Woolley & Wallis Fine Chinese Paintings & Works of Art - Part One 21 May 2019 by Park Communications

WOOLLEY & WALLIS SALISBURY SALEROOMS

威立士

Fine Chinese Paintings & Works of Art 中國字畫及藝術品

Tuesday 21st May 2019

Lots 78, 60, 53

Specialist Departments Please dial +44 (0)1722 followed by the number listed below Asian Art John Axford MRICS ASFAV Jeremy Morgan Amber Lees Sarah Lopez-Ferreiro

424506 +44 (0)7812 601098 424571 424591

Chinese Paintings & Calligraphy Freya Yuan-Richards Amber Lees

424589 424571

Japanese Works of Art Alexandra Aguilar Sarah Lopez-Ferreiro

424583 424591

20th Century Design Michael Jeffery Zoe Smith

424505 446955

English & European Ceramics & Glass Clare Durham

424507

Furniture, Works of Art & Clocks Mark Yuan-Richards Jim Gale Suzy Becsy

411854 339161 411854

Jewellery Marielle Whiting FGA Jonathan Edwards FGAA (Consultant) Charlotte Glyde

424595 424504 424586

Medals & Coins, Arms & Armour Ned Cowell Zoe Cordey

341469 446980

Paintings Victor Fauvelle Madeleine White

446961 446970

Silver Rupert Slingsby Lucy Chalmers

424501 424594

Tribal Art & Antiquities Will Hobbs Zoe Cordey

339752 446980

Valuations for Insurance & Probate Paul Viney ASFAV Clive Stewart-Lockhart FRICS FRSA

424509 424598

Marketing Sally Trench Megan Corbett

446959 446960

Accounts Janice Clift (Office Manager)

424500

General Office Sharon Ringwood Pauline Jones Nicola Young Ruth Pike Saleroom Manager David Jordan

424500

Castle Gate Manager Matt Hill Castle Gate Reception Sally Litherland Board of Directors Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart FRICS FRSA Managing Director Natalie Milsted FCCA Finance Director Associate Directors Janice Clift Clare Durham Will Hobbs Michael Jeffery Mark Yuan-Richards Rupert Slingsby Marielle Whiting FGA

Catalogue £20.00 (£25.00 by post) (£30.00 by post outside Europe)

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 • www.woolleyandwallis.co.uk

424500

Front Cover: Lot 16 Back Cover: Lot 78

424599

Fine Chinese Paintings & Works of Art 中國字畫及藝術品 Tuesday 21st May 2019 at 10.30am Viewing in London (Highlights) 17 Clifford Street, 2nd Floor W1S 3RQ Saturday 11th May Sunday 12th May Monday 13th May Tuesday 14th May

11.00am– 4.00pm 11.00am– 4.00pm 11.00am– 4.00pm 11.00am– 4.00pm

Viewing in Salisbury Saturday 18th May Monday 20th May Tuesday 21st May

10.00am– 1.00pm 10.00am– 5.00pm 9.00am– 10.30am

ASIAN ART 中國藝術品 John Axford +44 (0)1722 424506 jea@woolleyandwallis.co.uk

LIVE BIDDING PLEASE NOTE, WE NOW OFFER OUR OWN LIVE ONLINE BIDDING SERVICE, FREE OF CHARGE.

威立士網上競投 Jeremy Morgan +44 (0)7812 601098 jm@woolleyandwallis.co.uk

Amber Lees +44 (0)1722 424571 aml@woolleyandwallis.co.uk

Sarah Lopez-Ferreiro +44 (0)1722 424591 slf@woolleyandwallis.co.uk CHINESE PAINTINGS 中國字畫及油畫 Freya Yuan-Richards +44 (0)1722 424589 fyr@woolleyandwallis.co.uk

bid.woolleyandwallis.co.uk Please register by 5pm on Monday 20th May. 本公司提供免費網上即時競投，請在5月20日下午5點之前登錄 bid.woolleyandwallis.co.uk登記競投賬戶。注：所有網絡買家需要支付至少£5,000的保證金。

All online bidders will be required to pay a deposit of £5,000. This deposit will allow the online bidder to bid up to a maximum of £50,000 in total at this auction. BUYER’S PREMIUM See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices. Telephone Bidding Requests for telephone bidding cannot be accepted after 12 noon on Monday 20th May.

JAPANESE ART 日本藝術品 Alexandra Aguilar +44 (0)1722 424583 aa@woolleyandwallis.co.uk

新浪微博 @艾思福

Lot 44

SPECIAL ASIAN ART NOTICES Restricted Bidding If you wish to bid at this auction you will need to register and provide proof of identity and of your address and provide photographic ID. You may be asked to pay a deposit of £5,000. Please note that lot 16 is a premium lot and may require a higher deposit. Any deposit must be paid by debit card or bank transfer. Woolley and Wallis must have cleared funds no later than 12 noon on Monday 20th May. If you are not successful you will be refunded (without interest) within seven working days. ALL ONLINE BIDDERS WILL BE REQUIRED TO PAY A DEPOSIT OF £5,000. THIS DEPOSIT WILL ALLOW THE ONLINE BIDDER TO BID UP TO A MAXIMUM OF £50,000 IN TOTAL AT THIS AUCTION. 網絡競投需向本公司支付£5000押金，網上競投總金額的限額為£50,000。特別提示：競拍者須憑本人護照領取競投號牌，并預交保證金£5000 Lot 16 是高估價拍品，保證金將相應提高。請務必妥善保管自己的競投號牌，不得將自己的競投號借於他人使用。若他人使用其號牌競投相應拍品，競買者需承擔全部法律責任。注：註冊拍賣截止時間為5月20日中午12點整。

Bank Transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Telephone Bidding Requests for telephone bidding cannot be accepted after 12 noon on Monday 20th May. Condition of lots Please note that the condition of lots is not stated in the catalogue descriptions. Reports on condition may be available on request. The absence of condition reports in the catalogue does not imply that the lot is free from imperfections or faults. 品相報告競買人應於拍賣之前的預展中視察拍品。純為方便買家威立士可以在拍賣開始前提供品相報告，但未記載的品相報告並不代表其品相完美，如果您有需要請聯繫我們咨訊相關信息。

CHRONOLOGY OF CHINA 中國歷代年表

NEOLITHIC 新石器時代 c.6500-1700 BC XIA DYNASTY 夏 c.2100-1600 BC SHANG DYNASTY 商 c.1600-1100 BC ZHOU DYNASTY 周 c.1100-221 BC Western Zhou 西周 c.1100-771 BC Eastern Zhou 東周 770-256 BC Spring and Autumn Period 春秋 770-476 BC Warring States Period 戰國 475-221 BC QIN DYNASTY 秦 221-206 BC HAN DYNASTY 漢 206 BC-AD 220 Western Han 西漢 206 BC-AD 8 Eastern Han 東漢 AD 25-220 THREE KINGDOMS 三國 220-280 Wei 魏 220-265 Shu Han 蜀漢 221-263 Wu 吳 222-280 JIN DYNASTY 晉 265-420 Western Jin 西晉 265-317 Sixteen Kingdoms 十六國 304-439 Dong Jin 東晉 317-420 SOUTHERN DYNASTIES 南朝 420-589 Liu Song 劉宋 420-479 Southern Qi 南齊 479-502 Liang 梁 502-557 Chen 陳 557-589

NORTHERN DYNASTIES 北朝 386-581 Northern Wei 北魏 386-534 Eastern Wei 東魏 534-550 Western Wei 西魏 535-556 Northern Qi 北齊 550-577 Northern Zhou 北周 557-581 SUI DYNASTY 隋 581-618 TANG DYNASTY 唐 618-907 FIVE DYNASTIES 五代 907-960 Later Liang 後梁 907-923 Later Tang 後唐 923-936 Later Jin 後晋 936-946 Later Han 後漢 947-950 Later Zhou 後周 951-960 LIAO DYNASTY 遼 907-1125 SONG DYNASTY 宋 960-1279 Northern Song 北宋 960-1127 Southern Song 南宋 1127-1279 JIN DYNASTY 金 1115-1234 YUAN DYNASTY 元 1271-1368

MING DYNASTY 明 1368-1644 Hongwu 洪武 1368-1398 Jianwen 建文 1399-1402 Yongle 永樂 1403-1425 Hongxi 洪熙 1425 Xuande 宣德 1426-1435 Zhengtong 正統 1436-1449 Jingtai 景泰 1450-1456 Tianshun 天順 1457-1464 Chenghua 成化 1465-1487 Hongzhi 弘治 1488-1505 Zhengde 正德 1506-1521 Jiajing 嘉靖 1522-1566 Longqing 隆慶 1567-1572 Wanli 萬曆 1573-1620 Taichang 泰昌 1620 Tianqi 天啟 1621-1627 Chongzhen 崇禎 1628-1644 QING DYNASTY 清 1644-1911 Shunzhi 順治 1644-1661 Kangxi 康熙 1662-1722 Yongzheng 雍正 1723-1735 Qianlong 乾隆 1736-1795 Jiaqing 嘉慶 1796-1820 Daoguang 道光 1821-1850 Xianfeng 咸豐 1851-1861 Tongzhi 同治 1862-1874 Guangxu 光緒 1875-1908 Xuantong 宣統 1908-1911 REPUBLIC OF CHINA 中華民國 1912HONGXIAN (YUAN SHI KAI) 洪憲（袁世凱）1915-1916 PEOPLE’S REPUBLIC OF CHINA 中華人民共和國 1949-

Fine Chinese Paintings & Works of Art 中國字畫及藝術品 Tuesday 21st May 2019

Lot 60

Fine Chinese Paintings Lots 1-18 1 AFTER WANG YUAN QI (19TH CENTURY) LANDSCAPE IN THE YUAN DYNASTY STYLE A Chinese scroll painting, inscribed, dated July ji chou year, signed Wang Yuan Qi with two artist’s seals and one collector’s seal, 92cm x 44cm.

£1,000-2,000 王原祁（傳）仿元人山水圖設色紙本立軸款識：雲林用筆全本荊關，氣韻簡澹，另闢一門戶，所謂元人筆兼宋法也。學者為法所拘，於鉤畫點染中刻意加工，便失倪黃貫面目。近秋暑甚厲，借此以滌嚴威，隨意揮灑變成此圖，不識有少分相合否。己丑七月望日筆，王原祁。鈐印：王原祁印、麗台、御書畫圖留與人看。

2 WU YI PING (20TH CENTURY) COCKERELS AND CHRYSANTHEMUM

3 AFTER SHI TAO (20TH CENTURY) LANDSCAPE

A Chinese hanging scroll painting, ink and colour on paper, inscribed, dated yi si year, signed Wu Yi Ping with one artist’s seal, 68cm x 33cm.

A Chinese scroll painting, ink and colour on paper, title-slip reads Da Di Zi shan shui, inscribed, signed Da Di Zi with one artist’s seal and one collector’s seal, 64cm x 32cm.

£400-600

£500-1,000

吳一平

石濤（傳）大滌子山水設色紙本立軸署簽：大滌子山水。款識：疊疊萬重山，一派哀湍瀉。此志入瑤琴，當有知音者。清湘芝大滌子何長。韓百智先生惠存，陳志謀敬贈，一九五六年聖誕節。鈐印：大滌子、陳志謀。

秋菊錦雞圖設色紙本立軸

4 ANONYMOUS (QING DYNASTY) EROTIC SCENES FROM DAILY LIFE A Chinese scroll painting, ink and colour on paper, 21.8cm x 206cm.

£500-1,000 佚名（清）

春宮圖

設色紙本手卷

鈐印：十州。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

5 AFTER NI ZAN (19TH CENTURY) AN AUTUMN LANSCAPE SCENE

6 AFTER ZHAO YONG (19TH CENTURY) HUNTING ON HORSEBACK

A Chinese hanging scroll painting, ink on silk, inscribed, signed Ni Zan with one artist’s seal and three illegible seals, 90cm x 41cm.

A Chinese hanging scroll painting, ink and colour on silk, signed wu xing Zhao Yong with one artist’s seal, 141cm x 65cm.

£300-500

£500-800

倪瓚（傳）秋山圖水墨絹本立軸款識：詳文略。至正乙卯冬十二月作於留雲別墅，東海懶生倪瓚并識。鈐印：雲林子、三印漫漶不辨。

Provenance: from an English private collection, London.

趙雍（傳）騎射圖設色絹本立軸款識：吳興趙雍。鈐印：趙雍。來源：英國倫敦私人收藏。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

7 AFTER WANG ZHEN PENG (19TH CENTURY) A WINTER LANDSCAPE A Chinese scroll painting, ink and colour on silk, signed with Gu Yun Chu Shi Wang Zhen Peng zhi with five artist’s seals and one illegible seal, 91cm x 46.5cm.

£1,500-2,000 王振鵬（傳）騎驢踏雪圖立軸署簽：王振鵬雪山行旅畫。款識：孤雲處士王振鵬製。鈐印：王、孤、雲、

9 8 ANONYMOUS (QING DYNASTY) BEAUTIES IN A PALACE A Chinese painting, ink and colour on silk, 30cm x 241cm.

£200-300 佚名

宮廷侍女圖設色絹本手卷

9 AFTER QIU YING (19TH CENTURY) SCHOLARS A Chinese handscroll painting, ink and colour on silk, signed Qiu Ying zhi, with one artist’s seal and one illegible seal, 28.5cm x 167cm.

£200-300 Provenance: the property of a former Director of John Swire & Sons (HK) and Cathay Pacific Airways, and thence by descent.

仇英（傳）高士圖設色絹本手卷款識：仇英製。鈐印：十州、一印漫漶不清。來源：前John Swire & Sons及國泰航空公司總裁舊藏。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

10 ZHANG YAN NIAN (QING DYNASTY) BUTTERFLY AND FLOWERS A Chinese painting on board, ink and colour on gold paper, signed Yan Nian with two artist’s seals, 36.5cm x 34.5cm.

£200-300 張延年蝶戀花設色金箋鏡框款識：延年。鈐印：張延年印、長齡。

11 WEN YONG CHEN (WAN WING SUM 1922-1995) CHILDREN FLYING A KITE A Chinese scroll painting, ink and colour on paper, inscribed by Zhao Shao Ang with his two seals, dated jia zi year (1984), also inscribed in micro calligraphy as the kite string by Wen, with two artist’s seals, together with another painting of butterflies and plum blossom, ink and colour on gold paper, inscribed by Wen Yong Chen in micro calligraphy as the antennae, dated kui hai year (1983), with seven artist’s seals, 107cm x 57cm. (2)

£500-1,000 Provenance: the property of a former Director of John Swire & Sons (HK) and Cathay Pacific Airways, and thence by descent.

溫永琛及趙少昂等兩件設色紙本立軸款識：高高在上未堪攀，兒戲心性卻不難，且看紙鳶風力引，須臾搖曳入雲端。永琛作圖，歐陽修詩。甲子（1984）新春少昂書時年八十。（詩文略，不錄）癸亥秋日，溫永琛畫。鈐印：少昂（二次）、溫永琛六十歲后作書畫、挾技三洋四海五洲八十餘國、花甲乍驚蝴蝶夢、曾游三洋四海五洲八十餘國。來源：前John Swire & Sons及國泰航空公司總裁舊藏。

Detail of micro calligraphy

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

12 ANONYMOUS (19TH CENTURY) A WATER BUFFALO A Chinese scroll painting, ink and colour on silk, four illegible seals, 80cm x 39cm.

£800-1,200 佚名（十九世紀）

水牛圖水墨絹

本立軸鈐印：心園索氏收藏書畫（索勒圖）、三印漫漶不辨。

13 ATTRIBUTED TO FEI DAN XU (QING DYNASTY) LADIES A Chinese album of paintings, ink on paper, title-slip by Pu Lun, which reads Fei Dan Xu bai miao ren wu ce ye, signed Xiao Lou Fei Dan Xu with thirteen artist’s seals, inscription by Pu Lun with one artist’s seal, mounted as an album of fourteen leaves, each 25cm x 20cm.

£500-1,000 費丹旭（傳）

白描人物冊頁水墨紙本十四開冊

署簽：費丹旭白描人物冊頁，溥論題。款識：曉樓摹古。此冊為費曉樓中年摹古所鈎之，凡十二事曰撲蝶，曰種花，曰飼鹿，曰折枝，曰觀舞，曰吹簫，曰刺繡，曰煮茶，曰彈琴，曰弈琴，曰讀書，曰作畫構思佈景一氣呵成滿紙佳麗千姿百態，無不㧔貌極神而衣褶用筆秀逸道勁尤足，師法學者得此而觀賞摹臨必能得心應手，筆下嬋娟可隨呼而出也，溥論題識，壬辰仲秋於京都。鈐印：費丹旭印、曉樓書畫、費氏書畫之印。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

14 GU LUO (1763-1837) A LADY PUTTING ON MAKEUP IN THE STYLE OF TANG YING A Chinese fan leaf painting, ink and colour on paper, inscribed, signed Gu Luo, with one artist’s seal and two collector’s seals, together with two fan leaf paintings and three panels of watercolour, 15cm x 47cm. (6)

£600-800 Provenance: from a private collection, London, formed in the 1980s and 1990s.

顧洛及錢慧安等六件

曉粧圖設色紙本扇面

來源：倫敦私人收藏，1980年代至1990年代。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

15 YANG YAN PING (1934-) THE AIR OF AUTUMN A Chinese watercolour painting, ink and colour on rice paper, made in 2006, 96.5cm x 88.9cm.

£5,000-8,000 Provenance: from an English private collection, bought from Michael Goedhuis in 2008.

Yang Yan Ping interprets traditional Chinese painting methods innovatively. After formal training as an architect, Yang went on to work for the Museum of Chinese History and the Revolution, where she learned about Chinese traditional watercolours that inspired her to study further. Later, Yang discovered her favourite subject, the lotus flower, a symbol of intellect and purity in Buddhism.

楊燕屏（1934-）入秋設色紙本二零零六年作來源：英國私人收藏，2008年購於Michael Goedhuis畫廊。

The Grand View Of Chao Mountain A Journey Through Paradise Zhang Da Qian (1899-1983) is the most prolific and influential artist in modern Chinese art. Da Qian explored and mastered a variety of styles including, in his earlier years, landscapes by Shi Tao (1542-1707), Mi Fu (1051-1107) and his son Mi You Ren (1074-1153). He also studied figures inspired by Buddhist painting in the Dunhuang caves. Da Qian’s landscape paintings are not merely pictures that he conjured up from his imagination, but also based on his travels. In the 1950s, Da Qian started to experiment with splashes of ink and colour while he was in Brazil at his lush Chinese garden, the Garden of Eight Virtues. During that time, he was suffering from ailing eyesight, but the exposure to new cultures and different landscapes no doubt inspired him. With his innovative abilities and the influence of Western Impressionist and abstract art, his technique reached its full maturity in the Grand View of Chao Mountain. The technique of ink and colour required meticulous control and gives the Grand View of Chao Mountain an impression of ease and spontaneity that is ultimately deceptive. The coherent splashing of ink alone demands great physical flexibility, therefore few large scrolls exist compared to smaller splash colour paintings. Da Qian let the ink diffuse across his paintings with minimal intervention, only occasionally lifting and turning the paper surface to guide the flow. The drying of each layer of ink and colour pigment was a long process, accelerated by his assistants carefully holding the work over a fire or warming the painting with an electric hairdryer. The fluid and amorphous forms in the painting are at times entirely built up by swathes of ink splashes. The painting has two distinctive ways to represent the panorama. Beginning from the top of the painting, the outlined branches reach out from the mountain. The flowing waterfalls run down, ending with clusters of pine, giving the viewer a sense of closeness, as if you can walk across the mountain and through the pines. Among these is the famous splash technique with flowing shades of black ink forming undulating clouds and mist creating a paradise, one that can be seen but never be reached. As this painting is depicting early spring, Da Qian further enriches the landscape by adding green and blue to represent new shoots and the red to indicate the start of the plum blossom season, which is very famous in Chao Mountain.

古人常說“讀萬卷書行萬里路”，這是大千身體力行且當之無愧的。大千一生喜好跋山涉水，開拓胸襟視野，接觸地理人文，廣游四海山川。1949年離開大陸后，他旅居三大洲遍游世界各地的名勝風景，終于開創出潑墨潑彩風格。這是他不僅整合了一生藝術創作靈感，也匯集了中國藝術史上各家各派的繪畫精華，創作《超山尋梅圖》時期正是大千先生患眼疾后，創作出抽象風格繪畫的時期。這種將中國傳統國畫皴法和線條減至最少，風格和西方現代抽象藝術不謀而合。1965年，也是他與西班牙二十世紀最傑出的藝術家畢加索會晤的那一年，這次藝術的碰撞及交談讓他對西方現代藝術有了更深的了解，自成一家開創了中國水墨畫的新紀元，也開啟了中國繪畫的現代方向。梅花自古就是文人雅士爭相追捧及臨摹的對象，用來寄託高尚情懷。大千平生最愛梅花，無論身在何處，家居之所必遍植梅花，他酷梅花之高潔、不懼風雪、堅韌不拔的高風亮節。他自稱梅癡，早在20年代居於上海之時，每逢梅花盛開之際，他必定外出踏春尋梅，杭州孤山及超山是其必到之處。在青城山道觀之時，他親手在上清宮附近種植紅梅、綠梅多達百餘株。在八德園期間更是專門建立了一處梅林，遍尋各種古梅，不惜重金購入。足見其對梅癡愛之深。此幅巨作《超山尋梅圖》便是大千先生去超山尋梅的所見所悟。畫中高山拔地而起直入雲霄，山頂雨霧裊裊及山腳的青松由潑墨技法及皴法結合而成，用石青石綠色潑彩加以修飾并用紅彩點綴出些許梅花，潑墨及潑彩兩種技法所營造出的強烈明暗對比，彰顯立春時分萬物初醒的情景。大千又以簡略筆法畫飛瀑高懸，溪流淙淙穿流于翠岑幽谷之間，可謂是“高山流水意無窮，三尺云弦膝上桐”，尤耐人尋味。此時期的大千潑墨畫技法已爐火純青，表現超山之山水意境，不但真實且切合初春的節氣變化，絕非憑空拼湊想象。真正是深入自然，體察宇宙大觀，方能在藝術上達到如此恢弘之境界。

16 ZHANG DA QIAN (1899-1983) THE GRAND VIEW OF CHAO MOUNTAIN A Chinese scroll painting, ink and colour on paper, title-slip reads Chao Shan Da Qian ju shi hua, Ke Duan ti, inscribed, dated February of the yi si year (1965), signed Zhang Da Qian Yuan with two artist’s seals, 191cm x 101cm.

£100,000-150,000 Provenance: from an English private collection, given by the artist to the owner’s father over afternoon tea, between c.1960 to 1980. The title-slip is signed by Zeng Ke Duan (1900-1976), who was a famous calligrapher and professor at the University of Hong Kong. Zeng was Zhang Da Qian’s closest friend and partner, Da Qian asked Zeng to inscribe most of his important oeuvre.

張大千

超山尋梅圖設色紙本一九六五年作

署簽：超山，大千居士畫，克耑題（曾克耑）。款識：乙巳二月大風堂涉事，蜀郡張大千爰。鈐印：張爰之印信、大千之印。來源：費嘉德先生收藏，在一次家庭聚會獲贈於張大千。費佳德先生為英國著名銀行家及收藏家，曾在天津，香港等地工作，在此期間他結交并幫助過很多文人雅士畫家。威立士拍賣行曾於2017年拍出一件謝稚柳《墨菊圖》£2，000起拍，£12，000落錘，此圖上款為：費嘉德先生雅正。該圖與張大千《超山尋梅圖》一樣出自其後人。1977年，盧兆坤為費佳德先生作藏頭詩，以歌頌其樂於助人、奉獻愛心的精神。

Xie Zhi Lin (1910-1997), chrysanthemum scroll painting with the same collector’s name, sold in these rooms in 2017

Lu Zhao Kun, calligraphy, with the same collector’s name

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

Lot 16, title-slip

Chinese Works of Art Lots 17-148 17 A CHINESE PALE CELADON JADE BUDDHIST LION GROUP QIANLONG 1736-95 The recumbent mother turns her head to look at the pup resting on her back, holding a sprig of hibiscus in her mouth, their manes and tails finely detailed, with archaistic swirls and motifs to their legs, the stone with some minor white inclusions, together with a wood stand, 7.2cm. (2)

£6,000-8,000 Provenance: purchased on 29th September 1954 at T Y King & Sons, Hong Kong; and then from the jade collection of a gentleman. A copy of the invoice is available.

清乾隆青白玉雕太獅少獅擺件來源：紳士收藏，1954年9月29日購於香港T Y King & Sons。 18 A CHINESE WHITE JADE CARVING OF A BOY QIANLONG 1736-95 Formed as a child seated on a gourd holding a sprig of lotus in his hands, with a cheerful expression on his face and his hair tied in a single bun, the flowerhead cleverly highlighted in a russet area of the stone, together with a wood stand, 4.6cm. (2)

£3,000-5,000 Provenance: from the jade collection of a gentleman, acquired in Hong Kong between 1951 and 1954. T Y King & Sons invoice, 29th September 1954

清乾隆

白玉雕蓮花童子擺件

來源：紳士收藏，購於1951-1954年香港。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

19 A CHINESE WHITE JADE ‘LYCHEE’ CARVING QIANLONG 1736-95

20 A CHINESE CELADON JADE QILIN 18TH/19TH CENTURY

Formed as two lychees issuing from a leafy stalk, each finely incised with a geometric diaper design, carved with three small birds perching upon the larger fruit, the stone with some russet markings, together with a wood stand, 8cm. (2)

Seated with its head turned back, the mythical creature bares its teeth holding a spray of lingzhi in its mouth, with a single horn carved to the back of its head, the stone with russet inclusions and white mottling, together with a wood stand, 7cm. (2)

£6,000-8,000

£800-1,200

Provenance: from the jade collection of a gentleman, acquired in Hong Kong between 1951 and 1954.

清乾隆白玉雕荔枝擺件來源：紳士收藏，購於1951-1954年香港。

十八世紀青白玉雕麒麟擺件來源：紳士收藏，購於1951-1954年香港。

21 A CHINESE CELADON JADE CHIME 18TH/19TH CENTURY Composed of five carvings, one formed as a bat, the largest incised with the Bajixiang and carved with two dragons, two formed as flowerheads and another as a gourd incised with the characters da ji, all suspending from a ring, 14.3cm widest.

£400-600 Provenance: from the collection of the Reverend Victor Farmer 1898-1977 and thence by descent.

十九世紀青白玉雕吉慶有餘磬來源：Reverend Victor Farmer （1898-1977）舊藏。

The Reverend Victor Farmer (1898-1977)

22 A CHINESE WHITE JADE CIRCULAR PENDANT QING DYNASTY Carved in openwork with a parrot perched on a leafy tree branch, the stone of an even colour, together with a pale celadon openwork pendant formed as a dragon and phoenix amongst leaves, 5.5cm and 6.3cm. (2)

£300-500 Provenance: the circular pendant from the collection of the late June Horlick (d.2006).

清白玉鏤雕鸚鵡及龍鳳佩一組兩件來源：June Horlick （逝于2006）舊藏。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

23 A CHINESE PALE CELADON JADE CARVING OF A GOURD QIANLONG 1736-95 Formed with the large fruit issuing from a leafy vine, with two delicate flowers amongst the foliage and a bat clinging onto the largest leaf, the stone with minor russet and white markings, 10cm.

£14,000-16,000 Gourds symbolise fertility because of their many seeds and they represent the wish of having many sons. They also stand for longevity and happiness. The bat is another symbol of good fortune, as the Chinese word for both ‘bat’ and ‘happiness’ is fu. Cf. The Woolf Collection of Chinese Jade, p.188, no.79 for a related jade carving of a gourd from the Qianlong period in the collection of Jonathan Woolf, no.24; see also Spink & Son Ltd, Chinese Jade: An Important Private Collection, pp.80-81, no.164, for a similar piece.

十八世紀

青白玉雕福壽綿綿擺件

A Private Collection of Jade Carvings Lots 24-37

24 THREE CHINESE PALE CELADON JADE PENDANTS QING DYNASTY One formed as a ruyi-head decorated to one side with a pair of bats encircling a shou character and to the other with a gnarled tree and lingzhi, another shaped as a dragon-fish, the stone with russet markings, the third a disc carved with archaistic swirls and mythical beasts, with a moveable centrepiece, 10.3cm. (3)

£400-600 Provenance: from a private collection, London, acquired prior to 2000.

清青白玉雕佩一組三件來源：英國倫敦私人收藏，購於2000年之前。

25 FOUR CHINESE JADE CIRCULAR PENDANTS QING DYNASTY Three pale celadon and one white jade, each formed as a bi disc and carved in relief with sinuous chilong holding lingzhi, the undersides decorated with archaistic designs, 5.7cm. (4)

£500-800 Provenance: from a private collection, London, acquired prior to 2000.

清青白玉雕璧一組四件來源：英國倫敦私人收藏，購於2000年之前。

26 THREE CHINESE PALE CELADON JADE PENDANTS QING DYNASTY One carved in openwork with a sinuous chilong amongst foliage and lingzhi, another formed as a butterfly resting on a large leaf, the third a bi disc decorated with two stylised dragons and archaistic swirls, 6.6cm. (3)

£400-600 Provenance: from a private collection, London, acquired prior to 2000.

清青白玉雕螭龍璧及佩一組三件來源：英國倫敦私人收藏，購於2000年之前。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

27 TWO CHINESE JADE RECTANGULAR PENDANTS QING DYNASTY One white jade, decorated with a deer beneath a tree to one side, the reverse with a four character mark, the other pale celadon jade, carved in openwork with bats and an archaistic dragon, with a two character mark to each side, 7.4cm. (2)

£400-600 Provenance: from a private collection, London, acquired prior to 2000.

清青白玉雕牌一組兩件來源：英國倫敦私人收藏，購於2000年之前。

28 FOUR CHINESE HARDSTONE ARCHER’S RINGS QING DYNASTY Two jadeite, one nephrite and incised with shou characters and geometric designs, the fourth agate and carved with studs to the exterior, 3.5cm. (4)

£400-600 Provenance: from a private collection, London, acquired prior to 2000.

清青白玉、翡翠及瑪瑙雕扳指一組四件來源：英國倫敦私人收藏，購於2000年之前。

29 THREE CHINESE JADE PENDANTS QING DYNASTY Two pale celadon jade, one carved in openwork with stylised dragons above characters reading da ji, the other worked in shallow relief with a dragon and phoenix, one side incised with characters, the third white jade and decorated to one side with a pair of ruyi-sceptres, with shuangxi characters to the reverse, surrounded by sinuous dragons, 6.4cm. (3)

£400-600 Provenance: from a private collection, London, acquired prior to 2000.

清青白玉雕佩一組三件來源：英國倫敦私人收藏，購於2000年之前。

30 THREE CHINESE PALE CELADON JADE PENDANTS QING DYNASTY One formed as a catfish with lotus, another shaped as two seed pods amongst leaves, the third carved with a sinuous archaistic dragon, 7.1cm. (3)

£400-600 Provenance: from a private collection, London, acquired prior to 2000.

清青白玉雕佩一組三件來源：英國倫敦私人收藏，購於2000年之前。

31 THREE CHINESE JADE SNUFF BOTTLES QING DYNASTY One carved in shallow relief with bamboo and prunus, another shaped as a large fruit with bats in flight around it, the third of flattened rectangular form, each with russet markings, 6.4cm. (3)

£400-600 Provenance: from a private collection, London, acquired prior to 2000.

清玉雕鼻煙壺一組三件來源：英國倫敦私人收藏，購於2000年之前。

32 TWO CHINESE PALE CELADON JADE CARVINGS QING DYNASTY One shaped as a cicada crawling amongst leaves, the other a rectangular uncut seal and surmounted by a recumbent mythical beast, both with russet markings, the smaller carving with a wood stand, 7.2cm. (3)

£400-600 Provenance: from a private collection, London, acquired prior to 2000.

清青白玉雕蟬及獅鈕方章一組兩件來源：英國倫敦私人收藏，購於2000年之前。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

33 THREE CHINESE PALE CELADON JADE PENDANTS QING DYNASTY One carved as a dragonfly and flower on a lotus root, another formed as a lotus flowerhead emerging from a large lotus pad curling at the sides, the third shaped as a water chestnut, 10.7cm. (3)

£500-800 Provenance: from a private collection, London, acquired prior to 2000.

清青白玉雕磬、菱及蓮藕佩一組三件來源：英國倫敦私人收藏，購於2000年之前。

34 FOUR CHINESE JADE SNUFF BOTTLES QING DYNASTY One white and carved with a bat clinging onto fruit, the others of a pale celadon colour, one shaped as two melons, another of flattened ovoid form, one incised with a simple floral spray, three with russet markings, 6cm. (4)

£500-800 Provenance: from a private collection, London, acquired prior to 2000.

清青白玉雕鼻煙壺一組四件來源：英國倫敦私人收藏，購於2000年之前。

35 THREE CHINESE JADE CARVINGS QING DYNASTY Two pale celadon jade, one carved as a child lying atop a large leaf, the other depicting a monkey holding a peach as a smaller primate clambers on its back, the third white jade and formed as a figure seated upon a large fruit, two with wood stands, 4.7cm. (4)

£400-600 Provenance: from a private collection, London, acquired prior to 2000.

清青白玉雕靈猴獻壽及童子擺件一組三件來源：英國倫敦私人收藏，購於2000年之前。

36 THREE CHINESE PALE CELADON JADE CARVINGS QING DYNASTY One depicting a lion dog playing with a brocade ball, another formed as two catfish, the third of two goats with lingzhi and swirls between them, two with wood stands, 6.3cm. (5)

£400-600 Provenance: from a private collection, London, acquired prior to 2000.

清青白玉雕擺件一組三件來源：英國倫敦私人收藏，購於2000年之前。

37 THREE CHINESE PALE CELADON JADE CARVINGS QING DYNASTY Two formed as melons growing from leafy branches, one with insects crawling over the fruit, the third carved as bamboo with lingzhi at the base of the tree, one with a wood stand, 6.9cm. (4)

£500-800 Provenance: from a private collection, London, acquired prior to 2000.

清

青白玉雕擺件一組三件

來源：英國倫敦私人收藏，購於2000年之前。

38 A CHINESE PALE CELADON JADE CARVING OF LINGZHI QING DYNASTY OR LATER Formed as two large mushrooms, with leaves and a smaller lingzhi to one side, the other carved with an insect crawling over the fungi, the stone with white and russet inclusions, 6.5cm.

£1,500-2,000 清或更晚

青白玉雕靈芝擺件

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

Sydney L Moss invoice, 25th October 1956

39 A CHINESE CELADON JADE ARCHAISTIC TWO-HANDLED VESSEL, GUI MING DYNASTY The rim boldly carved with stylised animal heads and incised with fylfots above bands of raised studs, the handles with animal head terminals, together with a wood stand and the original invoice from Sydney L Moss, 15.5cm. (2)

£2,000-3,000 Provenance: from the collection of Peter Meyer, purchased from Sydney L Moss on 25th October 1956. The original invoice is available.

清青白玉雕螭龍耳簋來源：Peter Meyer收藏，1956年10月25日購於 Sydney L Moss（附發票）。 40 A CHINESE TWO-HANDLED PALE CELADON JADE CUP QING DYNASTY Each side carved in shallow relief with a poem, the two scroll handles incised with mythical animal masks, with a mark reading Zi Gang to the base, the stone with some black and white inclusions, together with an openwork wood stand, 13.6cm. (2)

£1,000-2,000 Provenance: given to the current owner as a christening present in January 1949 by his godmother, Hazel Carmalt-Jones, who lived and worked in China where she purchased the cup. The original card from the christening is available.

清青白玉雕題詩雙耳杯來源：現藏家於1949年洗禮的禮物。

41 A CHINESE PALE CELADON JADE ‘HORSE AND MONKEY’ BELT BUCKLE 18TH CENTURY The recumbent horse with its legs tucked underneath its body, turning its head backwards to look at the primate seated upon its back, the monkey carved with a mischievous expression and clutching onto the horse’s reins, the reverse with two circular loops for attachment, the stone with some areas of white mottling, 8.5cm.

42 A CHINESE BRONZE LION DOG GROUP 17TH/18TH CENTURY Formed as a recumbent mother turning her head to sinister, with her playful young climbing on her back, her legs cast with decorative stylised flames, together with a wood stand, 9cm, 544g. (2)

£3,000-4,000 十七/十八世紀

銅製太獅少獅擺件

£5,000-6,000 The motif of a monkey, hou, on the back of a horse, ma, represents the rebus ma shang feng hou, which may be translated as ‘may you immediately be promoted to a high rank of office.’ Such pieces would have been used to pass on good wishes to aspiring officials. Cf. Marchant, Chinese Jades from the Mr O J R Allen Collection, p.72, no.35 for a related belt buckle.

十八世紀

白玉雕馬上封侯擺件

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

43 A CHINESE CELADON JADE CARVING OF A QILIN MING DYNASTY Seated in a recumbent pose with its scaly legs tucked underneath its body, the two-horned mythical creature faces forwards with its mouth agape, exhaling swirling clouds which support a pile of books on its back, its finely striated tail curling upwards, the stone with russet inclusions and mottling, 8cm.

£12,000-15,000 According to legend, a qilin appeared before the pregnant mother of Confucius and disgorged a jade tablet foretelling the future eminence of her unborn son. The qilin with a book represents the wish that a son will be intellectually gifted and bring honour to his family by passing the civil service examinations with great success. Such pieces were used as ornaments for a scholar’s studio with the hope that they would bring wisdom to their owner. Cf. The Complete Collection of Treasures of the Palace Museum: Jadeware III, p.114, no.94 for a similar carving of a qilin carrying books on its back from the Qianlong period.

明

青白玉雕麒麟負書擺件

44 A RARE PAIR OF CHINESE OCTAGONAL JADE INSET ZITAN JARS AND COVERS QIANLONG 1736-95 Each inset with simple rectangular celadon jade panels, the stone with white mottling, the wood decorated with geometric designs in inlaid silver wire, with silver wire flowers to the bases, the covers surmounted by jade knops carved as formal flowerheads, each with a paper label reading HC17, 12.3cm. (4)

£20,000-30,000 Provenance: formerly the von Mandl Collection; then an English private collection, London, purchased from Spink & Son Ltd on 30th May 1959. A copy of the invoice is available.

清乾隆紫檀錯銀嵌玉蓋罐一對來源：Von Mandl收藏，1959年5月30日購於Spink & Son Ltd（附發票）。

Spink & Son Ltd. invoice, 30th May 1959

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

45 A LARGE CHINESE HARDWOOD LIBATION CUP AND COVER QING DYNASTY OR LATER Formed in the shape of a rhinoceros horn, deeply carved with a flowering gnarled prunus tree which rises and branches onto the cover, the cup incised with a poem about plum blossom, with a metal lining to the interior, together with a similarly worked wood stand, 38cm. (3)

£2,000-3,000 清或更晚

硬木雕梅花杯

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

46 A CHINESE THREE-COLOUR CINNABAR LACQUER PEACH-SHAPED BOX AND COVER QIANLONG 1736-95 The cover carved with Cao Guo Jiu holding yun yang boards, the Immortal standing on a hexagonal diaper path beside a river and underneath a wutong tree, with distant mountains and rockwork behind him, all encircled by eight peaches carved in pairs between five bats in flight against a multi-level ground of prunus and leaves, the box decorated with the same design, 12.3cm. (2)

£3,000-4,000 The image of five bats, wufu, represents the Five Blessings of health, wealth, longevity, virtue and the wish for a peaceful death. Provenance: previously from a French private collection. Cf. J Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen, vol.III, pp.866-867 no.1992, for a pair of peach-shaped boxes and covers with comparable decoration.

清乾隆剔彩曹國舅紋桃型蓋盒來源：法國私人舊藏。

47 A CHINESE CINNABAR LACQUER TABLE SCREEN 19TH CENTURY The rectangular screen carved in relief with a scene of the Eight Immortals and their attributes in a rocky landscape, with Shoulao seated behind them under a pine tree with his deer and an attendant, all against a finely incised geometric ground and contained within a border of various flowers and leaves, the stand with floral and geometric decoration, 48.6cm. (2)

£2,000-4,000 Provenance: sold by the executors of the late Pamela Spater, d.2018, Amersham, Buckinghamshire.

十九世紀剔紅八仙祝壽紋屏來源：Pamela Spater（逝于2018）舊藏。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

48 A CHINESE BAMBOO BITONG 18TH/19TH CENTURY

49 A CHINESE BAMBOO BITONG 18TH/19TH CENTURY

The cylindrical body carved in shallow relief with a man kneeling on a barge gazing up at a smiling Immortal seated in a tree, with simple rocky forms to the reverse, the wood with a rich warm patina, 15cm.

Of cylindrical form, carved to one side with a scene from the tale of the Red Cliff, depicting scholars sitting and drinking tea in a sampan as two men row the boat under pine trees through a rocky landscape, with a slightly concave rim, all raised on three short feet, 17cm.

£3,000-4,000 Provenance: from an English private collection, purchased in 1953.

十八/十九世紀竹雕人物故事筆筒來源：英國私人收藏，購於1953年。

£5,000-6,000 Provenance: from an English private collection, purchased in 1948.

十八/十九世紀竹雕山水筆筒來源：英國私人收藏，購於1948年。

50 A PAIR OF CHINESE FAMILLE ROSE CANTON ENAMEL BOWLS AND COVERS 18TH CENTURY

51 A CHINESE SPINACH-GREEN JADE INCENSE BURNER AND COVER QING DYNASTY

Each bowl and each cover decorated with three shaped cartouches enclosing scenes of figures relaxing in a garden, with colourful scrolling floral and foliate designs set against a yellow ground, the white interiors of the bowls with sprays of flowerheads and finger citron, a single blue flower to the base of each, 9.7cm. (4)

The deep rounded body raised on a short circular foot, carved in shallow relief to the exterior with sprays of magnolia, orchid, bamboo and lingzhi, with two loop handles shaped as the heads of mythical beasts, each suspending a loose ring, the knop detailed with ruyi-heads, with a paper label for Spink & Son Ltd to the base, together with a wood stand, 22.2cm. (3)

£2,000-3,000 十八世紀

廣彩黃地開光人物故事紋蓋碗一對

£2,000-3,000 清

碧玉雕蘭花紋蓋爐

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

52 A RARE CHINESE SILVER AND GOLD INLAID IRON RUYI-SCEPTRE 16TH/17TH CENTURY The shaft decorated with seal script characters and geometric fylfot patterns, the head cast in relief as a lingzhi, with interlocking T-shaped designs to the edges, 73cm, 1.7kg.

£4,000-5,000 Provenance: from a Welsh private collection, acquired in Abergavenny in the 1950s. Cf. Sydney L Moss Ltd, The Second Bronze Age: Later Chinese Metalwork, no.38 for a similar ruyi-sceptre.

十六/十七世紀銀錯金絲如意擺件來源：威爾士私人收藏，購於1950年代。

53 λ A CHINESE RHINOCEROS HORN ‘SCHOLAR AND PINE’ LIBATION CUP 17TH/EARLY 18TH CENTURY The exterior carved with a continuous landscape scene of a scholar and his attendant standing on the bank of a river as two oarsmen row their boat down the finely incised rippling waters, the side with a rocky cliff face and a pine tree deeply worked in high relief to form the handle, the gnarled tree rising and branching into the interior, with further wutong trees and a pavilion dispersed through the setting, the horn of a warm toffee tone, 15.2cm, 232g.

† £30,000-40,000 Provenance: formerly an English private collection, acquired prior to 1970, probably in the 1940s. Cf. Suzhou Museum, Suzhou Crafts of the Ming and Qing Dynasties from the Palace Museum Collection, pp.72-3, no.19 for a related libation cup. Please note that an export licence will only be granted for rhinoceros horn pieces should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.

十七/十八世紀犀角雕泛舟圖杯來源：英國私人收藏，購於1940年代。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

54 λ A CHINESE RHINOCEROS HORN LIBATION CUP 17TH/EARLY 18TH CENTURY The flaring body shaped as a magnolia flowerhead, the exterior carved in relief with blossoming magnolia and flowerbuds, the twisting branches forming a short foot, together with an openwork wood stand carved with flowers and branches, 9.5cm, 68g. (2)

£15,000-25,000 Provenance: from the collection of Malcolm Moncrieff Stuart, OBE, CIE, and thence by descent. Stuart was in India between 1928 and 1949 and he was a State Magistrate in the Indian Civil Service. After retiring he returned to Edinburgh. Cf. Asian Art I, 12th November 2014, lot 155 for a similar example sold in these rooms. Please note that an export licence will only be granted for rhinoceros horn pieces should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.

十七/十八世紀早期犀角雕玉蘭杯來源：Malcolm Moncrieff Stuart收藏，1928年至1949年Stuart曾任印度地方法官。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

55 λ A CHINESE RHINOCEROS HORN TRIPOD LIBATION CUP 17TH/EARLY 18TH CENTURY The exterior carved in shallow relief with two sinuous chilong holding branches of lingzhi in their mouths, with a formal wave border to the flared rim, all supported on three tall curved feet, 12.2cm, 134g.

£8,000-12,000 Provenance: from the collection of Malcolm Moncrieff Stuart, OBE, CIE, and thence by descent. Stuart was in India between 1928 and 1949 and he was a State Magistrate in the Indian Civil Service. After retiring he returned to Edinburgh. Cf. T Fok, Connoisseurship of Rhinoceros Horn Carving in China, p.93, no.46 for a similar example from the collection of Mr Chun-hung Li. Please note that an export licence will only be granted for rhinoceros horn pieces should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.

十七/十八世紀犀角雕螭龍紋三足杯來源：Malcolm Moncrieff Stuart收藏，1928年至1949年Stuart曾任印度地方法官。

From the collection of Leonard Henry Pike (1885-1961) and thence by descent Leonard Henry Pike (1885-1961), Public Servant and Agent-General, was born at Streatham in London in 1885. The day after his marriage to Lucy Raymond on 31st March 1910, he and his new wife emigrated to Australia. He worked in the Department of Justice, enlisting in the Australian Imperial Force during WWI. After the war he went back into public service, working as an official secretary to three successive premiers, E. G. Theodore, W. N. Gillies and William McCormack. He organised official visits to Queensland, including the 1927 tour of the Duke and Duchess of York. In 1927 Pike was appointed official secretary to the Queensland agent-general’s office in London. From 1928 he had been working in the sugar industry representing Australia on the International Sugar Council until 1952 as vice-chairman. Pike represented the Returned Sailors’ and Soldiers’ (and Airmen’s) Imperial League of Australia on the British Empire Service League from 1927. In 1931-51 he was the Australian Football Association’s delegate to the council of the Football Association in London. A proficient horseman, Pike was also a chorister, organist and newspaper columnist. He died on the 24th March 1961 at Bexhill, Sussex, and was buried in the cemetery at Bexley Hill.

Leonard Henry Pike

56 A CHINESE IMPERIAL FACETED YELLOW BEIJING GLASS BOTTLE VASE FOUR CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 With a bulbous octagonal body with a long slender neck raised on a tall foot, with a four character mark in a square border incised to the base, together with a reticulated wood stand, 15cm. (2)

£20,000-30,000 Provenance: from the collection of Leonard Henry Pike (1885-1961). Cf. C Brown and D Rabiner, Clear as Crystal, Red as Flame, p.75, no.39 for a similar vase from the Asian Art Museum of San Francisco. See also E B Curtis, Pure Brightness Shines Everywhere: The Glass of China, pl.9.1. A similar vase was sold at Christie’s Hong Kong on 1st December 2010, lot 2925 and another on 28th May 2014, lot 2916 from the Edward T Chow Collection.

清乾隆御製黃料八棱瓶《乾隆年製》來源：Leonard Henry Pike（1885-1961）收藏。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

Sir Kenneth Stewart with his family

57 A CHINESE RED-GROUND ‘MELONS AND BUTTERFLIES’ SILK ROBE 19TH CENTURY Embroidered with eight roundels containing peony flowerheads surrounded by butterflies, melons and leaves, the lush peony petals detailed with gold thread and Peking knots, the edges and wide sleeve panels similarly decorated with flowers and fruits on a dark blue ground, all above stylised waves crashing against rocks, the lining blue, 191cm across, 142cm long.

£3,000-5,000 Provenance: from the collection of Sir Kenneth Stewart (1882-1972), purchased in Shanghai in 1926 and thence by descent.

十九世紀珊瑚紅地瓜瓞綿綿紋掛來源：Kenneth Stewart紳士收藏，1926年購於上海。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

58 A CHINESE IMPERIAL FACETED YELLOW BEIJING GLASS BOTTLE VASE FOUR CHARACTER YONGZHENG MARK AND OF THE PERIOD 1723-35

59 A CHINESE EMBROIDERED SILK PANEL 18TH CENTURY

The octagonal-section body rising from a gently spreading foot to a tall neck, the glass an opaque lemon yellow, the mark incised to the base within a double square border, 14.5cm.

Woven in multicoloured threads with figures in a garden joyfully engaged in numerous activities, including lion dancing, boating and playing musical instruments, with various blossoming flowers and trees around them and mountain peaks in the distance, some areas of detail picked out in gold thread, all on a green ground, 197cm x 142cm.

£6,000-8,000

£3,000-5,000

清雍正御製雞油黃料八棱瓶《雍正年製》

十八世紀

刺绣嬰戲圖掛屏

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

60 A RARE CHINESE CINNABAR LACQUER SQUARE-SECTION TREASURE BOX AND COVER QIANLONG 1736-95 The four sides of the cinnabar lacquer cover carved with peony, prunus, lingzhi, rockwork and other plants against a finely incised geometric ground, with key fret to the edges, surmounted by a large lion dog resting a paw on her young, her eyes inset with shell discs, the box intricately decorated all over with fylfots, octagonal floral diaper and key fret, one side with a drawer and two doors which open to reveal a further drawer, the top of the box with a removable tray which holds four small square boxes and covers, each painted with a central flowerhead surrounded by scrolling lotus designs, all raised on a cinnabar lacquer base incised with a band of key fret, 36cm. (13)

£20,000-30,000 Provenance: purchased from John Sparks Ltd on 26th July 1947 for £27, and thence by descent; a copy of the invoice is available.

清乾隆剔紅獅鈕多寶盒來源：1947年7月26日以£27價格購於John Sparks Ltd（附發票複印件）。

John Sparks invoice, 26th July 1947

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

61 A LARGE CHINESE CLOISONNE TIANQIUPING 19TH CENTURY The globular body rising to a tall neck, decorated with a continuous design of butterflies, insects and birds amongst peony, prunus and various other flowers, all against a turquoise-blue geometric fretwork ground, with a band of ruyi-heads to the rim, 56cm.

£3,000-4,000 十九世紀

銅胎掐絲琺瑯蝶戀花紋天球瓶

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

62 A PAIR OF CHINESE CLOISONNE MODELS OF BIRDS 18TH CENTURY Each depicted standing on clawed feet and with an open beak, their black plumage detailed with wire, with white enamel to their crests and the tips of their wings, their eyes picked out in dark red, the covers formed as their wings, 19cm. (4)

£2,500-3,500 Provenance: property of a deceased estate, London.

十八世紀銅胎掐絲琺瑯喜鵲擺件一對來源：倫敦私人遺產。

From the Collection of Mr H J Lowenthal Lots 63-78 63 A CHINESE BRONZE ‘CAMEL’ WATER DROPPER 17TH CENTURY

64 A CHINESE BRONZE ‘DRAGON’ WATER DROPPER PROBABLY 17TH CENTURY

The animal in a recumbent pose with its head raised, with apertures to its mouth, head and between its two humps, all supported on a shaped rectangular base, the underside with a paper label for the H J Lowenthal Collection, 101, 13.4cm, 417g.

The domed conical body tapering towards the foot and set with a thin curved spout, the handle formed as a sinuous dragon arching its back, the base with a paper label for the H J Lowenthal Collection, 150, 9.8cm, 289g.

£3,000-5,000

£1,000-2,000

Provenance: from the collection of Mr H J Lowenthal, no.101, purchased from Bonhams Knightsbridge on 16th December 1983, lot 6. A copy of the invoice is available.

Provenance: from the collection of Mr H J Lowenthal, no.150, purchased from Bonhams Knightsbridge on 25th February 2015, lot 360 (part).

十七世紀銅製駱駝水滴來源：H J Lowenthal收藏，編號101，邦瀚斯騎士橋1983年12月16日·

來源：H J Lowenthal收藏，編號150，邦瀚斯騎士橋2015年2月25日·

十七世紀（可能）

銅製螭龍水滴

編號360.

編號6（附發票複印件）。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

65 A CHINESE PARCEL-GILT BRONZE STAFF FINIAL SHAPED AS A BIRD PROBABLY 17TH CENTURY Cast in the style of the Warring States Period, formed as a seated bird raised on a cylindrical socket, some areas of detail highlighted in gilt, with a paper label for the H J Lowenthal Collection, 148, together with a wood stand, 17cm, 260g. (2)

£300-500 Provenance: from the collection of Mr H J Lowenthal, no.148, purchased from Bonhams Knightsbridge on 25th February 2015, lot 360 (part).

十七世紀（可能）銅鎏金鸠杖首來源：H J Lowenthal收藏，編號148，邦瀚斯騎士橋2015年2月25日· 編號360.

66 A SMALL CHINESE BRONZE FINIAL HAN DYNASTY OR EARLIER Cast as a seated bird with a hooked beak and a crest on its head, with scrolls incised to its wings, all raised on a hollow socket, with a paper label for the H J Lowenthal Collection, 121, together with a modern stand, 7cm, 76g. (2)

£2,000-3,000 Provenance: from the collection of Mr H J Lowenthal, no.121 and then purchased from Roger Keverne Ltd on 1st April 2011. A copy of the original 2011 invoice is available.

漢或更早銅製鳥爐頂來源：來源：H J Lowenthal收藏，編號121，2011年4月1日購於Roger Keverne Ltd（附發票）。

67 A CHINESE ARCHAIC BRONZE CHARIOT BELL PROBABLY LATE SHANG DYNASTY/EARLY WESTERN ZHOU DYNASTY Cast as a pierced circle with a spherical jingle to the centre, all raised on a rectangular-section column, together with a fitted wood stand with a paper label for the H J Lowenthal Collection, 147, 16cm, 249g. (2)

£300-500 Provenance: from the collection of Mr H J Lowenthal, no.147, purchased from Bonhams Knightsbridge on 25th February 2015, lot 360 (part). A copy of a report by Dr Brian Gilmour, Oxford, on the item is available. Cf. the collection of the Los Angeles County Museum of Art, no.AC.1998.251.54 for a similar piece dated to the early Western Zhou dynasty.

商/周銅軛首飾來源：H J Lowenthal收藏，編號147，邦瀚斯騎士橋2015年2月25日· 編號360. 附測試證書。

68 A CHINESE ARCHAIC BRONZE CHARIOT OR HORSE HARNESS FITTING PROBABLY LATE SHANG DYNASTY/EARLY WESTERN ZHOU DYNASTY Of strap-form, cast with bands of geometric designs, with two jingles to the ends, together with a fitted wood stand with a paper label for the H J Lowenthal Collection, 146, 32.5cm, 522g. (2)

£300-500 Provenance: from the collection of Mr H J Lowenthal, no.146, purchased from Bonhams Knightsbridge on 25th February 2015, lot 360 (part). A copy of a report by Dr Brian Gilmour, Oxford, on the item is available. Cf. the collection of the Los Angeles County Museum of Art, no.AC1998.251.38 for a similar piece dated to the late Shang dynasty or early Zhou dynasty.

商/周（可能）

銅衡

來源：H J Lowenthal收藏，編號146，邦瀚斯騎士橋2015年2月25日· 編號360.

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

69 A CHINESE BRONZE STAFF FINIAL SHAPED AS A BIRD HAN DYNASTY Cast as a seated bird with a fan-shaped tail and its wings tucked at its sides, all raised on a short cylindrical socket, with a paper label for the H J Lowenthal Collection, 122, together with a modern stand, 14cm, 338g. (2)

£3,000-4,000 Provenance: from the collection of Mr H J Lowenthal, no.122, acquired from Roger Keverne Ltd on 1st April 2011. A copy of the original invoice is available. Cf. R Krahl, Chinese Ceramics from the Meiyintang Collection, Vol.1, p.48, fig.13, for a related bronze finial.

漢

銅鳥型爐頂

來源：H J Lowenthal收藏，編號122， 2011年4月1日購於Roger Keverne Ltd（附發票複印件）。

70 A VERY RARE SET OF THREE CHINESE BRONZE STAFF FITTINGS WARRING STATES PERIOD OR WESTERN HAN DYNASTY Comprising: a bird-shaped finial cast with small ears and bold feathers, a plain oval ring, and a ferrule with an octagonal-section tapering body, all on a cylindrical perspex mount, with paper labels for the H J Lowenthal Collection, 113, together with a modern stand, 11cm, 280g (finial only). (3)

£3,000-5,000 Provenance: from the collection of Mr H J Lowenthal, no.113, purchased from Roger Keverne Ltd on 17th June 2009. A copy of the original invoice is available.

戰國時期/西漢銅鸠首杖來源：H J Lowenthal收藏，編號113，2009年6月17日購於 Roger Keverne Ltd（附發票）。

71 A SMALL CHINESE BRONZE MODEL OF A BUFFALO AND FIGURE LATE MING DYNASTY The figure sits on the buffalo’s back holding its halter and turning its head to sinister, with a paper label for the H J Lowenthal Collection, 102, 9.5cm, 282g.

£1,500-2,000 Provenance: from the collection of Mr H J Lowenthal, no.102, purchased from Bonhams Knightsbridge on 16th December 1983, lot 11. A copy of the original invoice/receipt is available.

明晚期銅童子牧牛擺件來源：H J Lowenthal收藏，編號102，邦瀚斯騎士橋1983年12月16 日·編號11（附發票）。 72 A NEAR PAIR OF CHINESE BRONZE INCENSE BURNERS QING DYNASTY Each with a bombé-shaped body flanked by two lion mask handles, the rims cast with archaistic phoenix set against a band of key fret, the bases with six character Xuande marks, with paper labels for the H J Lowenthal Collection, 108A and 108B, each with a wood stand, 12cm, 471g and 457g. (4)

£1,500-2,500 Provenance: from the collection of Mr H J Lowenthal, nos.108A and 108B.

清銅雙耳香爐一組兩件《大明宣德年製》來源：H J Lowenthal收藏，編號108a和108b。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

73 A CHINESE BRONZE TRIPOD INCENSE BURNER QING DYNASTY

74 A SMALL CHINESE BRONZE TRIPOD INCENSE BURNER 18TH CENTURY

The compressed circular body supported on three tapering feet, with two loop handles rising from the everted rim, the base with a six character Xuande mark, together with a wood stand, 12.6cm, 690g. (2)

The compressed body with a constricted neck and flat everted mouth, flanked by two handles shaped as the heads of mythical beasts, all raised on three tall scroll feet, the base with a six character Xuande mark, with a paper label for the H J Lowenthal Collection, 106, 11cm, 462g.

£300-500 Provenance: from the collection of Mr H J Lowenthal.

清銅三足香爐《大明宣德年製》來源：H J Lowenthal收藏。

£1,500-2,000 Provenance: from the collection of Mr H J Lowenthal, no.106.

十八世紀銅獅耳三足爐《大明宣德年製》來源：H J Lowenthal收藏·編號106。

75 A CHINESE SILVER INLAID ‘SHI SOU’ BRONZE TRIPOD INCENSE BURNER 18TH CENTURY With two short upright loop handles rising from the rim, the body decorated with alternating geometric patterns and sprays of bamboo amidst rockwork, a two character Shi Sou mark to the base, with a wood cover, with paper labels for the Plesch Collection, Bh 12hl, Christie’s 6th November 2009, 5812, 161, and the H J Lowenthal Collection, 104, 12.5cm, 797g. (2)

£2,000-3,000 Provenance: formerly from the collection of Dr and Mrs P H Plesch, acquired from Spink & Son Ltd in July 1966; then Christie’s South Kensington, 6th November 2009, lot 161; and then the collection of Mr H J Lowenthal, no.104. A copy of the Christie’s invoice is available.

十八世紀銅錯銀絲竹紋三足爐《石叟》來源：P H Plesch舊藏，1966年7月購於Spink & Son Ltd。佳士得南肯辛頓2009年11月6日（附發票複印件）。 H J Lowenthal收藏，編號104。

76 A CHINESE SILVER INLAID ‘SHI SOU’ BRONZE TRIPOD INCENSE BURNER 17TH/18TH CENTURY With two short loop handles rising from the rim, the body decorated with scrolling floral designs in silver wire inlay, with geometric designs to the three tall feet, the base with a two character Shi Sou mark, with a reticulated wood cover, with a paper label for the H J Lowenthal collection, 123, 13.3cm, 664g. (2)

£1,500-2,500 Provenance: purchased from The Curios Furniture & Miscellaneous Utensils & Hardware Merchants & Employees Association, Hong Kong & Kowloon, on 21st September 1965; then Christie’s South Kensington, 11th May 2011, lot 465; and then the collection of Mr H J Lowenthal, no.123. A copy of the original Hong Kong invoice and a copy of the original Christie’s invoice are available.

十七/十八世紀銅錯銀絲三足爐《石叟》來源：1965年購於香港九龍Curios Furniture & Miscellaneous Utensils & Hardware Merchants & Employees Association.

佳士得南肯辛頓2011年5月11日·編號465（附發票複印件）。 H J Lowenthal 收藏，編號123。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

77 A CHINESE BRONZE INCENSE BURNER 18TH CENTURY Of archaistic gui form, cast with taotie masks against a geometric ground, with two lion head-shaped loop handles, all raised on a spreading foot, the base with a six character Xuande mark and a paper label for the H J Lowenthal Collection, 107, together with a wood stand, 17cm, 882g. (2)

£3,000-5,000 Provenance: from the collection of Mr H J Lowenthal, no.107.

十八世紀銅製饕餮紋簋《大明宣德年製》來源：H J Lowenthal收藏·編號107。

78 A CHINESE ARCHAIC BRONZE JUE LATE SHANG DYNASTY The sides of the wine vessel cast with two large taotie masks reserved on a leiwen ground, one side with a C-shaped strap handle issuing from a bovine mask, the body rising to a pointed tail and curved spout flanked by two posts with waisted caps, all raised on three tall triangular-section legs resembling blades, the bronze with a dark greenish-brown patina, with a paper label for the H J Lowenthal Collection, 110, 21.3cm, 806g.

£30,000-40,000 Provenance: formerly in the collection of Dr Robert Heilbroner, New York, 1960s; then no.2 in the Summer Exhibition 2010 at Roger Keverne Ltd; and then the collection of Mr H J Lowenthal, no.110. Dr Robert Heilbroner (1919-2005) was a famous economist and was a professor of economics at the New School for Social Research in New York for over twenty years. He is best known for writing The Worldly Philosophers: The Lives, Times and Ideas of the Great Economic Thinkers (1953).

商晚期銅饕餮紋爵來源：紐約Robert Heilbroner教授舊藏 Roger Keverne Ltd 2010年夏季展No 2. H J Lowenthal 收藏，編號110。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

79 A MONGOLIAN OR BURIAT PAINTING ON SILK OF VAISHRAVANA EARLY 19TH CENTURY Depicting Vaishravana, the God of Wealth and the Guardian of the North, he is seated on a lion surrounded by his eight attendants, the Ashvapatis (riders), protectors of the Eight Directions, at the top of the thangka is a protector, Vighnantaka, who removes all obstacles on the way to prosperity, together with a copy of Art of Buriatia: Buddhist Icons from Southern Siberia, 46.5cm x 35cm. (2)

Vaishravana’s role as the Guardian of the North made the cult of this deity one of the most important in Mongolia and Buriatia. These countries are located to the north of Tibet and it was the north with which the Mongols and Buriats associated themselves geographically. Illustrated: D Ashencaen and G Leonov, Art of Buriatia: Buddhist Icons from Southern Siberia, Spink & Son Ltd, 1996, p.11, no.5.

十九世紀早期

財寶天王唐卡

£4,000-6,000

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

80 AN INDIAN SANDSTONE STELE OF A COUPLE PROBABLY 11TH/12TH CENTURY Carved in high relief with the two figures leaning on each other, both standing in tribhanga on a pedestal, all mounted on a later base, 56cm.

Provenance: by repute, acquired from Spink & Son Ltd, 1986-7.

十一/十二世紀（可能）印度浮雕石佛像來源：Spink & Son Ltd，1986-7。

£2,000-3,000

81 A CHINESE COPPER ALLOY FIGURE OF BUDDHA DIPANKARA 15TH CENTURY The figure seated in dhyanasana on a lotus base, wearing flowing monk’s robes draped over his left shoulder, with a tranquil expression and his hair cast in tight curls, he holds his hands before his chest in dharmachakra mudra, the circles formed by his index fingers and thumbs symbolising the Wheel of Dharma, the original base plate in place, 20cm, 1.6kg.

82 A NEPALESE CAST GILT-COPPER SCULPTURE OF BUDDHA AMOGHASIDDHI LICCHAVI REVIVAL C.17TH CENTURY An impressive and elegant sculpture depicting Amoghasiddhi, he sits in dhyanasana on a round lotus throne of large fleshy lotus petals with stamens arranged above them, with his left hand in dhyana (meditation) mudra and his right hand in abhaya (protection) mudra, 17.6cm, 1.6kg.

£6,000-7,000

£7,000-9,000

十五世紀

Amoghasiddhi is one of the Five Cosmic Buddhas, also known as the Five Tathagatas or the Five Dhyani Buddhas. He is the head of the Karma (action) family of deities. Amoghasiddhi is associated with the northern quarter of the mandala and his consort is Green Tara.

銅燃灯佛坐像

Provenance: Spink & Son Ltd, London. Cf. Spink and Son Ltd, Visions of Perfect Worlds: Buddhist Art from the Himalayas, 1999, p.11.

十七世紀尼泊爾鎏金銅不空成就佛坐像來源：倫敦Spink & Son Ltd。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

83 A CHINESE GILT-BRONZE FIGURE OF USNISAVIJAYA 16TH/17TH CENTURY The three-headed goddess seated in dhyanasana with various attributes in her hands, her elaborate crown, arm bands and jewellery inlaid with coloured jewels, the hair and mouths with cold painted decoration, all raised on a double lotus base, 12cm, 349g.

£3,000-4,000 十六/十七世紀

銅鎏金尊勝佛母坐像

84 A CHINESE SILVER INLAID ‘SHI SOU’ BRONZE FIGURE OF GUANYIN MING DYNASTY Seated in lalitasana holding a scroll in her right hand, with her head slightly tilted downwards and her face bearing a tranquil expression, her long robes and veil detailed with scrolling clouds and lotus inlaid with silver wire, wearing her hair in a tall chignon fastened with an elegant hair piece, the back with a two character Shi Sou mark, 18cm, 1.1kg.

£4,000-5,000 明銅錯銀製遊戲坐觀音像《石叟》

85 A TIBETAN BRONZE FIGURE OF AVALOKITESHVARA 14TH/15TH CENTURY The eleven-faced Bodhisattva stands on a double lotus base, with two hands in prayer and the others holding a mala, a kundika, and flowers, wearing a dhoti with incised decoration and jewellery inlaid with later coloured jewels, with a deer skin hanging over his left shoulder, the back of the figure and pedestal incised with floral patterns, the original baseplate in place, 26cm, 1.5kg.

£6,000-8,000 Provenance: previously acquired in Hong Kong in the 1980s; and then Christie’s New York, 14th September 2010, lot 60. A copy of the Christie’s invoice is available.

十四/十五世紀銅十一面觀音像來源：1980年代購於香港。佳士得紐約2010年9月14日·編號60（附發票複印件）。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

86 A TIBETAN GILT-COPPER SCULPTURE OF PADMASAMBHAVA 19TH CENTURY Seated upon a raised lotus throne emerging from a lake, holding a vajra and a kapala in his hands, his spouse, Mandarava, stands to his left on a separate lotus flower holding a kapala, his other spouse, Yeshe Tsogyal, stands to his right holding an amrita kalasha (the vase with the elixir of longevity), all framed by a flaming aureole decorated with gilded lotus buds and foliage, 33cm, 1.5kg. (2)

£6,000-8,000 Padmasambhava is considered to be the founder of the oldest order of Tibetan Buddhism, Nyingmapa. He arrived in Tibet from India in the mid 8th century and, according to tradition, subdued and conquered local demons and gods who were obstructing the development of Buddhism. The image and mountain stand are both consecrated. Cf. Spink & Son Ltd, The Mirror of Mind, Art of Vajrayana Buddhism, 1995, p.18 for a related example.

十九世紀

銅鎏金蓮花生大師像

87 A CHINESE LACQUERED GILT-BRONZE FIGURE OF TIANGUAN 16TH/17TH CENTURY The heavenly official sits wearing a tall hat and holding a hu tablet before him, bearing a stern expression on his face which is framed by his elongated earlobes, his long flowing robes decorated with gilt and red lacquer and incised with swirling designs, the face and hands picked out in gilt, together with a wood stand, 36.8cm, 4.7kg. (2)

£7,000-8,000 Tianguan is one of the Three Officials of Daoism, along with Diguan and Shuiguan. Provenance: formerly a French private collection, Val de Loire.

十六/十七世紀

88 A CHINESE GILT-LACQUERED BRONZE FIGURE OF AN IMMORTAL 17TH CENTURY She kneels wearing long robes tied at the waist, with ribbons and swirls of fabric flowing around her, the face with a serene expression and her detailed hair fastened in a chignon with a pin, 22.8cm, 2.1kg.

£6,000-7,000 Provenance: formerly a French private collection.

十七世紀銅鎏金加彩仙人像來源：法國私人收藏。

描金加彩天官像

來源：法國私人收藏。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

Fine Chinese Ceramics Lots 89-148

89 A SMALL RARE CHINESE QINGBAI ‘MANDARIN DUCK’ MARRIAGE DISH YUAN DYNASTY

90 A PAIR OF CHINESE POTTERY MODELS OF HORSES AND RIDERS TANG DYNASTY

Decorated with a thin pale blue glaze, the shallow body rising to an unglazed rim, the convex centre moulded with a pair of swimming ducks contained within a key fret band, with paper labels for the J Drew collection, no.271, and the Mary & Peter White Collection, no.3051 to the slightly concave base, 14.5cm.

Each horse in a dynamic pose with his head stretched forward and a rider seated upon his back, the riders wearing tall boots, shoulder plates and warriors’ helmets, all with visible traces of earth pigments, 44.5cm. (2)

£5,000-7,000 Provenance: from the collection of John Drew; and later the collection of Mary and Peter White. John Drew (1933-2006) was educated at Queen’s College Oxford and spent much of his life working in Africa as an archivist. He was a collector of Chinese ceramics and owned pieces dating from the Neolithic period to the 18th century.

元

£5,000-8,000 Together with copies of the original Oxford Authentication Thermoluminescence Analysis Reports, sample nos.C106c30 and C106g53, dated 2nd February 2006 and 30th March 2006.

唐

騎俑一對

青白鴛鴦戲水紋花口碟

來源：John Drew舊藏。 Mary 及 Peter White 收藏。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

91 A LARGE CHINESE GILT-DECORATED POWDER BLUE-GROUND BOTTLE VASE 18TH/19TH CENTURY The pear-shaped body and tall neck coated in a midnight blue glaze, painted in gilt with roundels set against a geometric design above a broad band of lappets, all raised on a short circular foot, 59cm.

£3,000-4,000 十八/十九世紀

霽藍釉描金錢幣紋淨瓶

92 A CHINESE CRACKLE GLAZED FLAMBE-SPLASHED VASE 18TH CENTURY With three raised bands to the ovoid body and tall flaring neck, all covered with red and mauve splashes on a green crackle glaze ground, supported on a short straight foot, 40.5cm.

£1,000-1,500 Provenance: sold by the executors of the late Pamela Spater, d.2018, Amersham, Buckinghamshire.

十八世紀窯變釉三弦瓶來源：Pamela Spater（逝于2018年）舊藏。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

93 A MASSIVE CHINESE BLUE AND WHITE FISH BOWL 19TH CENTURY The deep ovoid body painted with alternating rectangular and shaped panels between bands of ruyi-heads and lappets, each enclosing a pair of birds perched amongst peony, chrysanthemum and pine, with butterflies in flight around them, all reserved on a prunus-decorated cracked-ice ground, with further prunus decoration to the rim, 53.5cm.

£5,000-7,000 十九世紀

青花如意開光花鳥紋大缸

94 A PAIR OF CHINESE FAMILLE VERTE BALUSTER VASES KANGXI 1662-1722 Each painted in coloured enamels with pairs of birds perched on rockwork and in flight amidst blossoming flowers, with bands of ruyi-heads to the shoulders and lappets around the footrim, the short neck decorated with further floral sprays, each with a reticulated wood cover, 34cm. (4)

£5,000-7,000 清康熙

五彩花鳥紋將軍罐一對

95 A NEAR PAIR OF CHINESE FAMILLE ROSE ‘IMMORTALS’ BALUSTER VASES AND COVERS 19TH CENTURY Each decorated with a continuous scene depicting Magu riding a spotted deer over the sea as two other Immortals stand upon a log raft beneath floral sprays, with a building floating in the clouds above them, the shoulder of each with a seal mark, the covers painted with Liu Hai luring out the three-legged toad with a string of gold coins, 41cm. (4)

£2,500-3,500 十九世紀

粉彩麻姑乘槎將軍罐一對

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

96 TWO CHINESE GRISAILLE AND GILT-DECORATED JESUIT PLATES QIANLONG 1736-95 One finely decorated with the Crucifixion, the Good Thief and the Impenitent Thief on either side of Christ, with Roman soldiers playing with dice in the foreground and mourners to the back, the other depicting the Resurrection with Christ emerging from his tomb amongst scrolling clouds, with the Angel Gabriel by his side and sleeping Roman soldiers in the foreground, the rims painted with garlands of flowers, 22.8cm. (2)

£3,000-4,000 Provenance: from a Swedish private collection. Cf. Marchant, Chinese Export Porcelain, 90th Anniversary exhibition, pp.48-49 no.31, for two identical plates. The author explains that these are from a rare series produced for the Dutch market and the designs were taken from an early 18th century Lutheran bible with prints by the Amsterdam engraver Jan Luyken; see also C Shimizu & L Chabanne, L’Odysée de la Porcelaine Chinoise, p.219, no.172 for two other identical plates in the Musée National de la Céramique, Sèvres, nos. MNC 2877-1 & 2.

清乾隆

描金西洋人物紋碟一對

來源：瑞典私人收藏。

97 A PAIR OF CHINESE FAMILLE ROSE ‘EIGHTEEN LUOHANS’ DISHES QIANLONG 1736-95 Each painted to the centre with a beauty and child watching another lady play the qin, all contained within borders of gilt-decorated flowers and panels enclosing birds, with the Eighteen Luohans to the rim of each, the details highlighted in gilt, the bases with paper labels, 22.3cm. (2)

£4,000-6,000 Provenance: an English private collection, London, purchased from H R Hancock & Sons on 17th July 1957. A copy of the invoice is available.

清乾隆

粉彩吉慶平安碟一對

來源：英國私人收藏，1957年7月17日購於H R Hancock & Sons（附發票複印件）。

H R Hancock & Sons invoice, 17th July 1957

98 A MASSIVE CHINESE PORCELAIN STAND YONGZHENG 1723-35 Raised on a flared foot and richly decorated to the well with leaping carp, crustaceans, lotus and crashing waves, the rim with dense bands of flowerheads, scrolling motifs and stylised conch shells in shaped panels, the outside painted with large bowls of pomegranates and finger citrons raised on flowering branches, alternating with roundels enclosing formal fans and flowers, the centre of the well left unglazed, possibly to be used as a jug stand, 57cm dia.

£2,000-3,000 清雍正

粉彩多子多福盤

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

99 A PAIR OF CHINESE BLUE AND WHITE LATER-ENAMELLED PERANAKAN-TYPE EWERS KANGXI 1662-1722 Each brightly painted with dragons and butterflies amidst various fruits and blossoms on a purple ground, the curved handles and spouts with gilt, with further floral and foliate designs to the necks and mouth rims, each raised on a tall spread foot decorated with flowers against a cracked-ice ground, the bases with artemisia leaf marks, 29.5cm. (2)

£1,200-1,500 清康熙

粉彩描金花卉龍紋壺一對

100 A CHINESE ROBIN’S EGG GLAZED YIXING TEAPOT AND COVER 18TH CENTURY The elongated square-section body tapering towards the mouth rim, with a curved spout and a loop handle, the domed cover surmounted by an arch-shaped finial, the exterior and base covered with a mottled turquoise and blue glaze, with a six character seal mark to the base which reads Jing Xi Hua Feng Xiang zhi, 20.5cm. (2)

£2,000-3,000 Cf. Nanjing Museum and MAI Foundation, Appreciation of Zisha Teapots, p.116, no.33 for a similar teapot in the Nanjing Museum collection.

十八世紀爐鈞釉紫砂壺《荊溪華鳳祥製》篆書刻款

101 A CHINESE HUANGHUALI BOX WITH INSET PORCELAIN PLAQUES 18TH CENTURY Each facet with a rectangular blue and white plaque painted with houses, pagodas, and figures on boats in a mountainous watery landscape, the box with a hinged cover and moveable metal handles to two sides, the interior with a lift-out tray divided into six sections, 18cm x 31cm x 22cm. (2)

£10,000-12,000 Provenance: formerly in the collection of Supercargo Peter Fenger (1688-1737), who made many trips to China, where he bought this box. In this photograph taken in 1935, the box can be seen on the table between his descendants Anna and Frederik Hjort. The box was known in the family as the Fengerske box. Cf. J Wirgin, Fran Kina til Europa, colour pl.242, for a similar box with blue and white river landscape panels where it is called ‘teskrin’ and dated c.1700. Literature: Frederik Hjort, Mit livs begivenheder, 1935, p.279.

十八世紀黃花梨嵌青花山水紋盒來源：Peter Fenger（1688-1737）舊藏。Fenger先生生前經營貨物航運生意，并多次往返中國，在此期間他購入此盒。照片拍攝於1935年，照片中為他的後人Anna及Frederik Hjort。

Anna and Frederik Hjort, 1935

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

102 A PAIR OF SMALL CHINESE FAMILLE ROSE EGGSHELL PORCELAIN VASES REPUBLIC PERIOD Each painted in enamels with two cartouches enclosing blossoming branches and a bird of prey perched on rocks beneath a pine tree, all against a ground of auspicious emblems and scrolling lotus decorated en grisaille, with four character Qianlong marks to the bases, 13.8cm. (2)

£300-500 Provenance: purchased from Shanghai Art House, Singapore, 30th December 1968; a copy of the invoice is available.

民國粉彩開光梅花紋瓶一對來源：1968年12月30日購於新加坡鴻霖公司（附發票複印件）。 103 A PAIR OF CHINESE FAMILLE ROSE YELLOW-GROUND EGGSHELL PORCELAIN VASES REPUBLIC PERIOD Each painted with two large panels, one depicting a bird of prey perched on rockwork, the other with a dog painted in the style of Giuseppe Castiglione, all reserved on a lotus-decorated ground, with four character Qianlong marks to the bases, each with a wood stand, 27cm. (4)

£400-600 Provenance: purchased from Shanghai Art House, Singapore, 30th December 1968; a copy of the invoice is available.

Shanghai Art House invoice, 30th December 1968

民國粉彩黃地開光花鳥紋瓶一對來源：1968年12月30日購於新加坡鴻霖公司（附發票複印件）。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

104 A CHINESE FAMILLE ROSE VASE REPUBLIC PERIOD

105 A CHINESE FAMILLE ROSE ‘LANDSCAPE’ VASE PROBABLY REPUBLIC PERIOD

Finely painted in enamels with Zhong Kui pinning a flower from a blossoming and fruiting pomegranate tree in a lady’s hair, with an emaciated figure holding a basin walking towards them, the reverse with calligraphy and seal marks, a four character Qianlong mark to the base, together with a wood stand, 30.2cm. (2)

Finely painted with a mountainous, watery landscape scene, depicting figures on fishing boats and houses amidst rocks and pine trees, the gently flaring neck and foot decorated with bands of ruyi-heads in underglaze blue, a six character Qianlong mark to the base, 37cm.

£600-800 Provenance: acquired in Singapore in 1968.

民國

£1,500-2,500 民國（可能）粉彩山水紋灯笼瓶《大清乾隆年製》青花篆書仿款

粉彩鐘馗瓶

來源：1968年購於新加坡。

106 A CHINESE FAMILLE ROSE IRON-RED GROUND VASE JIAQING 1796-1820 Decorated with four butterflies and four cartouches containing scenes of boys in a garden painted in coloured enamels, with scrolling gilt floral and foliate designs against the vibrant red ground, the interior and base turquoise, a label for the Max Robertson Collection No.A-224-B to the base, together with a bronze stand, 20cm. (2)

£2,000-3,000 Provenance: Max Robertson; and then the collection of the Littman family. Max Robertson (1915-2009) was a sports commentator, presenter, author and collector. He was famous as the voice of Wimbledon and covered major news events including the coronation of Elizabeth II. Robertson also presented the antiques programme Going for a Song. Despite selling his collection of mostly Transitional Chinese porcelain at Sotheby’s in 1964, Robertson continued to collect and was a client of Bluett’s mainly between 1961 and 1970. Most of his possessions were sold at Sotheby’s in 2000.

107 A CHINESE TEADUST AND UNDERGLAZE BLUE AND RED GARLIC MOUTH ‘DRAGON’ VASE 19TH CENTURY The compressed circular body supported on a gently flaring foot and rising to a slender neck, painted on raised white slip decoration with three dragons contesting a sacred pearl amidst stylised clouds and flames, all above a band of crashing waves, with a border of ruyi-heads enclosing blossoms to the bulbous mouth, 18.3cm.

£3,000-5,000 十九世紀

青花釉里紅茶葉末地雲龍紋蒜頭瓶

清嘉慶粉彩珊瑚紅地吉慶如意百子圖瓶來源：Littman家族舊藏。Max Robertson收藏。

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108 A CHINESE COPPER-RED GLAZED STEM BOWL SIX CHARACTER YONGZHENG MARK AND PROBABLY OF THE PERIOD

109 A CHINESE COPPER-RED GLAZED DISH SIX CHARACTER DAOGUANG MARK AND OF THE PERIOD 1821-50

The gently flaring body supported on a tall spreading foot with a raised band, the interior of the bowl and stem glazed white, 12.3cm.

The shallow body decorated all over with a dark red glaze draining from the rim, the base glazed white, all supported on a short tapering foot, 20.5cm.

£300-500

£400-600

Provenance: from the estate of a deceased Cambridge professor.

Provenance: from a private collection, London, acquired no later than 2000.

清雍正（可能）豇豆紅釉高足碗《大清雍正年製》青花楷書仿款

清道光紅釉碟《大清道光年製》青花篆書款

來源：劍橋教授遺產。

110 A CHINESE CLAIR-DE-LUNE GLAZED BRUSH WASHER 19TH CENTURY

111 A CHINESE BLANC DE CHINE FIGURE OF GUANYIN 19TH/20TH CENTURY

The compressed circular body supported on a short tapering foot, the exterior and interior both covered with a pale lavender-blue glaze, the glaze at the incurved rim of a darker tone, with a six character Kangxi mark to the base, 12.4cm.

Seated on a lotus flower with her hands resting upon her raised knee, with her finely combed hair falling over her shoulders, all supported on an octagonal lotus base, the back impressed with a square He Chao Zong seal mark and a gourd-shaped mark reading De Hua, 32.3cm.

£2,000-3,000

£500-800

Provenance: formerly an English private collection acquired prior to 1983.

Provenance: from an English private collection, Cheshire, acquired in the UK in the 1990s.

十九世紀天藍釉水盂《大清康熙年製》青花楷書仿款來源：英國私人收藏，購於1983年之前。

十九/二十世紀德化白釉水月觀音坐像《德化》、《何朝宗印》來源：英國柴郡私人收藏，購於1990年代英國。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

112 A CHINESE YELLOW GLAZED CIRCULAR ALTAR VESSEL AND COVER, DOU SIX CHARACTER TONGZHI MARK AND OF THE PERIOD 1862-74

113 A CHINESE FLAMBE GLAZED MEIPING 18TH/19TH CENTURY

The deep bowl raised on a tall hollow spread foot, with a high domed cover surmounted by a finial formed as two twists of rope, all decorated with archaistic motifs in shallow relief, 29cm. (2)

The tapering body decorated all over with a mottled deep red glaze draining from the rim, with hints of pale lavender to the short flared neck, the base with a crackled celadon glaze and a paper label for Spink & Son Ltd, 31.5cm.

£1,500-2,500

£2,000-3,000

Provenance: Sotheby’s Belgravia, 3rd December 1981, lot 79?; and then a private collection, London.

十八/十九世紀

窯變釉梅瓶

清同治黃釉蓋豆《大清同治年製》來源：佳士得Belgravia1981年12月3日·編號79。

114 A SMALL CHINESE GUAN-TYPE HU-SHAPED VASE 18TH CENTURY The faceted pear-shaped body supported on a short foot, the tapering neck flanked by two lug handles, all coated with a greyish crackled celadon glaze, 12.4cm.

£300-500 Provenance: from the collection of Sir Richard Evans, d.2012.

十八世紀哥窯貫耳瓶來源：Richard Evans（逝于2012年）先生收藏。

115 A CHINESE UNDERGLAZE BLUE AND RED ENAMELLED OVOID VASE 16TH CENTURY Painted with a bird and insects amongst peony, chrysanthemum and fruits, with a band of ruyi-heads around the rim, together with a reticulated wood stand and cover, 13cm. (3)

£1,000-2,000 Provenance: from the collection of Peter Meyer.

十六世紀青花礬紅花鳥紋罐來源：Peter Meyer收藏。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

116 A CHINESE WHITE GLAZED ANHUA-DECORATED DISH MING DYNASTY, PROBABLY ZHENGDE

117 A CHINESE AUBERGINE GLAZED TIANQIUPING KANGXI 1662-1722

Made in the Yongle style, the heavily potted body rising from a tapering foot to an everted rim, decorated in the anhua technique with scrolls of lotus to the interior, 21.3cm.

The ovoid body rising to a tall cylindrical neck, all coated in a deep purple glaze, 30.3cm.

£300-500 Provenance: from a private collection, London, acquired no later than 2000.

明正德（可能）

£3,000-4,000 清康熙

藍釉天球瓶

白釉暗刻蓮紋碟

118 A LARGE CHINESE SNOWFLAKE-BLUE DICE BOWL PROBABLY QING DYNASTY The U-shaped body with thickly potted sides, decorated with a mottled xuehualan glaze of varying blue tones to the exterior, the interior glazed white and with a six character Yongzheng mark to the centre, the base unglazed and with a broad shallow footring, 26.2cm.

£2,000-3,000 Cf. The British Museum, registration number PDF.605 for a similar bowl from the Xuande period on loan from the Sir Percival David Foundation of Chinese Art; see also the Cleveland Museum of Art, Ohio, no.1989.287 for another Xuande example.

清（可能）雪花藍釉大碗《大清雍正年製》青花楷书仿款

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

119 A CHINESE CELADON MEIPING KANGXI 1662-1722 With a short waisted neck and a gently flaring foot, the body carved with three scrolling peony flowerheads amidst stylised clouds, with a border of incised decoration to the shoulder, all above a broad band of pendant leaves, the base with a paper label for C T Loo, 22cm.

£10,000-15,000 Cf. W B Honey, Guide to the Later Chinese Porcelain Periods of K’ang Hsi, Yung Cheng, and Ch’ien Lung, pl.5 for a similar vase in the Salting Collection; see also Monochrome Porcelain: The Complete Collection of Treasures of the Palace Museum, p.190, no.172 for another related piece.

清康熙

青釉纏枝牡丹紋梅瓶

120 A CHINESE FAMILLE ROSE OVOID VASE 18TH/EARLY 19TH CENTURY Rising from a tapered foot to a short flaring neck, the exterior painted in pink, red and brown enamels with Zhong Kui and his attendants, with two bats in flight above them, the interior and base with a crackled pale turquoise glaze, 15.2cm.

121 A SMALL CHINESE FAMILLE ROSE BOWL SIX CHARACTER YONGZHENG MARK AND OF THE PERIOD 1723-35 The U-shaped body supported on a short circular foot, painted in bright enamels with Li Bai seated amidst shrubs and flowers, with two bats in flight around him, 9.6cm.

£1,000-1,500

£800-1,200

Provenance: sold by the executors of the late Pamela Spater, d.2018, Amersham, Buckinghamshire.

Provenance: from an English private collection, London, acquired in the 1950s-1960s.

十八/十九世紀早期粉彩鐘馗紋瓶來源：Pamela Spater（逝于2018年）舊藏。

清雍正粉彩李白醉酒碗《大清雍正年製》青花楷书款來源：英國私人收藏，購於1950-1960年代。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

122 A SMALL CHINESE UNDERGLAZE BLUE AND RED OVOID VASE REPUBLIC PERIOD

123 A CHINESE UNDERGLAZE BLUE AND RED ‘BAXIAN’ BOWL PROBABLY QIANLONG

Painted with three oval panels to the exterior, one containing a mountainous landscape scene, another enclosing a beauty seated below bamboo in a garden, the third painted with a branch of flowering prunus, all divided by stylised sprays of flowerheads and foliage, a six character Qianlong mark to the base, 9cm.

The U-shaped body supported on a short straight foot and rising to an everted rim, decorated to the exterior with the Eight Immortals against a ground of crashing waves, with a medallion of Shoulao and a deer painted to the centre, the base with a four character Yang He Tang zhi mark, 12cm.

£1,500-2,500

Provenance: from an English private collection, Sussex, acquired in the 1980s.

清乾隆（可能）

青花釉里紅八仙過海紋碗

《養和堂製》青花楷书款

民國青花釉里紅開光山水紋罐《大清乾隆年製》青花篆书仿款來源：英國私人收藏，1980年代購於布萊頓。

124 A CHINESE IMPERIAL YELLOW-GROUND ‘DRAGON’ SAUCER DISH SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The centre incised and enamelled with two dragons contesting a sacred pearl amidst stylised flames, one dragon painted in green enamels and the other in aubergine, all contained within a double ring, the reverse decorated with alternating cranes and ruyi-clouds, 14.3cm.

£2,500-3,000 Provenance: formerly a Japanese private collection. Cf. M Medley, The World’s Great Collections: Oriental Ceramics, vol.6, Percival David Foundation of Chinese Art, London, monochrome pl.281 for a similar dish; see also S Marchant & Son, Exhibition of Qing Mark and Period Monochromes and Enamelled Wares, no.28 for another related example.

清乾隆

御製黃地褐綠彩雙龍戲珠紋小碟

《大清乾隆年製》篆书款來源：日本私人收藏。

100

125 A SMALL CHINESE IMPERIAL YELLOW GLAZED ‘HIBISCUS’ DISH SIX CHARACTER YONGZHENG MARK AND OF THE PERIOD 1723-35 Coated with an even yellow glaze, the underside decorated in green enamels with six incised hibiscus flowerheads amongst stylised leaves, with a simple incised ring around the rim, all raised on a short circular foot, 11.5cm.

£2,000-3,000 Provenance: from an English private collection, Cheshire. Cf. Christie’s New York, 19th-20th September 2013, lot 1359 for a pair of dishes with a similar design.

清雍正御製黃地綠彩木槿花紋小碟《大清雍正年製》青花楷书款來源：英國柴郡私人收藏。

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126 A CHINESE FAMILLE ROSE YELLOW-GROUND ‘SAN DUO’ VASE SIX CHARACTER JIAQING MARK AND PROBABLY OF THE PERIOD The flattened ovoid body and slender flaring neck brightly painted with lotus flowerheads, peaches, pomegranates, and finger citron amongst stylised scrolling foliage, all between bands of ruyi-heads and lappets, with gilt to the mouthrim and short flared foot, the interior and base glazed turquoise, 23cm.

£10,000-15,000 清嘉慶

黃地粉彩三多紋瓶

《大清嘉慶年製》礬紅篆书款

101

127 A CHINESE BLUE AND WHITE ‘CRANES’ DISH SIX CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722

128 A CHINESE BLUE AND WHITE ‘LOTUS’ DISH SIX CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722

Rising from a short straight foot to an everted rim, the centre painted with a medallion enclosing three cranes in flight amidst stylised clouds and emblems, with further emblems to the exterior, including a conch shell and a parasol, 17.1cm.

The shallow body rising from a gentle tapering foot to an everted rim, painted with a medallion enclosing lotus flowerheads amidst scrolling leaves to the centre, the exterior similarly decorated, 15.3cm.

£400-600 Provenance: sold by the executors of the late Pamela Spater, d.2018, Amersham, Buckinghamshire.

清康熙青花云鹤纹碟《大清康熙年製》青花楷书款來源：Pamela Spater（逝于2018年）舊藏。

102

£1,500-2,000 Provenance: from an English private collection, Cheshire.

清康熙青花纏枝蓮紋碟《大清康熙年製》青花楷書款

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

129 A CHINESE IMPERIAL YELLOW-GROUND ‘DRAGON’ BOWL SIX CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722 Finely potted with the U-shaped body rising to an everted rim, the exterior decorated in green enamel with two incised five-clawed dragons pursuing flaming pearls amidst stylised flames and clouds, with a foliate border to the mouth rim and a band of interlaced ruyi-heads around the base, the well incised and painted with a shou character contained within a circular ring, 10.4cm.

£8,000-10,000 Provenance: from a European private collection, purchased in China c.1930. Cf. Sotheby’s Hong Kong, 25th November 1980, lot 146 for a similar pair of bowls sold in the sale of the Edward T Chow Collection.

清康熙黃地綠彩趕珠龍紋撇口碗《大清康熙年製》青花楷書款來源：歐洲私人收藏，購於1930年。

103

130 A CHINESE DOUCAI ‘FIVE DRAGON’ BOWL KANGXI/YONGZHENG

131 A CHINESE DOUCAI ‘MANDARIN DUCK’ BOWL YONGZHENG 1723-35

The U-shaped body painted in coloured enamels with four five-clawed dragons in pursuit of sacred jewels amidst cloud scrolls, with a medallion depicting a further dragon to the centre, the rim and short circular foot decorated with simple double bands, the base with a six character Chenghua mark, together with a wood stand, 18.6cm. (2)

The U-shaped body raised on a short circular foot, with a scene of mandarin ducks swimming and flying amidst lotus flowers painted to the exterior in coloured enamels, the interior with a border of green cell-diaper containing four panels of lotus, with a medallion mirroring the exterior design to the centre, the base with a six character Chenghua mark and a paper label for John Sparks, together with a paper card from John Sparks, 18.5cm.

£2,500-3,500 Provenance: from the collection of the Littman Family.

清康熙/雍正鬥彩雲龍紋碗來源：Littman家族收藏。

£3,000-5,000 Provenance: John Sparks Ltd; from an English private collection, north London. Cf. J Ayers, Chinese Ceramics: The Koger Collection, p.147, no.120 for a smaller bowl from the Yongzheng period with a similar design and a Chenghua mark; see also Sotheby’s London, 11th May 2016, lot 119, for a similar example.

清雍正

鬥彩鴛鴦戲水碗

《大明成化年製》青花楷書款來源：John Sparks Ltd，英國北倫敦私人收藏。

104

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

132 A RARE CHINESE DOUCAI CUP STAND C.1720 With a shallow body and slightly raised rim, the centre decorated with two sinuous chilong contained within simple circular bands, one painted in iron-red, the other in yellow enamel, with their hair picked out in green, each with a bifurcated tail and holding a lingzhi branch in its mouth, the base with a paper label inscribed P B Sale 2942, Chien Lung dragon plate, item 108, 11.28.69, 19.3cm.

£6,000-7,000 Provenance: formerly in the collection of Sarah Jamison Messmore; then in the collection of Justice Ralph M Holman (1914-2013); Parke-Bernet Galleries Inc, 28th November 1969, item 108. 1720年代

鬥彩卷草螭龍紋碟来源：Sarah Jamison Messmore舊藏。 Justice Ralph M Holman（1914-2013）收藏。 1969年11月28日Parke-Bernet畫廊，編號108.

105

133 A CHINESE WUCAI ‘CRAB APPLE’ MONTH CUP SIX CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722 The deep body with a short straight foot and a flaring rim, painted with a flowering crab apple tree growing amidst rocks and vegetation, the reverse with a poem reading qing xiang he su yu, jia se chu qing yan, followed by a seal reading shang (‘to appreciate’), with a paper label to the centre, 6.7cm.

£4,000-6,000 Provenance: an English private collection, London, purchased from Sydney L Moss on 6th August 1957 for £30. A copy of the invoice is available. Cf. the British Museum, London, registration no.PDF.815, for a complete set of twelve month cups.

清康熙

粉彩芙蓉花神杯

來源：英國倫敦私人收藏，1957年8月6日以£30的價格購於 Sydney L Moss（附發票複印件）。

Sydney L Moss invoice, 6th August 1957

106

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

107

134 A LARGE CHINESE BLUE AND WHITE DISH 2ND HALF 16TH CENTURY The interior painted with a medallion containing two phoenix amidst flowers and foliage, with a band of scrolling flowerheads to the rim, the exterior decorated with stylised clouds and cranes in flight, with a simple scroll border to the footrim, the base unglazed, 42.6cm.

£5,000-7,000 Provenance: formerly in the collection of Cheng and Frank Lammers. Cf. C J A Jorg, Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam, p.38, no.13 for a similar dish.

十六世紀

青花鳳求凰碟

來源：Cheng 及Frank Lammers收藏。

108

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The Palmer ‘Dragon’ Bowl This rare, elegantly shaped bowl is striking for its lively painting of striding dragons pursuing flaming pearls amidst anhua waves and above rocks. The designs were first incised, then the dragons were applied with copper colorant and, finally, the bowl was covered with a colourless glaze. The anhua designs are only faintly visible, shadowed by the deep red of the dragons, pearls and flames. The dating of these bowls has long been debated and remains controversial, with opinions differing between a mid Ming and Kangxi attribution. Two smaller bowls, with similar dragons and Kangxi marks but no anhua decoration are in the British Museum, one in the Percival David Collection, the other donated in 1926 by C T Loo. Another smaller bowl, with a typical Lang Tingji (Governor of Jiangxi province, 1705-1712) Kangxi mark, is in the Shanghai Museum. However the larger Xuande marked bowls, such as this Palmer/Dobell piece, differ in several important aspects from the Kangxi examples. All have gentle flared rims, with a single line drawn to the inside edge, central design (usually inward facing double dragons, chasing pearls), and a recessed base. The Kangxi pieces have straighter rims with plain, undecorated interiors, and no base recess. Elements of the dragon designs, such as the elbow hair, and body and tail fins, are executed differently on the Xuande mark pieces when compared to the Kangxi examples. The foot is wide, the inside base is convex and, where the glaze meets the biscuit, the edges have burnt a strong orange. The Kangxi pieces have a narrower foot, the inside bases are usually flat, and the burning to the glaze edges is less pronounced. The Xuande mark was first copied in the Chenghua period and is seen again in the Zhengde period. The style and calligraphic strokes used and the size and spacing of the Xuande mark on this bowl are very similar to that seen on Imperial Zhengde pieces such as those in the Gugong Museum, Beijing. See for examples ‘Mingdai Hongzhi Zhengde Yuyao Cigi. Jingdezhen Yuyao Yizhi Chutu Yu Gugong Bowuyuan Cang Chuanshi Ciqi Dubiai’ - ‘Imperial Porcelain from the Reign of Hongzhi and Zhengde in the Ming Dynasty. A Comparison of Porcelain from the Imperial Kiln Site at Jingdezhen and the Imperial Collection of the Palace Museum’, Beijing, 2017, vol.2, catalogue numbers 222/223 and 248/249, together with a partially reconstructed dish with incised dragon amongst waves in green and red glaze, excavated at the Imperial kiln site, Zhushan, in 2014, catalogue number 271. The drawing of the mark is very different to that seen on Kangxi period Xuande copies. For examples see two Kangxi period monochrome stem bowls, both with very well written Xuande marks, along with a Kangxi period bowl copying Xuande lotus scrolls in underglazed red, with an apocryphal Xuande mark, all in the Shanghai Museum. Prior to the Dobell Collection, this bowl belonged to a highly important English collector of Chinese art: R H R Palmer (1898-1970), chairman of Huntley and Palmers who started collecting in 1924, and along with his wife built an outstanding collection consisting of Ming and Qing porcelain, jade, ivory and lacquer.

Reginald Howard Reed Palmer MC DL (1898-1970)

109

135 A RARE CHINESE UNDERGLAZE RED ‘DRAGON’ BOWL 1ST HALF 16TH CENTURY The gently flared body decorated with two scaly dragons chasing flaming pearls of wisdom against an incised wave ground, the centre with a slight recess and painted with two further dragons in pursuit of sacred jewels, with simple red bands to the rim and tapering foot, the slightly convex base with a six character Xuande mark and labels for R H R Palmer, The Oriental Ceramic Society 1950 Exhibition, and F O S & M M Dobell, 21cm.

£20,000-30,000 Provenance: Bluett & Sons, 29th September 1944, purchased by R H R Palmer for £30, collection no.584; sold at Sotheby’s London, 27th November 1962, lot 21, and again on 24th March 1964, lot 86, purchased by Bluett & Sons for £220 on behalf of F O S and M M Dobell, no.48, and thence by descent. Exhibited: The Oriental Ceramic Society Ming Polychrome Exhibition, 1950, no.133. Illustrated: S Jenyns, Ming Pottery and Porcelain, 1953, pl.49A, and p.55, where this bowl is discussed. Also illustrated in The Transactions of the Oriental Ceramic Society, vol.20, pl.24, and p.49 where it is discussed. Cf. The Fitzwilliam Museum, Cambridge, museum accession no.C.27-1978 for an almost identical bowl dated to the Ming dynasty donated by Dr Sydney Smith; see also the Asian Art Museum of San Francisco, object no.B60P1220 for another Ming bowl of the same design from the Avery Brundage Collection; another identical bowl sold at Christie’s London, 21st March 1966, lot 68 to Sydney L Moss, it sold again at Christie’s New York, 16th September 2010, lot 1405, ex Dr William L Corbin Collection, and at Beijing Poly in 2013, lot 1435, where it was catalogued as Ming.

Bluett & Sons invoice, 1st April 1964

十六世紀釉里紅趕珠龍紋碗《大明宣德年製》青花楷書款來源：1944年9月29日由R H R Palmer以£30的價格購於Bluett & Sons，收藏編號584。蘇富比倫敦1962年11月27日·編號21, 1964年3月24日·編號86 由Bluett & Sons代F O S 及M M Dobell以£220，編號48。

Soame Jenyns, Ming Pottery and Porcelain, 1953

110

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111

The Palmer bowl, Lot 135

The Dr Sydney Smith bowl, the Fitzwilliam Museum, Cambridge

The Palmer bowl

112

The Dr Sydney Smith bowl

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

136 A CHINESE BLUE AND WHITE ‘FLYING HORSES’ LOBED BOWL 16TH/EARLY 17TH CENTURY The deep U-shaped body painted to the exterior with horses in flight over crashing waves above floral sprays, the interior decorated with a continuous scene of pagodas, houses and boats in a rocky setting, with a medallion containing a similar landscape scene to the well, surrounded by stylised flaming flowers and ruyi-heads, with a four character mark to the base, 21.5cm.

£2,000-3,000 十六/十七世紀紋花口碗

青花雲馬

137 A CHINESE BLUE AND WHITE ‘QILIN’ BOWL SIX CHARACTER WANLI MARK AND OF THE PERIOD 1573-1620 The deep U-shaped body decorated with five large and five small lion dog medallions, all of the same design, the interior painted with a qilin, with simple double rings to the rim and a band of swirls around the footrim, 17.8cm.

£800-1,000 Provenance: formerly a French private collection.

明萬曆青花獅子繡球紋碗《大明萬曆年製》青花楷書款來源：法國私人收藏。

113

138 A CHINESE BLUE AND WHITE MOONFLASK, BAOYUEPING 18TH CENTURY Decorated in the early Ming style, each side painted with stylised petals and flowerheads radiating from a yin-yang symbol, the two strap handles with central raised ridges and shaped terminals containing sprays of peony, with a band of scrolling floral and foliate designs to the upper bulb, 24.2cm.

£3,000-5,000 Provenance: sold in these rooms on 23rd May 2012, lot 134. Cf. Selected Ceramics from the Collection of Mr and Mrs J M Hu, The Shanghai Museum, p.74, pl.40 for an almost identical vase.

十八世紀

青花八卦紋抱月瓶

來源：英國威立士2012年5月23日·編號134。

114

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139 A RARE CHINESE BLUE AND WHITE GU-SHAPED VASE KANGXI 1662-1722 The tall upper section rising to a wide trumpet-shaped mouth with an inturned mouthrim, painted with a continuous landscape scene depicting figures in a sampan boating by the bank of a river, the central bulb decorated with alternating dragon medallions and stylised clouds between bands of ruyi-heads, with two shaped cartouches enclosing further figural scenes to the tall spreading foot, the base with a six character Jiajing mark, 46cm.

£14,000-16,000 清康熙青花開光山水故事紋花觚《大明嘉靖年製》青花楷書仿款

115

140 A SMALL CHINESE BLUE AND WHITE CIRCULAR ‘DRAGON’ DISH SIX CHARACTER JIAJING MARK AND OF THE PERIOD 1522-66 The centre decorated with a medallion of a five-clawed dragon amongst wispy clouds, the exterior painted with two further dragons amidst lotus flowers, with simple double bands to the rim and footrim, the base with labels for Bluett & Sons and F O S & M M Dobell, 13cm.

£4,000-6,000 Provenance: sold at Christie’s London, 9th November 1959, lot 58, purchased by Bluett & Sons for £31 on behalf of F O S and M M Dobell, no.30, and thence by descent. Cf. The Fame of Flame: Imperial Wares of the Jiajing and Wanli Periods, The University of Hong Kong, pp.96-97, pl.19 for a similar dish from the collection of Kwong Yee Che Tong.

清嘉靖青花雲龍紋碟《大明嘉靖年製》青花楷書款來源：佳士得倫敦1959年11月9日·編號58，由Bluett & Sons代F O S 及 M M Dobell以£31，編號30。

Bluett & Sons invoice, 27th November 1959

reverse

116

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117

141 A CHINESE BLUE AND WHITE AND UNDERGLAZE-RED ‘DRAGON AND TIGER’ TIANQIUPING QIANLONG 1736-95 With an ovoid body and a tall cylindrical neck, painted with a tiger crouching on his forepaws with a curling tail, the feline looks up at a red dragon emerging from clouds and wisps of fire, all in a mountainous landscape with two pine trees near the water’s edge, 37cm.

£6,000-8,000 Provenance: from the collection of W W Winkworth Esq., then purchased from Sotheby’s London on 12th December 1972, lot 113, and later purchased from Bluett & Sons Ltd. on 25th June 1973 for £2,950. Cf. M Butler, M Medley and S Little, Seventeenth Century Chinese Porcelain from the Butler Family Collection, p.198, no.138 for a blue and white and underglaze red vase with the same subject matter.

清乾隆

青花釉里紅龍虎紋天球瓶

來源：W W Winkworth Esq先生舊藏，購於倫敦蘇富比1972年12月12 日·編號113。1973年6月25日以£2,950的價格購於Bluett & Sons Ltd.。

Sotheby’s London, the collection of W W Winkworth Esq., 12th December 1972

118

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119

142 A CHINESE BLUE AND WHITE ‘DRAGON’ VASE KANGXI 1662-1722

143 A CHINESE BLUE AND WHITE ARCHAISTIC VASE KANGXI 1662-1722

Brightly painted with two scaly dragons chasing flaming pearls of wisdom above breaking waves and rocks, with later European ormolu mounts, 50.5cm overall.

The rectangular-section body rising from a spreading foot to a flared neck, each side painted with taotie masks and archaistic motifs divided by key fret, flanked by two handles shaped as stylised swirls, with applied flanges to the corner edges and centre of each facet, 36cm.

£3,000-5,000 Provenance: from the collection of Sir Jeremy Lever.

清康熙青花海水龍紋瓶來源：Jeremy Lever先生收藏。

120

£6,000-8,000 清康熙

青花饕餮紋仿古壺

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

144 A CHINESE BLUE AND WHITE ROULEAU VASE KANGXI 1662-1722

145 A CHINESE BLUE AND WHITE ROULEAU VASE KANGXI 1662-1722

Depicting a figure bearing a hu tablet as he kneels before a seated dignitary, with his attendants spread throughout the pavilion, the reverse painted with swirling clouds and banana trees, with bands of ruyi-heads, key fret and other geometric patterns to the cylindrical neck and galleried rim, 44cm.

The cylindrical body painted with a continuous scene of armed warriors riding horses in pursuit of another soldier in a rocky landscape, with craggy mountains and swirls of mist in the distance, the neck decorated with bands of ruyi-heads, key fret and other geometric designs, 47.5cm.

£6,000-8,000 Provenance: previously an English private collection, London, acquired in the 1980s. Cf. R Chen, Qing Shunzhi Kangxi Chao Qinghua Ci (Qing Dynasty Shunzhi and Kangxi Blue and White Porcelain), p.454, no.292 for a related vase in the collection of the Palace Museum.

清康熙青花人物故事紋棒槌瓶來源：英國倫敦私人收藏，購於1980年代。

£8,000-12,000 Provenance: previously an English private collection, London, acquired in the 1980s. Cf. Christie’s New York, 13th-14th September 2018, lot 1364 for a similar vase.

清康熙

青花人物故事紋棒槌瓶

來源：英國倫敦私人收藏，購於1980年代。

121

146 A CHINESE FAMILLE VERTE ROULEAU VASE KANGXI 1662-1722

147 A LARGE CHINESE WUCAI GU TRANSITIONAL C.1640

Painted with a continuous battle scene with equestrian warriors from the Peking opera Kong Cheng Ji, with a band of panels on diaper ground to the shoulder and bamboo spray to the neck, 45.5cm.

Painted in coloured enamels with King Wen of the Zhou state and his attendants in a wooded rocky landscape meeting Jiang Ziya fishing, all below a band of cracked-ice, with sprays of peony, chrysanthemum and lotus to the central bulbous section, the spreading foot decorated with pomegranates and peaches, with further floral designs to the rim interior, 54cm.

£5,000-8,000 Provenance: a Hong Kong private collection, from the Stirling Maxwell Collection, Pollok House, Glasgow, Lyon & Turnbull, Glasgow, the Stirling Maxwell Collection, 28th June, 2006, lot 92. Cf. Kong Cheng Ji, Ruse of the Empty City is based on chapter 95 of the famous 15th century novel Romance of the Three Kingdoms. Badly outnumbered and besieged by the Wei forces, the strategist Zhuge Liang bluffed his enemy, tricking them into thinking that the walled city he was defending was in fact full of troops.

£6,000-8,000 Provenance: an English private collection, Berkshire. Cf. Sotheby’s New York, 15th March 2017, lot 691 for a similar vase.

清康熙

五彩人物故事紋花觚

來源：英國巴克郡私人收藏。

清康熙五彩人物故事紋棒槌瓶來源：香港私人收藏。Stirling Maxwell舊藏，購於Lyon & Turnbull 2006年6月28日·編號92。

122

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148 A FINE AND LARGE CHINESE BLUE AND WHITE YEN YEN VASE KANGXI 1662-1722 The ovoid body rising from a spread foot to a tall neck and flaring rim, decorated with detailed peony flowerheads and scrolling foliage against a blue ground, the sections divided by geometric bands of key fret, with further floral borders to the footrim and rim interior, the base painted with a lingzhi contained within simple double rings, 73.5cm.

£8,000-12,000 Provenance: an English private collection, Berkshire.

清康熙青花纏枝牡丹紋鳳尾尊來源：英國巴克郡私人收藏。

123

Arts & Crafts Wednesday 19th June 2019

A Martin Brothers stoneware jar and cover, dated 1913 Estimate: ÂŁ8,000-12,000* ENQUIRIES: Michael Jeffery | Tel: +44 (0)1722 424505 | mj@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

Jewellery Thursday 18th July 2019

A George III diamond-set flower head brooch pendant Sold for ÂŁ35,000*

ENQUIRIES: Charlotte Glyde | Tel: +44 (0)1722 424586 | cg@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

Tribal Art & Antiquities Wednesday 18th September 2019 A Rennell Island ritual shark hook Solomon Islands 29.5cm high Estimate: ÂŁ3,000-5,000*

ENQUIRIES: Will Hobbs | Tel:+44 (0)1722 339752 wh@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

Auction Information OPENING HOURS Castle Street Salerooms Monday to Friday 9am – 5.30pm and 10am – 1pm on Saturdays Castle Gate Offices Monday to Friday 9am – 5.30pm VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues. BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered. REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales. To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies. PLEASE NOTE: Registering with thesaleroom.com or through our website does not automatically register you with us. COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office. BUYER’S PREMIUM The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

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CITES REGULATIONS Please note that lots marked λ may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/

The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €10,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present. Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard

ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

Debit cards: Delta, Switch, Connect, American Express, Union Pay

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency.

Where practical, payment can be made and purchases collected during the auction.

Please enquire for the accepted exchange rate on the day of the sale.

Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000

LOT SYMBOLS VAT Lots marked with a dagger (†) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.

FIREARMS Lots marked Ƒ in the catalogue are subject to the UK firearms/shotgun licencing regime, and may only be viewed and/or purchased by individuals with appropriate licences. Such lots are offered on an auctioneer’s permit, and must be collected prior to the expiry thereof. For further information, please contact Ned Cowell.

拍賣須知營業時間：週一至週五9:00-17:30，週六10:00-13:00 拍賣前預展：本公司所有拍賣預展都會在正式拍賣的前兩天舉行，詳細資訊請查閱相關拍賣圖錄。登記競投：競買人應在拍賣日前於公司前臺接待處申領競投號牌。本公司現提供永久競投號牌，競買人登記後可在未來的拍賣中使用。登記時，您需要出示身份證、護照（如果有）和地址證明（有注明住址的水電煤帳單或駕駛證），或者將以上資料以郵件的形式發送至enquiries@ woolleyandwallis.co.uk 委託競投：不能出席拍賣的競買人可通過書面形式委託本公司代為競投，工作人員將參考底價，盡力以最低價進行競投。電話競投：委託人可在拍賣會進行時通過電話競投，該項服務須在拍賣會開始前與本公司前臺接待處預約。威立士網上競投：本公司提供免費網上即時競投，請登錄bid. woolleyandwallis.co.uk登記競投賬戶。

拍品情況報告：本公司會提供有關拍品的品相報告，所有拍品的尺寸或重量可以在相關圖錄裏瞭解。注：所有測量數據視為近似值，因印刷或攝影造成圖錄作品的色調、顏色等與原物有誤差者，以原物為准。成交價：所有拍品的成交價會在拍賣會結束後在本公司網站上公佈。付款：競買成功後，所有拍品的購買款項應以英鎊支付，本公司收到款項後方可領取拍品。第一次在威立士拍賣行交易的買家需提供姓名、地址和銀行資訊。

付款可以通過以下方式：銀行匯票、現金匯票、個人支票、旅遊支票、信用卡、銀行借記卡和不超過相當於€10,000的現金。如果持卡人不在現場，本公司將不能收取超過 £1,000的引用卡付款。本公司電匯資訊： Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 信用卡：VISA或者MASTERCARD會有2%的手續費和增值稅（VAT）借記卡：Delta, Switch, Connect, American Express, Union Pay 付款和取貨都可以在拍賣現場進行。傢具和鐘錶類的拍品通常會在拍賣結束後留在拍賣現場三個工作日，然後轉移至倉庫。請買家取貨時請務必提前和本公司預約。拍賣結束三十天后開始徵收存放費用，費用包括：保管費：每件拍品£20（+增值稅VAT）存放費：每天每件拍品£2 （+增值稅 VAT）以上所有費用全部結清才能取貨。增值稅VAT：帶有星號（†）的拍品需要在落錘價上徵收增值稅。帶有希臘字母（Ω）的拍品表示從歐洲以外的國家進口，並且在落錘和買家支付之傭金上收取5% 的增值稅。在本公司網上圖錄‘the Sales Tax %’ 一欄顯示的是在落錘價上徵收的增值稅比例。

瀕危野生動植物種國際貿易公約（CITES）標註λ的拍品在從英國出口之前需要查詢其進口地的進出口條例，詳細信息請登錄網站查詢www. ukcites.gov.uk 藝術家的追續權：追續權是付給藝術家的專利稅。如果藝術家還在世或者去世以後的70年內，那麼每次出售和轉售都要付給該藝術家或者其繼承人專利稅。追續權不是增收稅，會加在競買人購買價格之上，然後轉給相關仲介機構。專利稅是在落錘價錢（不包括買家支付之傭金）上以百分率的方式徵收。€1,000以下的拍品不收取專利稅，每個拍品的專利稅最高可以收取€10,000. 請詢問拍賣當天的英鎊匯率。追續權的專利稅百分比率請參照下表： 4% €50,000以下 3% €50,000.01 – 200,000 1% €200,000.01 – 350,000 0.5% €350,000.01 – 500,000 0.25% €500,000以上最高的專利稅可以收取€10,000. 帶有‡符號的拍品需要在成交價上收取專利稅。

包裝和運送：威立士拍賣行不提供包裝和運送的服務。以下是在本公司周邊的運送公司及其聯繫方式： Alban Shipping 01582 493 099 info@albanshipping.co.uk www.albanshipping.co.uk Mailboxes 01264 360 333 info@mbeandover.co.uk www.mbe.co.uk/andover Pack & Send 0845 465 0564 sales@packsend.co.uk www.packsend.co.uk 若拍品已轉交運輸公司，任何丟失及損壞威立士將不承擔一切責任 **注：本須知如有任何詮釋上的問題，一概以英文版本爲準。

藝術品拍賣和股價協會（SOFAA）、英國皇家註冊測量師協會（RICS）

拍賣規則

競買人須知 1. 簡介：本規則適用於本公司的買家，特別是對於新加入拍賣的競買人。所有拍賣品的資訊和估價都可以在相關拍賣圖錄中翻閱。如果您有任何疑問，本公司的工作人員將非常樂意為您服務。本中文條款如有任何詮釋上的問題，一概以英語版本爲準。 2. 仲介：作為拍賣行，本公司通常以代理買方的身份簽署合同。爲了保護客戶隱私權，本公司不會公開競買人的資訊。 3. 估價：估價是爲了提供競買人一個大概的價格浮動範圍。所有提供的拍賣品均設有賣家所定的保密的最低價，拍品不會以低於此價出售。圖錄上較低的估價價格即可能是該拍賣品的底價。估價不包括競買人支付的傭金和VAT增值稅。估價會在拍賣之前提供給競買人。 4. 買入價格：競買人需要付成交價和傭金（每件拍品的成交價低於£500,000 取25%，超過 £500,000 上部份取12%）+ VAT增值稅 5. VAT增值稅：買家須以有關法律所規定的稅率及時間繳付增值稅。增值稅會在成交價和傭金之上收取。帶有星號（*）的拍品是從歐盟國家進口的，將徵收20%進口VAT增值稅。帶有雙星符號（**）的拍品是從歐盟以外的國家進口的，當下的VAT增值稅為5%。如果沒有以上敘述的兩種符號，該拍品就不需要徵收VAT增值稅。 6. 威立士拍賣行：本公司是賣家的仲介，所有拍品的資訊均源自於賣家，同時也會檢查拍品的情況。本公司在關於拍品的目錄、品相報告和另外口頭與書面的所有陳述，均只屬於意見的表述，而不應依據為事實的陳述。目錄和品相報告中所提及的有關瑕疵和未經修復的敘述只作為對該拍品的參考，不應被依據為拍品的真實狀況。所以競買人在拍賣前仔細檢查拍品情況是一個明智的選擇。但如果發現拍品存在‘ 蓄意偽造’的情況，在三個星期內可能可以被退還。（蓄意偽造的詳細解釋可以在本公司的拍賣條款裏查閱） 7. 電器拍品：所有電器拍品都以古董的形式進行拍賣，如果是用於日常使用請在拍賣之前與專業電器公司確認其安全性。 8. 出口拍品：買家如果想要出口競拍所得物品需要查明：a）是否需要出口許可證。b)要攜帶入境的國家是否對該類拍品有禁令。比如說，可能會禁止攜帶象牙。如有需要請詢問本公司前臺服務。但上述的兩種情況都不作為取消交易和推遲付款的原因。

9. 競投：競買人需要在拍賣前進行註冊，登記時需要提供姓名，位址。新客戶需要向本公司提供身份證明。如需要電話競投服務，請儘早與本公司進行登記。 10. 競投委託：該項服務是以書面的形式委託威立士在不超過其指定金額下競投拍賣品。工作人員將參考底價，盡力以最低價進行競投，如果威立士收到兩個或以上相同價格的書面競投，則以最先與本公司簽訂委託競投協定者為成功競投者。 11. 付款方式：按照規定，成交拍品需要付清所有遺留款項以後才能取貨。關於付款方式請提前與本公司前臺聯系。 12. 取貨和存儲：請查閱本公司拍賣條款裏關於取貨和儲存的有關信息。所有推遲提取的拍品都會徵收相應的存儲費用。賣家委託條件 1. 解釋：下文中用到‘您’代表賣家或仲介機構，同樣‘我們’代表拍賣行。 2. 傭金：拍品成交價在£999 內收取15%的傭金 +VAT增值稅，超過£1,000 拍品需要徵收10% 的傭金+VAT。 3. 運輸費：所有拍品務必要在截止日期前送達我們拍賣行，且所有費用將由您來承擔。我們可以在運送過程中幫助您但是本公司不承擔運輸中發生任何狀況的責任。 4. 丟失和損傷保險：我們沒有為客戶準備FSA的保險，但本公司用拍品的最低估價作為保護承擔責任賠償。我們會收取成交價的1.5%作為責任賠償的保險費用，如果您的拍品沒有成交那麼我們會以估價的中間值為標準收取費用。如果您不需要這項服務，那麼您將承擔丟失和損傷的風險，直到買家取走該拍品。 5. 插圖：插圖的費用由您來承擔。若我們覺得拍品需要插圖會尋求您的允許，我們會事先通知您。但所有圖像和文字說明的版權都屬本公司所有。 6. 底價和我們的判斷：在拍賣會開始之前我們會和您關於拍品的預訂價達成共識。 7. 我們可以賣出低於拍品預訂價，但我們會支付您該拍品的保留價。但如果您給予本公司‘裁決’的權利，我們會同意以低於預訂價10%的價格出售。

拍賣條例

保留價：（a）

敬請您務必在拍賣前提供給我們您需要的保留價。保留價必須是我們認為合理的成交價格，本公司有權利下降不合理的高保留價。

（b）

保留價確定之後不能被改動。

（c）

保留價被確定以後，您不能自己進行競投。

8. 電器拍品：這些拍品需要詳細的安全證明和防火安全證明。若發現拍品有安全隱患，該拍品將不被進行競投，我們有權要求您取走該拍品。 9. 室內裝飾品：室內裝飾品如果發現有防火安全隱患，根據Provisions of The Torts (Interference with Goods) Act 1997, Schedule 1 條例，我們有權要求您取走該拍品。 10. 拍品描述：請告知我們正確的拍品資訊，包括拍品來源等等。對於拍品的描述的正確性有嚴格的責任賠償，且在很多情況下您將承擔該責任。如果您沒有反對我們對您的拍品描述，我們將假定您同意您已認可。若競買人發現拍品描述和實際拍品不符我們將退還買家所付金額。我們必須引提醒您，即使您確實不知道拍品描述和實際不相符也必須遵循該條例。 11. 未成交的物品：如果拍品沒有成交，可以在您的允許下在下一次拍賣中再次進行競投。如果我們認為該拍品無法賣出，請您務必儘快從本公司提貨，因為我們有權向您徵收倉庫儲存費。 12. 撤拍和買入的物品：撤拍或自行買入的拍品若已列入圖錄或已經開始印刷，則應支付保留價或者圖錄中最低估價的10%的傭金加上VAT增值稅。 13. 拍賣條例：您所有同意的物品將根據拍賣條例進行出售，您或者仲介有權出售該物品。如違反該條例您將承擔我們、買家和第三方的所有損失和賠償。 14. 扣除賣家傭金和費用以及保留買家傭金和利息的權利：（a）

您可以授權要求我們取消傭金和所有相關費用，但是我們有權利保留買家所支付的傭金和相關費用所產生的利息。

（b）

您可以授權我們在拍賣結束印業當天進行私下協議出售沒有成交的拍品，但我們可以收取和拍賣成交時同樣的傭金和費用。

15. 存儲：我們對任何不能馬上上拍的物品不負責，且我們有權收取每天£2 儲存費。如果三個星期以後還是沒有前來領取，我們有權利出售該物品並收取相關費用。 16. 結算：通常拍賣結束以後28天內可以完成款項結算，除非買家未付款。

威立士索爾茲伯裏拍賣有限公司是與競買人、賣家和在拍賣現場的人進行業務運作。拍賣條例可以從這裡參考查閱。 1. 定義： a) ‘拍賣官’代表威立士索爾茲伯裏拍賣公司或他授權的拍賣官。 b) ‘蓄意偽造’是指一件仿品試圖偽造原創作者、時期、年紀、年代、文化或來源於圖錄中描述的不同，而在拍賣當天拍出了與該仿品的本身價值不符的價格。 c) ‘成交（落錘）價’是指競拍價格超過了保留價，而拍賣師落錘成交的價格。 d) ‘委託條款’是指威立士拍賣行規定的賣家或仲介的條約和傭金的百分比率。 e) ‘總額’是指成交價、買家傭金，VAT增值稅和其他費用加起來買家付款的總和。 f)

‘銷售收益’指賣家的淨收益，成交價減去賣家傭金、VAT增值稅和其他費用的餘額。

g) ‘你，你們’等等指買家請參考條例第二條。 2. 拍賣過程和買家: a) 競買人在競投之前，必須填妥及簽注登記表格才能參加本公司拍賣。 b) 在拍賣官的決定下，競買人出價最高且被拍賣官接受的競買人才能成為該物品的買家。下錘則表示賣家和買家之間的拍賣合約已經達成。 c) 競買人會被我們視作委託人。我們有權利為賣家競投到其設定的保留價，且有權利拒絕任何競投。 3. 加價：拍賣官有權自行決定加價幅度 4. 買入價格：競買人需要付成交價和傭金（每件拍品的成交價首£500,000 取25%，另外超過 £500,000 上部份收取12%）+ VAT增值稅 5. 增值稅：根據法律規定，買家所有成交的拍品的成交價上要支付VAT增值稅。（具體信息請查閱買家須知的增值稅部份） 6. 付款：拍下拍品以後： i)

如果需要請提供我們您的身份證明

ii)

以英鎊為貨幣形式付款

b）買家需要付清我們計算出的應付金額，包括以您或您仲介名義下的所有款項。 7. 所有權和領取已購買物品： a) 物品的所有權只有在您付清全部應付金額之後才能被轉移。

b) 您需要在拍賣結束後三個工作日付清金額，且取走物品以後所發生的所有責任都由您來擔當。 c) 在付款之前，任何物品不能被提取。 8. 不付款或未領取已購買拍品的提醒： a) 如果有買家沒有全部付清應付金額，根據條例我們作為賣家仲介和拍賣行可以執行以下權利和提醒： i)

對您的違約進行法律訴訟程式。

ii)

撤回您從本公司競投的所有成交拍品

iii) 如果重新賣出拍品（通過拍賣或私人交涉成交），您就要承擔所有重新拍賣所造成的任何高於您的成交價的部份歸賣家所有。 iv) 您拍品的運送、存放和投保的費用都由您承擔，至於存放地點可以在我們的儲藏室或者其他地方。 v) 如果沒有在拍賣結束後三個工作日內付款，我們將以每個月1.5%的比率收取利息。 vi) 直到您付清所有的應付金額，我們才能取消利息的收取。 vii) 在今後的任何拍賣中，不接受您做出的競投，或在接受任競投之前加一些必要條件。 viii) 申請出售任何其他拍品的收益，或在將來您在結算的時候，可以行使留置權。 1b) 我們作為賣家的仲介和拍賣行，我們執行以上的權利和提醒是爲了做出合理的補償。 9. 第三方責任：所有現場的公眾人員都必須注意現場的安排和安全隱患。拍賣官、我們的員工和都不對任何的死亡和人員傷亡負責（除法律認定是我們的疏忽外）。 10. 委託拍賣：雖然我們建議買家參加拍賣現場對所有競投負責，但如果需要我們可以為買家進行競投。工作人員將參考底價，盡力以最低價進行競投。如果威立士收到兩個或以上相同價格的書面競投，則以最先與本公司簽訂委託競投協定者為成功競投者。 11. 所有權保證和有效性：賣家向拍賣行和您保證，物品的所有權和出處是該買家，且物品不受任何第三方索賠。 12. 仲介：拍賣行通常作為仲介不履行任何買家和賣家的義務。 13. 銷售條例：買家將在委託拍賣之時起承認履行所有委託條款。 14. 描述和條例： a) 在我們尋找對拍品正確的描述的時候，可能不能對每個拍品都做到最詳盡的調查。在拍賣開始之前競買人和他們的鑒定師會被給予對每件

拍品充分查看和調查的機會。競買人將會對我們的描述有不同的見解。我們承諾，任何此類意見會被相當誠實合理的接受。 b) 在這些條件下的成交的私人財產轉讓根據消費者權益法視為交易。 15. 偽造者：儘管有之前的條件，但任何拍品被證明是蓄意偽造，或可以在拍賣結束後21 以內原封不動的與相關證明材料一起歸還於我們。如果我們認可您提供的資料證據可以證明該拍品存在蓄意偽造的事實，我們將退還您所付的傭金和成交價。但是如果1 從成交日起，眾學者和鑒定專家都認可圖錄中的描述。或者2 您個人無法提供一個更好的解釋給我們，那麼根據條例您就沒有權利要求我們退還拍品。常規信息 16. 我們有絕對權利拒絕任何人士進入拍賣場地進行拍賣。 17. (a) 所有損壞賠償責任和毀約所帶來的費用都應該酌情賠償給賣家和拍賣行。 (b) 這種權利可以由拍賣行和其員工或賣家強制執行。 18. 任何對買家、賣家、競買人和觀展人的通知都會都以第一類郵件的方式在48 時內寄到其提供給我們的地址。 19. 圖錄描述中出現的特殊名詞都會在術語表中做詳細解釋。 20. 任何沒有節制的拖延或延長競投時間的買主或賣主我們會合情做出一定的讓步。 21. 英國法律可以用於解釋這些條例。圖畫、素描、平板印刷、雕刻品和印刷任何關於作者、歸屬，出處，時期，年份，來源和情況的敘述都是一件的聲明。不能把他當做事實敘述。公司有權利敘述意見用來提供相對可靠的顧問資訊。書籍如果發現書籍收藏中的描述和插圖中被證明有一些缺陷，請您以書面的形式解釋該收藏的問題，并在14天內退回該收藏。在圖錄中已經提及或在拍賣該物品之前指出的缺陷都不予接受。另外包括書中空白處、半個標題、廣告、書籍裝訂損壞、水漬和污漬。

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4%) inclusive thereafter. 5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The symbol (Ω) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale). 7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. 8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash). 12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges. TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers. 2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above. 3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility. 4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable. 5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue. 6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7. 7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally. 8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense. 9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request.

10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it. 11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate. 12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued. 13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. 14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply. 15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque five weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale. CONDITIONS OF SALE

Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1. DEFINITIONS In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents; (e) ‘total amount due’ means the hammer price in respect of the lot

sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate. 2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS

Bidding increments shall be at the auctioneer’s sole discretion.

4. THE PURCHASE PRICE

The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4%) inclusive thereafter.

5. VALUE ADDED TAX

Value Added Tax on the hammer price is imposed by law on all items affixed with a † or Ω. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position).

6. PAYMENT (a) (i) (ii) (b)

Immediately a lot is sold you will: give to us, if requested, proof of identity, and pay to us the total amount due in pounds sterling Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for. 8. REMEDIES FOR PURCHASES

NON-PAYMENT

FAILURE

COLLECT

(a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted;

(viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY

All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. COMMISSION BIDS

Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.

(b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. 20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. 21. English law applies to the interpretation of these Conditions. PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS

Glossary

11. WARRANTY OF TITLE AND AVAILABILITY

The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

12. AGENCY

The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

(a)

(b) (c)

13. TERMS OF SALE

The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’.

(d) (e) (f) (g) (h) (i) (j) (k)

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer.

Please enquire for the accepted exchange rate on the day of the sale.

15. FORGERIES Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate.

Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserves the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. Attributed to Edward Lear: In our opinion probably a work by the artist but less certainty as to authorship is expressed than in the preceding category. Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction. Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil. Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date. After Edward Lear: In our opinion a copy of a known work of the artist. The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand. Dimensions are given height before width. Pictures are framed unless otherwise stated.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

(b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below.

PRIVACY NOTICE FOR CUSTOMERS WHAT THIS PRIVACY NOTICE DOES This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you. This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you. DATA CONTROLLER AND CONTACT DETAILS Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 1998 (DPA) and, once in force, the General Data Protection Regulation (GDPR). If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: • By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, SP1 3SU. •

By email – privacyofficer@woolleyandwallis.co.uk

•

By telephone – +44 (0)1722 424599

HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources: •

From you when you: - interact with us before entering into a contract with us, for example when you express your interest in our Services; - instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; - communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; - in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below.

•

From third parties such as:

- other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; - thesaleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on thesaleroom.com) of individuals who register for one of our auctions (please see thesaleroom.com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (thesaleroom.com’s payment provider); - sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); - shipping companies whom you hire to collect items you purchased from us.

THE CATEGORIES OF PERSONAL DATA WE COLLECT We may collect the following personal data about you: • your name and contact details including address, telephone and email address; • your image, as captured by CCTV, if you attend our premises; • personal identification documents, including copies of governmentissued identification such as passport and driving license which are required to register bidders (or when we need to verify a seller’s details); • account details and other information relating to your transactions/ dealings with us and your use of our Services; • payment details such as credit card and bank account details; • credit and payment history (where you open an account with us as a buyer or bidder); • information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and • other information that you provide to us, for example, when you have a comment/complaint, submit a question, take part in a survey or where you express an interest in receiving marketing material or request further information. We may also process special categories of personal data, including information concerning your health and medical conditions (for example, disability), where relevant to the provision of our Services.

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: • to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); • once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents. In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies. LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: • to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; • to deal with any concerns or feedback you may have in the performance of the Services; • for our internal business record keeping and processes; • to seek advice on our rights and obligations, including obtaining legal advice; • to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; • to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors; • to carry out background and credit checks in relation to bidders and buyers. In this respect we will provide your data to the following: • our professional advisors; • thesaleroom.com; • debt collection agencies; • third parties who assist us with our marketing; • our website and email management software provider. LEGAL OBLIGATIONS We may also process your Personal Data for our compliance with our legal obligations. In this respect, we may use your Personal Data for the following: • to meet our compliance and regulatory obligations, such as our tax reporting requirements or to carry out identity checks; • in order to assist with investigations (including criminal investigations) carried out by competent authorities; In this respect we will provide your data to the following: • •

external auditors; the police and other competent authorities, including HMRC;

CONSENT

HOW LONG YOUR INFORMATION IS KEPT

We may also process your Personal Data where we have your specific consent to do so (for example, where we have your agreement to include information about you (as a seller) in sale marketing materials) or where we have sought and obtained your consent to send you direct marketing by email, or for the use of cookies on our website. If you have given your consent and you wish to withdraw it, please contact us using the contact details set out above.

We will retain your personal data for as long as we are providing you with the Services referred to in any contractual document, and for as long as is required for legal, regulatory, fraud prevention and our legitimate business purposes after the termination of your account/agreement with us, or if your application for a particular Service is declined or abandoned.

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services. SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers); We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events). INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company. We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey. PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

In particular: • in relation to CCTV images taken when you attend our premises, we will retain these for a few months; • in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; • we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; • in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market. YOUR LEGAL RIGHTS Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications. • to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights. Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply. If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available at: www.ico.org.uk

LW AY W ES T IL

WILTON & WARMINSTER

CENTRAL CAR PARK

SALISBURY WE S OUT H

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INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

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Valuations are a core part of our business and are usually carried out by a senior specialist or director. Accuracy, speed and above all confidentiality are paramount.

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Valuations

LONDON, ANDOVER & WINCHESTER

CASTLE RD A345

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For valuations of an entire house contents an itemised bound valuation is produced and can be accompanied by photographs when required. In addition to providing an inventory, written valuations can prevent painful arguments with a loss adjuster in the event of a claim.

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SOUTHAMPTON CATHEDRAL

Woolley & Wallis Salerooms

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Woolley and Wallis valuations are accepted by all leading insurance companies. PROBATE VALUATIONS We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof. We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales. Contact Amanda Lawrence 01722 424509 FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available at our Castle Street salerooms. Please telephone the relevant specialist or call our office on 01722 424500. DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

Kia Motors

Woolley & Wallis Unit 1B Castle Gate Business Park Old Sarum Salisbury SP4 6QX

Old Sarum Park

Westover Garage

Sarum Business Park

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Castle Gate

MARLBOROUGH & SWINDON

A345 Castle Rd

SALISBURY A36

AMESBURY

Old Sarum

17 (2nd floor) Clifford Street, London W1S 3RQ (open by appointment only)

Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.

Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No.2998482 VAT No: 631 9832 29

Design & Production by

EXCELLENCE IN DESIGN & PRINT

Woolley & Wallis Absentee Bid Form Fine Chinese Paintings & Works of Art

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

21st May 2019 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/ or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. BUYER’S PREMIUM Each lot is subject to a buyer’s premium of 25% plus VAT at 20% Billing Name (please print) �� Address �� _________________________ Postcode �� Daytime Telephone �� Email �� All accounts must be settled within 21 days. ID is required for all first time bidders. Signature ��

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 Fax: 01722 424508

Brief Description of lot

Price excluding buyer’s premium & VAT

Woolley & Wallis 書面競投表格中國藝術品買家佣金每件拍品收取25%的買家佣金+增值稅（20%）

拍品編號（按數字順序）

敬請以本公司的名義為競買人進行競投，以下所填的價錢上限不包括拍品所需的任何買家保險價和任何VAT增值稅。這些拍品會以圖錄上說明的底價以上的拍賣價成交。競買人資料（請用英語大寫字母書寫）姓：名：

地址：

郵編：

聯繫電話：

簽名：

使用借記卡付款沒有手續費，但各類銀行信用卡都將會有 2%+VAT稅的手續費，新買家付款是將需要提供身份證或護照。

Salisbury Salerooms (威立士拍賣行), 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 Fax: 01722 424508

簡要的拍品描述

競拍價格（請除去VAT 增值稅和買家保險價）

AUCTION CALENDAR

FREE AUCTION VALUATIONS

JUNE

For further information please call 01722 424 509 or visit our website.

5th

Modern British & 20th Century Art

19th

Arts & Crafts

We offer a free auction valuation service on the first Friday of every month, 10am – 1pm, no appointment necessary.

JULY 3rd

Furniture, Works of Art & Clocks

16th & 17th

Silver & Objects of Vertu

18th

Jewellery

SEPTEMBER 11th

Old Masters, British & European Paintings

18th

Tribal Art & Antiquities

OCTOBER 2nd

Furniture, Works of Art & Clocks

15th

English & European Ceramics

& Glass 16th

20th Century Design

NOVEMBER 12th & 13th

Asian Art, Chinese Paintings & Japanese Works of Art

20th

Medals & Coins, Arms & Armour

27th

British Art Pottery

DECEMBER 11th

Modern British & 20th Century Art

The Northern Girl by Yang Fei Yun (1954-), sold for £1,969,000 (incl. buyer’s premium)