)

南宋 影青刻雙魚紋盌

18.5cm diameter

PROVENANCE

A private collection, Melbourne. 墨爾本私人收藏。

$1,500–2,500

Illustrated online at artvisory.com.au

178

A CHINESE QINGBAI CARVED FOLIATE-RIMMED BOWL, SOUTHERN SONG (1127-1279)

南宋 影青刻花葵口盌

18.5cm diameter

PROVENANCE

A private collection, Melbourne.

墨爾本私人收藏。

$1,000–2,000

Illustrated online at artvisory.com.au

A SMALL CHINESE JUN TEA BOWL, JIN-YUAN DYNASTY, 13TH CENTURY

The bowl is covered with a dark lavender glaze with purple splashes on the interior.

金/元 鈞窯紫斑泡泡盞

9.4cm diameter

PROVENANCE

Sotheby's London 13/5/1975, lot 84. A private collection, Melbourne. 蘇富比倫敦，1975年5月13日，拍品號：84。

墨爾本私人收藏。

$6,000–8,000

182

A LARGE CHINESE BLACK-GLAZED MEIPING VASE, SONG-JIN DYNASTY, 11TH-12TH CENTURY

the attenuated, finger-ribbed body tapers from the high rounded shoulder to the foot and is covered with a thick black glaze. 宋/元 磁州窯黑釉刻弦紋梅瓶

40cm high

Similar example please see Christie's New York, 16/3/2017, lot 609.

PROVENANCE

A private collection, Melbourne. 墨爾本私人收藏。

$5,000–7,000

183

A CHINESE QINGBAI MOULDED BOYS' BOWL, YUAN DYNASTY (1279-1368)

元 青白釉印花娃娃紋盌

17cm diameter

PROVENANCE

A private collection, Melbourne. 墨爾本私人收藏。

$1,000–2,000

Illustrated online at artvisory.com.au

184

A CHINESE YUE CELADON BOWL, FIVE DYNASTIES-NORTHERN SONG, 10TH CENTURY

五代/北宋 越窯青釉盌

15.5cm diameter

PROVENANCE

A private collection, Melbourne, acquired from Koh Nai King, Singapore in early 90s.

墨爾本私人收藏。90年代初購於新加坡Koh Nai King古董商。

$1,500–2,500

Illustrated online at artvisory.com.au

GANDHARAN FRAGMENTARY GREY SCHIST FRIEZE SECTION, 4TH-5TH CENTURY

London, 27/4/2000,

Potter Museum of Art,

Kallat: Circa

13/10/2012-7/4/2013,

King & Bala Starr eds., Jitish Kallat: Circa

Link, The University of Melbourne, 2013, No. 16, P.38.

GANDHARAN GREY SCHIST SEATED BUDDHA, 3RD CENTURY

London, 2/5/1996,

collection,

Potter Museum of Art, Jitish Kallat: Circa

King & Bala Starr

Jitish Kallat: Circa

Link, The University of Melbourne, 2013, No. 21, P.39.

CENTURY

London,

collection,

Potter Museum of Art, Jitish Kallat:

King & Bala Starr eds., Jitish Kallat: Circa

Link, The University of Melbourne, 2013, No. 27,

Melbourne,

from Sotheby's Melbourne

Potter Museum of Art, Jitish Kallat: Circa

No.

King & Bala Starr eds., Jitish Kallat: Circa

Link, The University of Melbourne, 2013, No. 28, P.39.

A RARE CHINESE PAINTED POTTERY JAR, NEOLITHIC PERIOD, MAJIAYAO CULTURE, CIRCA 2300-2000 B.C.

The jar decorated with large spirals.

新石器時代 馬家窯文化彩陶漩渦菱形幾何紋雙系罐

42cm wide; 41cm high

PROVENANCE

A Private collection, NSW, acquired from Hong Kong in the early 90s. An Important private collection, London and Melbourne. 新南威爾士私人收藏。90年代初期購於香港。

墨爾本和倫敦重要私人收藏。

$3,500–4,500

201

A RARE CHINESE PAINTED GREY POTTERY JAR, NEOLITHIC PERIOD, SIWA CULTURE, CIRCA 1400-1000 B.C.

The jar is decorated with M motifs on the shoulder.

新石器時代 寺窪文化 灰陶彩繪雙耳罐

32cm high; 27cm wide

PROVENANCE

A Private collection, NSW, acquired from Hong Kong in the early 90s. An Important private collection, London and Melbourne.

新南威爾士私人收藏。90年代初期購於香港。

墨爾本和倫敦重要私人收藏。

$1,000–1,500

*This

202

at artvisory.com.au

A RARE CHINESE BROWN GLAZED DRAGON VASE, TANG DYNASTY (618-906)

唐 酱釉龙纹罐

20.8cm high $800–1,200

*This

203

online at artvisory.com.au

A GROUP OF FOUR CHINESE CERAMIC SCULPTURES, TANG DYNASTY (618-906)

Including one yellow-glazed lady, a painted pottery figure of an official and two pottery heads

唐 陶雕塑四件

26.5cm high

*This

204

A SMALL CHINESE PAINTED JAR, MAJIAYAO CULTURE, MID 3RD MILLENNIUM BC together with pottery jar with applied zig-zag dot patterns. 马家窑 彩陶罐子和绳纹罐 9.8cm and 10cm high $600–800

*This

artvisory.com.au

see: Christie's New York,

lot 1072 &1068.

Sydney,

result of C-Link Research & Development Limited (originally the Yeung Shui Sang Laboratory for Thermoluminescence of Ancient Ceramics in the Chinese University of Hong Kong)

test no.9060HK23 dated 23 October 2019, is consistent with the dating of this lot.

collection, Hobart, Tasmania.

CHINESE CARVED QINGBAI 'BOYS' BOWL, SOUTHERN SONG (1127-1279)

bowl thinly potted with slightly rounded conical sides and carved on the interior with three almost hidden figures of boys tumbling amidst large lotus blossoms, and covered overall with a glossy, translucent glaze of pale-blue colour except for an unglazed circle on the base.

and West Art, Kew, VIC.

Important private collection VIC.

CHINESE QINGBAI CARVED FOLIATE-RIM BOWL, SONG DYNASTY (960-1279)

diameter

RARE PAIR OF SMALL CHINESE QINGBAI FIGURES OF DOGS, SONG DYNASTY (960-1279)

is covered in an attractive translucent glaze of a lustrous bluish tone.

4cm high

and West Art, Kew, VIC.

Important private collection

A CHINESE QINGBAI TEA JAR, SONG DYNASTY (960-1279)

With a Japanese bone cover

宋 影青茶罐及日本骨制盖

12.5cm high

PROVENANCE

Raymond and Victoria Tregaskis Oriental Arts, Sydney, Australia. A private collection, NSW, Australia. 悉尼Raymond and Victoria Tregaskis 亞洲藝術。 澳洲新南威爾士州私人收藏。

$3,500–5,500

215

A RARE SMALL CHINESE QINGBAI HEXAGONAL EWER AND COVER, SOUTHERN SONG (1127-1279)

The ewer is covered in an attractive translucent glaze of a lustrous bluish tone.

南宋 影青六面小执壶

14cm high

PROVENANCE

East and West Art, Kew, VIC.

An Important private collection VIC. 墨爾本東西畫廊。

維多利亞重要私人收藏。

$3,000–5,000

216

A CHINESE QINGBAI CONICAL TEA BOWL, SOUTHERN SONG DYNASTY (1127-1279)

The bowl is finely incised with floral motifs on the interior. It is covered overall with a pale blue glaze appearing lucid in areas where it pools.

14.4cm diameter

For a larger bowl with similar shape and glaze, carved with lotus motifs, see: Christie's Hong Kong, 3/12/2021, lot 2803. Another conical qingbai bowl carved with flower petals, see: Sotheby's Hong Kong, 25/5/2022, lot 367.

PROVENANCE

An Important private collection, London and Melbourne.

$2,500–3,500

FOLIATE-RIMMED QING BAI BOWL, SONG DYNASTY (960-1279)

Victoria Tregaskis Oriental Arts, Sydney, Australia.

collection, NSW, Australia.

Victoria Tregaskis

CHINESE QINGBAI CARVED WASHER, SOUTHERN SONG DYNASTY (1127-1279)

CHINESE QINGBAI FOLIATE RIM DISH, SOUTHERN SONG (1127-1279)

West Art, Kew,

private

QINGBAI

(1127-1279)

COVER,

A RARE CHINESE QINGBAI FLOWER SHAPED CARVED DISH, NORTHERN SONG DYNASTY (960-1279)

北宋 青白花口深剔刻花卉紋盤

12.5cm diameter

PROVENANCE

A private collection, VIC. 維多利亞私人收藏。 $2,000–3,000

229

A CHINESE DING FOLIATE RIM BOWL, NORTHERN SONG (960-1127)

北宋 定窯花口盏

16.5cm diameter

PROVENANCE

A private collection, NSW. 新南威爾士州私人收藏。 $15,000–25,000

230

A RARE CHINESE CIZHOU-TYPE CARVED VASE, NORTHERN SONG DYNASTY, LATE 11TH-12TH CENTURY

The vase is well carved on the globular body and trumpet-form neck with a broad band of peony scroll bearing two large blossoms framed by leafy, curving stems above a band of narrow petals below, all in dark brown reserved on a white slip ground and covered with a clear glaze. 北宋 十一/十二世紀

21.4cm high

A similarly decorated Cizhou carved meiping from the Arthur M. Sackler Collection was sold at Christie's New York, 18 March 2009, lot 330; another similar example also see, Christie's New York, 15/09/2016, lot 806.

PROVENANCE

A private collection, VIC.

231

A CHINESE JIAN RUSSET GLAZED BOWL, SOUTHERN SONG DYNASTY (1127-1279)

南宋 建窯紫金釉盞

9.6cm diameter

PROVENANCE

An Important private collection, London and Melbourne.

with a

A CHINESE XING WHITE-GLAZED EWER, TANG DYNASTY (618-906)

唐 邢窯白釉執壺

18cm high

PROVENANCE

Tony Omura, Hong Kong. 香港緣來畫廊。

$5,000–7,000

241

A CHINESE CELADON LONGQUAN WASHER, SOUTHERN SONG (1127-1279)

南宋 龍泉洗 9.4cm diameter

$2,500–3,500

242

A RARE CHINESE LONGQUAN CELADON 'ARROW' VASE, SOUTHERN SONG-YUAN DYNASTY, 13TH-14TH CENTURY

The pear-shaped body rises to a tall, slender neck flanked by a pair of tubular handles, and is incised with a band of keyfret patterns. The vase is covered overall with an even glaze of soft sea-green colour. 南宋/元 龍泉青釉投壺

17.6cm high

A similar vase with larger size (29.2cm high), see Christie's New York, 23/9/2022, lot 962. Also compare to a smaller example (16cm high), see the same house, 25/3/2022, lot 1081.

PROVENANCE

The Dr. Steven Zador Collection of Asian Ceramics, Mossgreen Melbourne, 16/11/2015, lot 81.

Zador

A CHINESE BLACK-GLAZED FOLIATE RIM VASE, JIN DYNASTY (1115-1234)

The body is decorated with vertical ribs.

high

private collection, VIC.

CHINESE GONGXIAN WHITE-GLAZED JAR AND COVER, TANG DYNASTY (AD 618-907)

ovoid form, the jar covered inside and out with an ivory-toned clear glaze which stops at the foot. The domed cover is surmounted by a plain knob and similarly glazed. Japanese wood box.

high

PROVENANCE

in Japan prior to 1997.

New York, 17/3/2017, lot 1135.

A CHINESE FINE PAINTED CIZHOU PEAR-SHAPED VASE, YUHUCHUNPING, NORTHERN SONG-JIN DYNASTY (960-1234)

The vase has a tapering ovoid body which rises to the tall neck that flares towards the outward-curved mouth rim, and is painted in brown on a white slip with three abstract foliate sprays between line borders, all under a clear glaze that falls short of the thick, slightly flared foot. Japanese wood box.

high

PROVENANCE

Tokyo.

Tokyo.

Shu Tey, Tokyo.

Collection.

New York, 13/9/2018, lot 837.

& AACS, Why Collect?

A CHINESE PALE WHITE JADE 'LANDSCAPE' BOULDER, QING DYNASTY (1644-1912)

青白玉'松下智者'山子

13.2cm high, 521g $6,500–8,500

253

A NORTHERN THAI UNDERGLAZED DECORATED FLORAL BOWL, KALONG, 14TH CENTURY

泰國北部 十四世紀 釉下花卉紋盌

20.6cm diameter

PROVENANCE

East and West Art, Kew, VIC.

An Important private collection VIC. 墨爾本東西畫廊。

維多利亞重要私人收藏。

$1,000–2,000

Illustrated online at artvisory.com.au

254

A LARGE SUKOTHAI FLORAL UNDER-GLAZE DECORATED DISH, 15TH-16TH CENTURY

泰國 十五/十六世紀 釉下花卉紋盤

28.9cm diameter

PROVENANCE

Christie's Melbourne, 3/9/1990, lot 75. East and West Art, Kew, VIC.

An important private collection VIC. 佳士得墨爾本，1990年9月3日，拍品號：75。

墨爾本東西畫廊。

維多利亞重要私人收藏。

$1,000–2,000

Illustrated online at artvisory.com.au

255

A CHINESE PALE WHITE JADE CARVED PENDANT, QING DYNASTY, 18TH-19TH CENTURY

清

5cm long

$1,000–2,000

Illustrated online at artvisory.com.au

256

A CHINESE LONGQUAN JARLET TOGETHER WITH A LONGQUAN BOWL, YUAN DYNASTY (1271-1368)

元 龙泉罐和龙泉盌

Bowl: 17cm diameter

Jar: 12cm wide

PROVENANCE

East and West Art, Kew, VIC.

An Important private collection VIC. 墨爾本東西畫廊。

維多利亞重要私人收藏。

$1,000–2,000

Illustrated online at artvisory.com.au

A CHINESE PALE WHITE JADE DRAGON PLAQUE, MING DYNASTY (1368-1644)

A CHINESE WHITE JADE FIGURE AND MOUNTAIN PLAQUE, QING DYNASTY (1644-1912)

A CHINESE YELLOWISH-WHITE JADE CARVED SEAL

with a bear finial.

ARCHAISTIC CELADON JADE CARVED LIBATION

QING DYNASTY (1644-1912)

CHINESE CELADON JADE CARVED PLAQUE, QING DYNASTY (1644-1912)

with two Buddha's citron and three peaches,

stone with a pale white colour.

private collection,

RARE CHINESE PALE WHITE JADE WEIGHT,

DYNASTIES (220-598)

important private collection,

from Hong Kong in the early

YELLOWISH-CELADON CHINESE JADE CARVING OF AN OWL-SHAPED PENDANT, HONGSHAN CULTURE, CIRCA 4000-3000

The form of the current amulet follows those of classic Hongshan jades and the smooth polishing is also consistent with other excavated Hongshan examples. See an almost identical example in National Palace Musuem, Taipei, illustrated in Deng Shuping, Guyu xinshi: Shi qian yu qi xiao pin wen ji, National Palace Museum, Taipei, 2011, no. 7. Also see

slightly larger related example, depicted with wider wings and more rounded edges, also from the Peony Collection, illustrated in Angus Forsyth and Brian McElney, Jades from China, The Museum of East Asian Art, Bath, 1994, cat. no. 14. An other larger example (7.5cm long), see Sotheby's Paris, 10/6/2021, lot 90. A smaller example with less detail, see, Christie's Hong Kong, 30/5/2018, lot 3055. Another similar example see the same house, 27/11/2019, lot 2704.

important private collection, acquired from an old private collection in Malaysia, in the early 90s.

CHINESE PALE WHITE JADE SCABBARD SLIDE, LATE WARRING STATES-HAN DYNASTY, 3RD-1ST CENTURY BC

TWO CHINESE JADE ANIMALS, QING DYNASTY (1644-1912)

a celadon jade mythical beast and a yellow jade monkey.

high

A RARE AND IMPORTANT CHINESE PALE WHITE JADE ‘ANIMAL MASK’ STAFF FITTING, LATE HONGSHAN CULTURE, CIRCA 3500-3000 BC

thick-sided fitting is carved to each side with an animal mask, detailed with large circular eyes, nostrils and a long narrow mouth, surrounding a cylindrically hollowed centre.

diameter

similar example, see Christie's Hong Kong,

PROVENANCE

important private collection, acquired from Hong Kong in the early 90s.

CHINESE SMALL WHITE JADE FLOWER SHAPED VASE, QING DYNASTY, 17TH CENTURY

CHINESE PALE WHITE JADE BEAST, YUAN-MING DYNASTY, 13TH-14TH CENTURY

SET OF CHINESE PALE WHITE JADE BELT BUCKLE, MOUNTED TO A NECKLACE WITH GREEN JADE BEADS, SONG-QING DYNASTY, 13TH-18TH CENTURY

Hook: 9cm long

A very similar belt buckle excavated from the tomb at Dongfangjueyuan-cailiaochang, Mianyang, Sichuan Province, now is in Mianyang Musuem, see Gu Fang, Zhongguo chutu yuqi quanji/The Complete Collection of Jades Unearthed in China, Beijing, 2005, Vol. 13, no. 177.

Walberg Fine Art and Antiques, New York, USA.

private collection

and USA.

AN IMPORTANT CHINESE SMALL JADE CARVING OF A ‘PIGDRAGON’, HONGSHAN CULTURE, CIRCA 4000-3000 BC 紅山文化 公元前4000-3000年 青白玉豬龍

6.3cm long

A very similar example, see Sotheby's Paris, 10/06/2021, lot 83. A similar light green zhulong of slightly larger size and cut open, excavated from the Niuheliang site, Jianping, Liaoning and now in the Liaoning Provincial Institute of Cultural Relics and Archaeology, is illustrated in Guo Dashun & Hong Dianxu, Hongshan wenhua yuqi jianshang/A Study of Hongshan Culture Jades, Beijing, 2014, part 1, pl. 11; another larger one, acquired at Zhangfudian, Fushan, also in Jianping, and now preserved in the same Institute, ibid., part 3, pl. 1; the former illustrated again in Gu Fang, Zhongguo chutu yuqi quanji/ The Complete Collection of Jades Unearthed in China, Beijing, 2005, vol. 2, pl. 111, together with a slightly smaller yellowish-green one, that was cut open, pl. 20, excavated at Hexi, Aohan Banner, Inner Mongolia. Another larger piece, with the slit cut open, is in the Tianjin Municipal Art Museum, illustrated in Mou Yongkang & Yun Xizheng, eds, Zhongguo yuqi quanji [Complete series on Chinese jades], vol. 1, Shijiazhuang, 1993, pl. 25. Compare also a fragmentary piece in the British Museum illustrated in Jessica Rawson, Chinese Jade from the Neolithic to the Qing, The British Museum, London, 1995, p. 116, fig. 1, and two larger pig dragons, one in the Musée Guimet, Paris, the other excavated in Sanguan Dianzi, Liaoning, and today in the Liaoning Provincial Museum, illustrated in Jao Tsung-I, ‘Some Notes on the Pig in Early Chinese Myths and Art’, Orientations, vol. 19, no. 12, December 1988, pp. 39-41, figs 1 and 2, where the importance of the pig in early China discussed.

A CHINESE SMALL GREEN JADE WASHER, SONG DYNASTY (907-1279)

high

A CHINESE PALE-WHITE JADE CONG, POSSIBLY WARRING STATE PERIOD (476-221 BC.) OR LATER

x 5 x 5cm

A very similar example excavated from Zeng Houyi tomb, now in Hubei provincial museum, is illustrated in Gu Fang, Zhongguo chutu yuqi quanji/The Complete Collection of Jades Unearthed in China, Beijing, 2005, Vol. 10, no. 100.

294

A CHINESE JADE TUBE-SHAPED HAIR ORNAMENT, HONGSHAN CULTURE, CIRCA 4000-3000 BC

8.5cm high

A similar example is excavated from tomb no. 21 of Burial Mound No.1 within Niuheliang site, Chaoyang, Liaoning Provenance, now in Liaoning Provincial Institute of Cultural Relics and Archaeology, see, Gu Fang, Zhongguo chutu yuqi quanji/The Complete Collection of Jades Unearthed in China, Beijing, 2005, Vol. 2, no. 136. Another example excavated from the tomb at Tianbaotong, Inner Mongolian Autonomous Region, now in Keshiketengqi Museum, see the same book, no, 37.

PROVENANCE

An important private collection, acquired from Hong Kong in the early 90s.

CHINESE BRONZE TRIPOD

17TH CENTURY

A CHINESE BRONZE CENSER, HAN DYNASTY (202 B.C.-220 A.D.) 漢 青銅鳳鈕蟠螭紋香爐及托盤

20.5cm high $12,000–25,000

306

A CHINESE BRONZE VASE, YUAN-MING DYNASTY, 13TH-16TH CENTURY 元/明 铜瓶 15cm high $800–1,200

Illustrated online at artvisory.com.au

307

A CHINESE SILVER ALLOY PAPER WEIGHT, SIGNATURE OF CHEN BANGYAN (1603-1647), PROBABLY 20TH CENTURY

Carved with heart stura, with a fitted box. 陳邦彥款 銀合金《心經》紙鎮

26 x 5 x 1.3cm; 980g

PROVENANCE

Tennants Auctioneers, 16/11/2012, lot 270 (label). Sotheby's Australia, lot 88 (label).

Tennants 拍賣行，2012年11月16日，拍品號：270（標籤）。 蘇富比澳大利亞，拍品號：88（標籤）。

RARE AND FINE CHINESE CLOISONNÉ DRAGON DISH, MING DYNASTY, 15TH-16TH CENTURY

A CHINESE EXPORT LACQUER FAN, 19TH-EARLY 20TH CENTURY

a gold and black fitted lacquer box.

A CHINESE HONGMU-PAPER WEIGHT, EARLY 20TH CENTURY

cloisonné

dated to the second half of 16th century,

with a similar style of dragons on the interior,

illustrated

Chinese Cloisonne: Helmut Brinker & Albert Lutz, The Pierre Uldry Collection, London, 1989, no.

CHINESE BLUE

WHITE AND IRON RED DRAGON DISH, DAOGUANG MARK, 20TH CENTURY

high

This type of metalwork was produced in very high quality and vast number in Tibet as early as the 14th and 15th century. The unique technique was been known as'damascening' to Europeans, but called 'Dege' in China, the name of the town through which the metal work was brought to China-proper. Different from common inlay-work, Dege work have their surface of wrought iron abraded and then gold and/or silver applied in highly decorative patterns.

So favoured were they that the Qianlong emperor specially commissioned a group of Tibetans to produce vessels and objects in this technique for daily use, such as brush pots and plates, in addition to those used for traditional ceremonial and religious purposes.

CHINESE BRONZE GU-FORMED VASE, SONG DYNASTY (960-1279)

a Japanese wood box.

high

and Victoria Tregaskis Oriental Arts, Sydney, Australia.

private collection, NSW, Australia.

and Victoria Tregaskis

Izumi City, Kuboso Memorial Museum of Art Special Exhibition, 2000. Melbourne, Silk Road Asian Art, Fine Chinese, Japanese, South East Asian Works of Art, 3/2020, no. 32.

Road Asian Art, Fine Chinese, Japanese, South East Asian Works of Art, 3/2020, no. 32.

Mounted in the centre with a hardwood section carved in high relief with two confronting dragons chasing a flaming pearl, the cast bronze front section with aquatic creatures in a lotus pond, the rear section with precious objects, the ten-lobed bowl in the form of opium bud, inscribed "de he long zao"

十八世紀 鑄銅木雕大煙管 “德合隆造” 款 58.5cm long

PROVENANCE

Collection of the late Norman Rodd, NSW. The Alfred Barton Collection of Chinese Bronzes. Albert Barton was an ordained priest working in Hong Kong in the 1940s. He mainly collected religious artefacts from different cultures, this collection was on loan to National Gallery of Victoria in 1964, also exhibited in Perth in 1973 and 1975. Alfred Barton died in 1982.

Raymond and Victoria Tregaskis Oriental Arts, Sydney, Australia.

新南威爾士 Norman Rodd舊藏。

Alfred Barton 中國銅器收藏。Albert Barton 1940 年代作為神父在香港工作。他主要收集來自

1964 年曾借給維 多利亞國家美術館展出，並於 1973 年和 1975 年 在珀斯展出。Alfred Barton於 1982 年去世。

Raymond and Victoria Tregaskis

EXHIBITED

Sydney, The Albert Barton Collection of Chinese Bronzes, November,

LITERATURE

Raymond & Victoria Tregaskis, The Albert Barton Collection of Chinese Bronzes, November, 1989,

315

TWO CHINESE BRONZE MIRRORS, HAN-THREE KINGDOMS PERIOD,

CENTURY

16.4cm and 10.6cm

PROVENANCE

A private collection, NSW.

CENTURY AD

A RARE AND LARGE CHINESE BRONZE AND WOOD CARVED OPIUM PIPE, QING DYNASTY, 18TH CENTURY

a 'huanghuali'

a 'Dehua' 'scholar and pine' brush rest and wood stand; a 'scholarly pursuits' inkstone and wood stand and cover; a spinach-green jade brush handle; and a polychromed 'horses' ink cake (8)

pot: 10.8cm high;

stand: 12.5cm long;

12.5 x 7.9cm

24/6/2020,

A CHINESE BAMBOO CARVED BRUSHPOT, ZHI YAN MARK, QING DYNASTY (1644-1912)

清 芷岩款 竹雕筆筒

15.4cm high $3,500–5,500

Illustrated online at artvisory.com.au

320

A CHINESE SMALL SCHOLAR'S ROCK

With a fitted wood stand. 文人赏石 24.5cm long $1,000–2,000

Illustrated online at artvisory.com.au

321

A CHINESE RED TAIHU SCHOLAR'S ROCK

With fitted carved wood stand 天然红太湖文人賞石

25 x 19cm $600–800

*This lot will be offered no reserve.

Illustrated online at artvisory.com.au

322

A CHINESE CARVED WOOD LIBATION CUP, QING DYNASTY, 19TH CENTURY

清 十九世紀 木雕壽桃來通杯

10cm wide

$1,000–2,000

Illustrated online at artvisory.com.au

323

A CHINESE GREEN DUAN STONE with fitted hardwood case 端硯及硬木盒 19cm long $600–800

*This lot will be offered no reserve.

Illustrated online at artvisory.com.au

324

A CHINESE HONGMU KANG TABLE, QING DYNASTY (1644-1912)

清 紅木炕桌 38 x 26 x 7.5cm

$600–800

*This lot will be offered no reserve.

A RARE CHINESE CARVED RED LACQUER BOX AND COVER, YUAN-MING DYNASTY, 14TH-16TH CENTURY

x 11 x

For a similar box and cover, see Sotheby's London, 15/05/2019, lot 75. For a two tiered example, see Christie's New York, 17/9/08, lot 131. Another similar box and cover is in the Cincinnati Art Museum, see Chinese Art in the Cincinnati Art Museum, Cincinnati, 1997, pl. 99; a related example in the Shanghai Museum, included in the Museum's exhibition In A Myriad of Forms: The Ancient Chinese Lacquers, Shanghai, 2018, cat. no. 85.

PROVENANCE

Raymond and Victoria Tregaskis Oriental Arts, Sydney, Australia. A private collection, NSW, Australia.

and Victoria Tregaskis 亞洲藝術。

Victoria Tregaskis Oriental

Sydney, Australia.

Australia.

two 18th century examples, see Christie's New York, 18/03/2015, lot 124 & 128. Also see, Christie's New York, 21/03/2014, lot 2276 and same house, 16/03/2017, lot 662 for 18th and 19th century examples.

Raymond and Victoria Tregaskis Oriental Arts, Sydney, Australia.

collection, NSW, Australia.

VIctoria

A CHINESE HONGMU TRAY

紅木托盤

33 x 24cm

$300–500

*This lot will be offered no reserve.

Illustrated online at artvisory.com.au

330

THREE BRUSHES

毛笔三件

Largest: 37cm long

$300–500

*This lot will be offered no reserve.

Illustrated online at artvisory.com.au

331

A CHINESE NATURALISTIC HONGMU CARVED STAND, QING DYNASTY (1644-1912)

清 紅木隨型雕底座

20 x 19.4cm

$400–600

*This lot will be offered no reserve.

Illustrated online at artvisory.com.au

AN IMPORTANT AND RARE CHINESE YUMU WAISTED DAYBED LUOHANCHUANG, LATE MING-EARLY QING DYNASTY, 17TH CENTURY

The well-proportioned bed with rectangular frame enclosing the mat seat above a high waist and plain, straight apron supported on sturdy legs of square section terminating in hoof feet, the wood a rich golden colour. 明晚/清早期 十七世紀 榆木羅漢床 206 x 80 x 39cm

The use of the daybed was twofold – during the day, it served as a sitting platform; at night a bed. For a general discussion on daybeds, see R. H. Ellsworth, Chinese Furniture: Hardwood Examples of the Ming and Early Ch'ing Dynasties, New York, 1971, pp. 90-1.

With construction typical of Shanxi province, the proportions of this bed suggest strength and grandeur, and may have been employed in a private gentleman's study or scholar's studio. A similar yumu luohanchuang supported on C-formed legs from the Shanxi region, illustrated by. C. Evarts, C. L. Ma Collection: Traditional Chinese Furniture from the Greater Shanxi Region, Hong Kong, 1999, pp. 144-5, no. 51. The crisply defined hooves on the present lot may also be compared to another yumu luohanchuang illustrated ibid., pp. 142-3, no. 50. Another very similar example sold at the auction, see Christie's New York, 19/9/2006, lot 80. A huanghuali daybed with a very similar shape and dated to the same period, see Christie's Hong Kong, 28/5/2021, lot 2803.

PROVENANCE

An Important Private Collection, Hong Kong, acquired in the early 2000s.

CHINESE BADGE OF RANK, CIRCA 1880

the Golden Pheasant of the second rank civilian officials, silk and metal-thread embroidery on a gauze ground, with coral beads forming the prominently placed pearl of wisdom in the sky.

Wrigglesworth, London.

private collection, Melbourne.

Wrigglesworth珍藏。

CHINESE KESI MONTE EN ROULEAU, QING DYNASTY (1644-1912)

Da Ji two characters, translated “great auspiciousness", surround by immortals in a double gourd

76.5cm

PROVENANCE

from Charlie Aaronson's Antiques, Sydney in early 2000s.

Aaronson's Antiques古美術。

CHINESE ROCK CRYSTAL HAT

(1644-1912)

350

CHINESE YUNNAN PERH RAW TEA CAKE-SIMPLIFIED RED LABEL

7542 2001 (2 PC) AND MENGHAI 501 8582, 2005 (2 PC)

2001年 简体云红大益 7542（2饼）+2005年 勐海茶厂501 8582 （2饼）

數量：4片

總重量： 1433克

倉存：自然倉

年份：2001年和2005年

茶種：青餅

產區：雲南 ‧ 勐海

PROVENANCE

An old Malaysian collection. 馬來西亞私人收藏。 $3,000–5,000

351

CHINESE YUNNAN PUERH DEEP MOUNTAIN OLD TREE

RAW TEA CAKE 2005 (8 PC)

2005年 海湾茶厂 深山老树 1提並1饼 （共8饼）

數量：8片

總重量：4095克

倉存：幹倉

年份：2005年

茶種：青餅

產區：雲南‧ 安寧

PROVENANCE

An old Malaysian collection. 馬來西亞私人收藏。

$2,000–3,000

Illustrated online at artvisory.com.au

352

CHINESE YUNNAN PUERH XIAGUAN 8653 MALAYSIA EDITION

IRON TEA CAKE, 2001 (7 PC)

2001年 下關鐵餅8653（銷馬版）1提（7饼）

數量：7片

總重量：2528克

倉存：幹倉

年份：2001年

茶種：青餅

PROVENANCE

old Malaysian collection.

at artvisory.com.au

CHINESE YUNNAN PERH CHANGTAI BULANG RAW TEA CAKE,

(8 PC)

PROVENANCE

An old Malaysian collection.

artvisory.com.au

CHINESE

PROVENANCE

CHINESE

CAKE,

OF SIX CHINESE FAMILLE-ROSE AND CAFE-AU-LAIT

CUPS AND SAUCERS, KANGXI PERIOD

CHINESE ZISHA SQUARE TEAPOT, 20TH CENTURY

CHINESE SMALL GREEN ZISHA TEAPOT, CONTEMPORARY

A CHINESE ZISHA TEAPOT, 20TH CENTURY

A CHINESE BROWN ZISHA TEAPOT, 20TH CENTURY

CHINESE SMALL ZISHA TEAPOT,

MARK, CONTEMPORARY

CHINESE SCROLL OF A MOUNTAIN LANDSCAPE, ATTRIBUTED TO NI YUN LIN (1301-1374)

ink and colour on paper, hanging scroll inscribed and signed Ni Zan with a dedication and a red seal of his Annotations signed Huang Yi (17441802) and with one collector’s seal of his; and signed Chen Ruyan (1331-1371) and with one collector’s seal of his. with one collector’s red seal of XX on

TO ZHU DA

SHANREN, 1626 - AFTER 1705), QING DYNASTY (1644-1911)

and colour on paper, inscribed, signed and one red seal of the artist.

PROVENANCE

The incredible provenance relating to this painting, together with the subject matter, which can be traced back for more than a century,make it extraordinary and truly unique.

At first in the possession of Mr. Willard Straight (1808-1918), a young American diplomat, banker and artist who had a career in the Far-East "that Midas himself might have envied", who married Dorothy Whitney, the daughter of legendary millionaire William C. Whitney.

It is thought that Willard Straight and his wife, passed on this present painting, originally purchased in China to their son Michael Straight.

Michael Straight's biography appears in: "Last of the Cold War Spies - The Life of Michael Straight. The Only American in Britain's Cambridge Spy Ring" by Roland Perry, and which details how he became an MI5 Secret Agent, who eventually admitted to having worked as a spy for the Russians.

During the Second World War, Michael Straight became acquainted with an extraordinary South African man, named Oscar Oeser (1904-1983). A trimly built gentleman, with a keen, narrow gaze and neat moustache, Oeser appreciated fine art, literature and music; he spoke several languages, supported progressive education, read voraciously, and had a formidable and penetrating intellect. He had been Michael's Professor, and was remarkably also an elite member of the MI5, and was daringly part of the impressive group who helped to decode Enigma during the war.

At some point,during this period, Michael Straight gifted this painting to Oscar, as a sign of his gratitude and respect, and the work was gratefully received.

The painting has thence by descent, been passed to the previous owner- Yvonne Raphael Oeser (22/4/1923-13/12/2020).

An important private collection, South Yarra.

Straight (1808-1918)舊藏，後家族傳承。

Raphael Oeser (22/4/1923-13/12/2020)舊藏。

ZHANG DAQIAN (1899-1983)

Apple ink and colour on paper, hanging scroll

Inscribed and signed Daqian Zhang Yuan, with four seals of the artist Dated sixth month of gengyin year (1950).

x 39.0cm

PROVENANCE

A private collection, Southeast Asia. A private collection NSW and USA. 東南亞私人收藏.

$10,000–20,000

373

A CHINESE IMPERIAL EDICT, DAOGUANG PERIOD (18211850), DATED TO MARCH 1950 AND OF THE PERIOD Constructed of multicoloured silk brocade woven with scattered ruyi-shaped clouds, mounted as a handscroll, and composed in standard form beginning with the declaration 'By Command of Heaven' in Manchu script flanked by two dragons woven in the brocade, followed by a handwritten Chinese and Manchu inscription in multicoloured pigments.

清 道光 誥命聖紙 三十年三月初 259.08 x 33.02cm

PROVENANCE

A private collection NSW and USA.

FRAMED CHINESE FAN PAINTING BY YUEQIN, QING DYNASTY (1644-1912)

and colour and gold pigment on paper, back inscribed and signed, framed.

31cm (including frame)

TO ZHAO SHAOANG (1905-1998)

and Birds

scroll, ink and colour on paper

and signed, with three red seals of the artist

FRAMED JAPANESE PAINTING OF HORSES,

20TH CENTURY

colour

artvisory.com.au

A JAPANESE LACQUER AND BRONZE FITTED CABINET, MEIJI/TAISHO PERIOD LATE 19TH/EARLY 20TH CENTURY

artvisory.com.au

colour

PAINTING,

and one

of the

of Manly P.

important private collection, South

from Sam Fogg,

JAPANESE BAMBOO FLOWER BASKET, TAISHO PERIOD, 20TH CENTURY

tall loop handle, signed to the base.

important private collection,

JAPANESE SIX-FOLDED DRAGON SCREEN, SIGNED BY KANO SEKO, MEIJI PERIOD, EARLY 19TH CENTURY

A JAPANESE TEA BOWL, BY ROKUBEI KIYOMIZU IV (1848-1920)

With original signed Japanese wood box.

A JAPANESE TEA BOWL, BY ROKUBEI KIYOMIZU IV (1848-1920)

With original signed Japanese wood box.

on paper,

one red seal of the artist.

10cm diameter

PROVENANCE

An Important private collection, London and Melbourne.

20.5cm diameter

PROVENANCE

An Important private collection, London and Melbourne.

artvisory.com.au

online at artvisory.com.au

FRAMED JAPANESE BUDDHIST PAINTING, EDO PERIOD, 17TH CENTURY

and colour on paper, depicting with a mandala of Taizokai

the top and four esoteric Buddhist masters below.

two principal mandalas in Japanese esoteric Buddhism are Garbhadhatu (Kongokai ,

) and Vajradhatu (Taizokai, 金刚界) respectively, together they are known as the Ryogai Mandala, they represent the dual aspects of the universe. These were brought to Japan from China in the 9th century by the monk Kobo Daishi. For an almost identical mandala, see: Meher McArthur, Japanese Buddhist and Shinto Prints from the Collection of Manly P. Hall, Sam Fogg, London, 1996, mo. 202, p.28.

PROVENANCE

important private collection, South Yarra, acquired from Morimoto, Kyoto, Japan, in 2007.

A PAIR OF JAPANESE SATSUMA VASES, BY TOZAN, MEIJI PERIOD (1868-1912)

Each vase is finely decorated with ladies in landscapes, Tozan signature mark to the base.

日本 明治時期 富山造 薩摩燒花瓶一對

23.54cm

PROVENANCE

Estate of the late June Harris. June Harris遺產。

$2,000–3,000

387

VOLUMES (16), COMPLETE COLLECTION OF CERAMIC ART UNEARTHED IN CHINA, 2008 In English & Chinese.

《中国出土瓷器全集》16卷

$500–800

*This lot will be offered no reserve. 此拍品不設保留價 Illustrated online at artvisory.com.au

388

ART FROM RITUAL: ANCIENT CHINESE BRONZE VESSELS FROM THE ARTHUR M. SACKLER COLLECTIONS TOGETHER WITH A GROUP OF 20 CHINESE AND ASIAN ART AUCTION CATALOGUES

《祭祀中的美術：塞克勒收藏中國高古青銅器》和一組20本中國與亞洲藝

術拍賣圖錄

$200–300

*This lot will be offered no reserve. 此拍品不設保留價 Illustrated online at artvisory.com.au

A GROUP OF 17 CHINESE AND ASIAN ART AUCTION CATALOGUES

一組17本中國與亞洲藝術拍賣圖錄

online at artvisory.com.au

GROUP OF ELEVEN CHINESE ART REFERENCE BOOKS

$200–300

will be offered

reserve.

online at artvisory.com.au

GROUP OF TEN CHINESE ART REFERENCE BOOKS

will be

online at artvisory.com.au

END OF SALE

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I authorise Artvisory to register bids on a per lot basis up to the maximum price I have indicated for each lot. I will not hold Artvisory responsible for any errors that occur. I understand that if my bid is successful, the purchase price will be the sum of my final bid plus the buyer’s premium of 24% plus GST of the final hammer price plus any GST payable on the hammer price, as indicated in the catalogue. GST will be charged on the buyer’s premium. If the lot is denoted by the † symbol, GST will be charged the whole amount (hammer price + GST). If the Resale Royalty Scheme is applicable 5% will be charged on the hammer price only. The Resale Royalty Scheme is denoted by the § symbol in the catalogue. Your invoice will be emailed to the supplied email address immediately after the auction has finished and will contain all details pertaining to payment and collection.

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“the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot “the Buyers Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price.

“the Reserve” means the lowest amount at which Artvisory has agreed with the Seller that the lot can be sold.

“Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue. Accordingly no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting).

“the insured value” means the amount that Artvisory in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Artvisory.)

All values expressed in Artvisory Pty Ltd catalogues (in any format) are in Australian Dollars (AU$). All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in Australian Dollars (AU$) unless otherwise specified.

2. Artvisory Auctions as Agent

Except as otherwise stated Artvisory Pty Ltd acts as agent for the Seller.

The contract for the sale of the property is therefore made between the Seller and the Buyer.

3. Before the Sale

a) Examination of Property

Prospective Buyers are strongly advised to examine in person any property in which they are interested before the Auction takes place. Neither Artvisory nor the Seller provides any guarantee in relation to the nature of the property apart from the Limited warranty in the paragraph below.

The property is otherwise sold “AS IS”

b) Catalogue and other Descriptions

All statements by Artvisory in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Artvisory of any kind. References in the catalogue entry to the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or it’s value for any other purpose. Neither Artvisory nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material.

Images are measured height by width (sight size). Illustrations are provided only as a guide and should not be relied upon as a true representation of colour or condition. Images are not shown at a standard scale. Mention is rarely made of frames (which may be provided as supplementary images on the website) which do not form part of the lot as described in the printed catalogue.

Foreign buyers should note that all transactions are in Australian dollars so there may be a small exchange rate risk. The costs associated with acquiring a good certificate will be carried by the purchaser. If the item turns out to be forged or otherwise incorrectly described, all reasonable costs will be borne by the vendor.

c) Buyers Responsibility

All property is sold “as is” without representation or warranty of any kind by Artvisory or the Seller. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue by requesting a condition report

No lot to be rejected if, subsequent to the sale, it has been immersed in liquid or treated by any other process unless the Auctioneer’s permission to subject the lot to such immersion or treatment has first been obtained in writing.

4. At the Sale

a) Refusal of Admission

Artvisory reserves the right at our complete discretion to refuse admission to the auction premises or participation in any auction and to reject any bid.

b) Registration before Bidding

Any prospective new buyer must complete and sign a registration form and provide photo-identification before bidding. Artvisory may request bank, trade or other financial references to substantiate this registration.

c) Bidding as a Principal

When making a bid, a bidder is accepting personal liability to pay the purchase price including the buyers premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Artvisory before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Artvisory and that Artvisory will only look to the principal for payment.

d) International Registrations

All International clients not known to Artvisory will be required to scan through an accredited form of photo identification and pay a deposit at our discretion in cleared funds into Artvisory’s account at least 24 hours before the commencement of the auction. Bids will not be accepted without this deposit. Artvisory also reserves the right to request any additional forms of identification prior to registering an overseas bid.

This deposit can be made using a credit card, however the balance of any purchase price in excess of $5,000 can not be charged to this card without prior arrangement.

This deposit is redeemable against any auction purchase.

e) Absentee bids

Artvisory will use reasonable efforts to execute written bids delivered to us AT LEAST 24 Hours before the sale for the convenience of those clients who are unable to attend the auction in person. If we receive identical written bids on a particular lot, and at the auction these are the highest bids on that lot, then the lot will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors or omissions which may arise. It is the bidder’s responsibility to check with Artvisory after the auction if they were successful. Unlimited or “Buy” bids will not be accepted.

f) Telephone bids

Priority will be given to overseas and interstate bidders. Please refer to the catalogue for the Telephone Bids form. Arrangements for this service must be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing. Artvisory accepts no responsibility whatsoever for any errors or failure to execute bids. In telephone bidding the buyer agrees to be bound by all terms and conditions listed here and accepts that Artvisory cannot be held responsible for any miscommunications in the process. The success of telephone bidding cannot be guaranteed due to circumstances that are unforeseen. Buyers should be aware of the risk and accept the consequences should contact be unsuccessful at the time of Auction. You must advise Artvisory of the lots in question and you will be assumed to be a buyer at the minimum price of 75% of estimate (ie. reserve) for all such lots. Artvisory will advise Telephone Bidders who have registered at least 24 hours before the auction of any relevant changes to descriptions, withdrawals or any other sale room notices.

G) Online Bidding

Artvisory offers an online bidding service via Invaluable.com. When bidding online the buyer agrees to be bound by all terms and conditions listed here by Artvisory and agrees to pay any fees charged in regard to any purchases made via Invaluable.com.

Artvisory accepts no responsibility for any errors, failure to execute bids or any other miscommunications regarding this process. It is the online bidder’s responsibility to ensure the accuracy of the relevant information regarding bids, lot numbers and contact details.

H) Reserves

Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. The auctioneer may open the bidding on any Lot below the reserve by placing a bid on behalf of the Seller. The auctioneer may continue to bid on behalf of seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.

I) Auctioneers Discretion

The Auctioneer has the right at his absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he may decide, to withdraw or divide any lot, to combine any two or more lots and, in the case or error or dispute and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to re-offer and resell the item in dispute. If any dispute arises after the sale, then Artvisory’s sale record is conclusive.

J) Successful bid and passing of risk

Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes immediately to the Buyer.

K) Indicative Bidding steps, etc.

Artvisory reserves the right to refuse any bid, withdraw any lot from sale, to place a reserve on any lot and to advance the bidding according to the following, at the auctioneers discretion:

Increment Amount Dollar Range

$20 $0–$500

$50 $500–$1,000

$100 $1,000–$2,000

$200 $2,000–$5,000

$500 $5,000–$10,000

$1,000 $10,000–$20,000

$2,000 $20,000–$50,000

$5,000 $50,000–$100,000

$10,000 $100,000–$200,000

$20,000 $200,000–$500,000

$50,000 $500,000–$1,000,000

Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.

5. After the Sale

a) Buyers Premium

In addition to the hammer price, the buyer agrees to pay to Artvisory the buyer's premium. The buyer’s premium is 24% of the hammer price plus GST. (Goods and Services Tax) where applicable.

b) Payment and passing of title

The buyer must pay to the company trust account managed by KK Partners Pty Ltd Chartered Accountants the full amount due (comprising the hammer price, buyer's premium and any applicable taxes and GST) not later than 3 days after the auction date.

The buyer will not acquire title for the lot until Artvisory receives full payment in cleared funds, and no goods under any circumstances will be released without confirmation of cleared funds received. This applies even if the buyer wishes to send items interstate or overseas.

Payment can be made by direct transfer, cash (not exceeding $5,000AUD, if wishing to pay more than $5,000AUD then this must be deposited directly into the company trust account and bank receipt supplied) and Eftpos (please check your daily limit).

Payments can also be made by credit card in person with a 1.3% (inc GST) merchant fee for Visa and Mastercard and 2% (inc GST) for American Express.

Credit card payments where the card-holder is not present, can not be accepted unless a scanned image of the card and signature is supplied (that corresponds with the supplied signature on the bidding or registration forms). Personal cheques are only accepted with prior arrangement and funds must be cleared before goods will be released. Bank cheques are subject to three days clearance.

The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Artvisory’s company trust account.

c) Collection of Purchases & Insurance

Artvisory is entitled to retain items sold until all amounts due to us have been received in full in good cleared funds. Subject to this, the Buyer shall collect purchased lots within 3 days from the date of the sale unless otherwise agreed in writing between Artvisory and the Buyer.

At the fall of the hammer, insurance is the responsibility of the purchaser.

d) Packing, Handling and shipping

Artvisory will be able to suggest local, national and international carriers and takes no responsibility whatsoever for the actions of any recommended third party carrier. Artvisory can pack and handle goods purchased at the auction by agreement, however will take no responsibility for damage, a charge may be made for this service. All packing, shipping, insurance, postage & associated charges will be borne by the purchaser.

e) Cultural heritage Export Licences

Unless otherwise agreed by us in writing, the fact that the buyer wishes to apply for an export licence does not affect his or her obligation to make full payment immediately, nor our right to charge interest or storage charges on late payment. It is the Buyer’s responsibility to check Australia’s Protection of Moveable Cultural Heritage Act 1986 before purchase. If the Buyer requests Artvisory to apply

for an export licence then we shall be entitled to charge a fee for this service. We shall not be obliged to rescind a sale nor to refund any interest or other expenses incurred by the Buyer where payment is made by the Buyer in circumstances where an export licence is not granted.

f) Remedies for non-payment

If the Buyer fails to make full payment immediately, Artvisory is entitled to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available under the law)

i) to charge interest at such a rate as we shall reasonably decide

ii) to hold the defaulting Buyer liable for the total amount due and to commence legal proceedings for it’s recovery along with interest, legal fees and costs to the fullest extent permitted under applicable law

iii) to cancel the sale

iv) to resell the property publicly or privately on such terms as we see fit

v) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer. In these circumstances the defaulting Buyer can have no claim upon Artvisory in the event that the item(s) are sold for an amount greater than the original invoiced amount.

vi) to set off against any amounts which Artvisory may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer.

vii) where several amounts are owed by the Buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs.

viii) to reject at any future auction any bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer prior to accepting any bids.

ix) to exercise all the rights and remedies of a person holding security over any property in our possession owned by the Buyer whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The Buyer will be deemed to have been granted such security to us and we may retain such property as collateral security for such Buyer’s obligations to us.

x) to take such other action as Artvisory deem necessary or appropriate

If we do sell the property under paragraph (iv), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kinds associated with both sales or otherwise arising from the default.

If we pay any amount to the Seller under paragraph (v) the Buyer acknowledges that Artvisory shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.

g) Failure to collect purchases

Where purchases are not collected within 3 days from the sale date, whether or not payment has been made, we shall be permitted to remove the property to a warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage handling, insurance and any other costs incurred, together with payment of all other amounts due to us.

6. Extent of Artvisory Liability

Artvisory agrees to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 7 below. Apart from that, neither the Seller nor we, nor any of our employees or agents are responsible for the correctness of any statement of whatever kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lots. Except as stated in paragraph 7 below, neither the Seller ourselves, our officers, agents or employees give any representation warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind is excluded by this paragraph.

7. Limited Warranty

Subject to the terms and conditions of this paragraph, the Seller warrants for the period of thirty days from the date of the sale that any property described in this catalogue (noting such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship is authentic and not a forgery. The term “Author” or “authorship” refers to the creator of the property or to the period, culture, source, or origin as the case may be, with which the creation of such property is identified in the catalogue.

The warranty is subject to the following:

i) it does not apply where a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars and experts at the date of the sale or fairly indicated that there was a conflict of opinions, or b) correct identification of a lot can be demonstrated only by means of a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of the publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property.

ii) the benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Artvisory when the lot was sold at Auction.

iii) the Original Buyer must have remained the owner of the lot without disposing of any interest in it to any third party

iv) The Buyer’s sole and exclusive remedy against the Seller in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot less the buyers premium which is non refundable. Neither the Seller nor Artvisory will be liable for

any special, incidental nor consequential damages including, without limitation, loss of profits not for interest.

v) The Buyer must give written notice of claim to us within thirty days of the date of the Auction. The Seller shall have the right, to require the Buyer to obtain two written opinions by recognised experts in the field, mutually acceptable to the Buyer and Artvisory to decide whether or not to cancel the sale under warranty.

vi) the Buyer must return the lot to Seller in the same condition that it was purchased.

8. Severability

If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the Conditions shall continue to be valid to the fullest extent permitted by law.

9. Copyright

The copyright of all images, illustrations and written material produced by Artvisory relating to a lot including the contents of this catalogue, is and shall remain the property at all times of Artvisory and shall not be used by the Buyer, nor by anyone else without our prior written consent. Artvisory and the Seller make no representation or warranty that the Buyer of a property will acquire any copyright or other reproduction rights in it.

10. Law and Jurisdiction

These terms and conditions and any matters concerned with the foregoing fall within the exclusive jurisdiction of the courts of the state in which the auction is held.

11. Pre-Sale Estimates

Artvisory publishes with each catalogue our opinion as to the estimated price range for each lot. These estimates are approximate prices only and are not intended to be definitive. They are prepared well in advance of the sale and may be subject to revision. Interested parties should contact Artvisory prior to auction for updated pre-sale estimates and starting prices.

12. Sale results

Artvisory will provide auction results, which will be available as soon as possible after the sale. Results will include buyer’s premium. These results will be posted at www.artvisory.com.au.

13. Goods and Service Tax

In accordance with A New Tax System (Goods and Services Tax) Act 1999 Artvisory Auctions will collect on behalf of the Australian tax office (ATO) a Goods and Service Tax (GST) of 10% on all applicable transactions.

GST is applicable on the hammer price in the case where the seller is selling property that is owned by an entity registered for GST. GST is also applicable on the hammer price in the case where the seller is not an Australian resident. These lots are denoted by a dagger symbol † placed next to the estimate.

GST is also applicable on the buyer’s premium.

Overseas buyers and buyers non-resident in Australia will not be charged GST on both hammer price and premiums under the following conditions:

1. The items are exported through a Artvisory approved freight company including Australia Post

2. The items are exported within 60 days of the date of the sale

The invoice supplied by Artvisory for purchases will be regarded as a Tax invoice for GST purposes.

14. Resale Royalty Scheme

Under the legal obligations of the Resale Royalty Scheme for Visual Artists Act 2009, sellers must provide the following information to comply with the act:

• was the artwork acquired after 8 June 2010?

• is the sale/reserve price (including GST) $1,000 or more?

• is the artist from Australia or a country listed in the Regulations to the Act?

• is the artist alive, or deceased less than 70 years?

The seller:

i) acknowledges that he or she understands his or her legal obligations under the Resale Royalty for Visual Artists Act 2009 (the Act);

ii) undertakes to comply with all requirements of the Act, including by providing its agent, the company, with accurate information sufficient for compliance with sections 28 and 29 of the Act;

iii) undertakes to indemnify the company for any loss incurred by the company as a result of the vendor’s failure to comply with any of the vendor’s legal obligations under the Act; and

iv) acknowledges that if he or she fails to comply with any of his or her legal obligations under the Act, the company may provide the vendor’s name and contact details to Copyright Agency Limited (CAL).

Lots subject to payment of the Resale Royalty Scheme will be denoted by the §. The Australian Resale Royalty is a flat rate of 5% on the hammer price (including GST).

The Australian Resale Royalty is payable by the buyer in addition to the buyers premium plus any applicable GST.