FINE ASIAN & ISLAMIC WORKS OF ART 13TH MAY 2022 LIVE ONLINE | LONDON
FINE ASIAN & ISLAMIC WORKS OF ART FRIDAY 13 MAY AT 10AM Sale Number LT682 LIVE ONLINE
CONTACT LONDON +44 (0) 207 930 9115 info@lyonandturnbull.com
VIEWING IN LONDON 22 Connaught Street London W2 2AF
Front Cover
Sunday 8th May 10am-5pm until Thursday 12th May 10am-5pm Day of sale - closed for viewing
Lots 17, 18, 171, 172 and 173
Inside Front Cover Lots 17, 18 and 169 to 173
LIVE ONLINE WITH BIDDING BY TELEPHONE, COMMISSION AND LIVE BIDDING ONLY
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BUYER'S GUIDE
This sale is subject to our Standard conditions of Sale (available at the back of every catalogue and on our website). If you have not bought before we will be delighted to help you.
BUYER'S PREMIUM
BIDDING & PAYMENT
The buyer shall pay the hammer price together with a premium, at the following rate, thereon.
For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue. Please note no cash payments will be accepted for this auction.
25% up to £500,000 / 20% thereafter. VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).
REMOVAL OF PURCHASES
COLLECTIONS & STORAGE OF PURCHASED LOTS FOR INTERNATIONAL BUYERS & UK (OUTSIDE SCOTLAND) BUYERS STORAGE: Items will be stored at 22 Connaught Street, until Thursday 26th May at 12 midday.
Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction.
‡ Reduced rate of 5% import VAT payable on the hammer price
Thereafter we will store items at Stephen Morris Shipping Ltd., 15 Ockham Drive, Greenford Park, Greenford, UB6 0FD. Telephone +44(0)20 8832 2222. Items will be available to collect from 9am on Tuesday 31st May.
CATALOGUE DESCRIPTIONS
Ω Standard rate of import VAT on the hammer price
All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.
Please ensure payment has been made prior to collection. This can be done online, cheque, bank transfer or in person at our London office - details will be shown on your invoice also. Please note we are unable to accept cash or payments over the phone.
ADDITIONAL VAT † VAT at the standard rate payable on the hammer price
Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2. No VAT is payable on the hammer price or premium for books bought at auction.
REGISTRATION All potential buyers must register prior to placing a bid. Paddle registration must be completed in advance of the sale day. Please note that bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration: 1 – Government issued photo ID (Passport/ Driving licence) 2 – Proof of address (utility bill/bank statement). By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.
BIDDING LIMITS Bidding levels in this auction will be capped. All new clients and clients who are looking to spend over £7,000 hammer may be requested by Lyon & Turnbull to submit a Bid Limit Request application and deliver to Lyon & Turnbull a deposit.
IMPORT/EXPORT Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.
ENDANGERED SPECIES Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside Great Britain. For more information visit http://www.defra.gov.uk/ ahvla-en/imports-exports/cites
COST: Please note from Tuesday 31st May you will be charged by our storage partners. Insurance 0.25% (all items) Smalls (paintings and objects) - £2.50 admin fee then £1.00 per day. Furniture pieces - £5.50 admin fee then £2.50 per day. FOR SCOTTISH BUYERS STORAGE: Items will be stored at 22 Connaught Street, until Thursday 26th May at 12 midday. Thereafter items will be transported to our Edinburgh saleroom and will be available to collect from 9am on Monday 13th June. All collections will be by appointment only (this applies to both carriers and personal collections). CALL 0131 557 8844 EMAIL info@lyonandturnbull.com Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Opayo) - details will be shown on your invoice.
MEET THE SPECIALISTS At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or current condition of a lot, or just want to find out more about the auction process.
Grace Tu Head of Sale & Asian Art Specialist grace.tu@lyonandturnbull.com
Dr. Tsai Yiing Ing Junior Specialist & Administrator tsai.yiinging@lyonandturnbull.com
Lily Streatfeild Sale Administrator lily.streatfeild@lyonandturnbull.com
禮昂騰博拍賣會 亞洲部門 微信號: ID: Lyonandturnbull1826
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買家指南
此次拍賣按照本公司的銷售條款舉辦（請參考每本圖錄末尾及本公司網站）。 如果這是您第一次參加拍賣，我們很樂意爲您提供建議。 買家佣金及其他費用
買家需支付拍賣落槌價和佣金，佣金比率如下： 500,000英鎊以内的拍品佣金為25%；
500,000英鎊之後的拍品佣金為20%。
佣金的增值稅將根據法律規定的稅率收取；
增值稅將按照法律規定的稅率收取（請參閲我們的銷售 條款）。 增值稅
†符號表示買家需支付拍賣落槌價的增值稅，依照法律 規定的稅率。 ‡符號表示買家需額外支付拍賣落槌價5%的進口稅（ 已降低）。
Ω符號表示買家需額外支付拍賣落槌價的標準進口稅， 依照法律規定的稅率。 所有標注【‡】及【Ω】的拍品將可能需進一步遵守進出 口條約，詳情請參閲此圖錄末尾的買家須知‘Buyers Section D.2’ 所有書籍類拍品無需支付增值稅。 提貨
拍品的包裝、運輸和保險僅限於買方。 圖錄描述
所有拍品描述、尺寸和估價僅供參考。 買方有責任在投 標前檢查所有拍品，以確保拍品條件令其滿意。 我們的 專家將很樂意爲您準備品相報告和其他圖片。 這些資料 僅供參考，所有拍品均根據我們的銷售條件“按原樣” 出售。 進/出口
買家需注意有些國家禁止含有瀕危物種成分的產品進 口，譬如犀牛角、象牙、珊瑚和玳瑁等。 因此，若買家打算 將貨物進口到另一個國家，則應在競拍前熟悉所有相關 的海關條規。 買方有責任取得任何相關的進出口許可 證。 無法獲得許可證不能成爲拖延付款的理由。
瀕危品種
請注意有Y記號的拍品在運往英國以外的地區可能受 到CITES條款的約束。 欲了解更多信息，請查詢www. defra.gov.uk/ahvla-en/imports-exports/cites 取貨與倉儲 國際買家及英國境內的非蘇格蘭買家
倉儲：截至5月26日星期四中午12點之前，拍品將存放 於22 Connaught Street。
客戶務必提前預約到本公司倫敦藝廊及辦事處提貨。 提貨時間：周一至周五，早上十點半到下午四點。 預約請撥打0207 930 9115，或電郵 london@ lyonandturnbull.com。 沒預約恕不受理。 注：拍賣日不開放提貨。
此後，拍品將儲存在 Stephen Morris Shipping Ltd., 15 Ockham Drive, Greenford Park, Greenford, UB6 0FD。 電話+44(0)20 8832 2222。 買家可在5月31日星期二上 午9點開始於此倉儲地點取貨。 請確保在取貨之前已完成付款。 買家可通過在線支付、 支票、銀行轉帳或親自蒞臨本公司倫敦辦公室完成付 款。 詳細信息也將顯示在您的發票上。 敬請注意，我們無 法通過電話接受付款。 費用：敬請注意，自5月31日星期二起，我們的倉儲合作 夥伴將向您收取費用。 小件拍品（繪畫和物件）- £2.50 手續費，然後每天增收 £1.00 傢俱及大型物件 - £5.50手續費，然後每天增收£2.50 蘇格蘭買家
倉儲：截至5月26日星期四中午12點之前，拍品將存放 於22 Connaught Street。
此後，拍品將被運送到本公司位於愛丁堡的辦公室。 買 家可在6月13日星期一上午9點開始於此地取貨。 提貨時間：周一至周五，早上九點到下午五點。 預約請 撥打0131 557 8844，或電郵 info@lyonandturnbull. com。 沒預約恕不受理。
請確保在取貨之前已完成付款。 買家可通過在線支付、 支票、銀行轉帳或親自蒞臨本公司倫敦辦公室完成付 款 –詳細信息也將顯示在您的發票上。
競拍和付款指南 競拍註冊
所有買家必須在競拍前註冊。 註冊 信息可以親自在我們的前台，或通 過電子郵件、傳真或訪問本公司網 站提交。 請注意所有首次參加禮昂 騰博拍賣的競拍者都需要提供以下 材料以便進行註冊： 1. 由政府機關簽發的身份證件（護 照或駕照）；
2. 地址證明（水電煤帳單或銀行對 帳單）
我們有可能在拍賣前要求客戶提供 銀行證明或押金。 通過辦理競拍註 冊，買方承認他/她已閲讀、理解並 接受我們的銷售條款（可在圖錄末 尾和本公司網站查閲）。 競拍
已通過注冊的買家將獲取特殊買家 編號。 第一口出價被接受後，拍賣 官將詢問更高出價，每口叫價由拍 賣官決定。 出售的拍品將記錄在成 功競投者的賬單上，其名字及地址 將依據競拍注冊呈交的資料，並不 可轉讓。 競拍出價上限
本次拍賣出價上限為7,000英鎊。 欲 花費（落槌價）超過此上限，請於拍 賣前填寫並呈交出價上調表格，我 們將向您索取銀行證明或押金。
所有新客戶將被索取銀行證明及兩 千英鎊（£2,000）押金。 線上拍賣
此次拍賣不設現場競拍。
電話競拍
買家可以通過電話參與本公司拍 賣，此次拍賣只接受最低估價至少 3,000英鎊或以上的拍品進行電話 競標。 由於電話線路數量有限，必須 提前預訂，並最遲在2022年5月12 日（周四）之前申請註冊。 所有電話 競拍必須進行書面形式註冊，列出 欲競拍的拍品號碼和買家的電話號 碼。 我們建議您預留最高出價，在 電話無法撥通的情況下有備無患。 我們無法保證會有足夠的電話線， 或者可以在拍賣時接通電話，但會 盡我們所能進行安排。 此服務是本 公司自願提供，風險則必須由買家 承擔。 書面競拍
付款
付款必須在拍賣後七日内完成。 在 收到全額付款之前，買家無法提貨。 付款可以通過以下方式進行： 銀行轉帳
本公司帳號信息可在拍賣帳單上查 詢，或向公司財務部門索取。 信用卡或借記卡
可以通過Visa Debit、Maestro、Mastercard、Visa 或銀聯信用卡付款。
銀聯只允許信用卡持有者在場的情 況下現場支付。 我們無法接受銀聯 電話及線上支付。 網上付款
競拍表格可以在本公司官網取得。 填寫完的表格應在拍賣前儘快以郵 寄、傳真或電郵的方式提交。 我們將 代表您在最高限額的範圍内出價。 如果收到兩個相同的出價，則第一 位提交出價的買方有優先權。 所有 出價必須在拍賣前一小時收到。 此 項服務風險由買家承擔。
本公司無法通過電話接受信用卡 付款。 請使用我們的在線支付服務 （由Opayo提供）。 您能透過本公司 發給您的電子郵電帳單中找到付款 鏈接，或者您可登錄本公司網站完 成支付。
本公司網站刊登完整的拍賣圖錄。 競拍者可通過網站留下缺席投標， 並將收到本公司電子郵件確認其 投標。
支票應簽發給禮昂騰博公司。 買家 只有在本公司成功兌現支票后才能 提貨。 買家也可以要求在拍賣前就 簽發支票。 本公司不接受第三方提 供的支票。 若通過郵寄支付，請包括 拍賣帳單上的憑單。
網路競拍
買家也可通過本公司網站注冊在線 競拍，只需點擊拍賣日程，相關拍賣 會或任何一項拍品，并完成注冊。 相 同管道，買家亦可下載實時出價軟 件L&T Live（禮昂騰博在線） ，此項 服務不收取額外費用。 我們的在線 出價合作平臺為Invaluable、TheSaleroom、LiveAuctioneers、聯拍 在線、易拍全球以及藝狐在綫，此項 服務額外徵收費用。
支票
現金
此次拍賣不接受現金支付。
ORDER OF SALE Lot No. 1-21
Works of Art
22-43
Metalwares
44-65 SOLEMNITY— RELIGIOUS FIGURES IN ASIAN ART 法像莊嚴— 亞洲宗教造像
66-103 Paintings & Works on Paper Including A Private English Collection of Pith Paintings & Fans (lot 90-103) 104-149
Jade & Hardstones
150-159
A Private Scottish Collection, Kimmerghame House
160-276 Ceramics Including A Private Canadian Collection of Early Monochrome (lots 169-173) and A Private Scottish Collection, Lowood House (lots 252 & 253) 277-286
Japanese Art
287
Vietnamese Art
288-299
Indian & Islamic Art
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WORKS OF ART 1 EXPORT GILT AND BLACK LACQUERED GAMES BOX QING DYNASTY, 19TH CENTURY 清 外銷描金閣樓人物紋漆盒
of canted rectangular form raised on a foot carved in openwork with bats and flowers, the body densely painted overall with figures in courtyards within cartouches reserved on floral and diaper ground decorated with dragons, inside the removable lid, the box contains seven lidded boxes and twelve counter trays 39.4cm wide x 13.6cm high x 32.6cm deep
£600-800
2 HUANGHUALI BRUSH POT QING DYNASTY, 19TH CENTURY 清 黃花梨筆筒
carved from a whole trunk of mildly waisted cylindrical shape, plain form, further carved with a lipped rim and a beaded base 15.5cm high
£500-700
3 CARVED BAMBOO ‘LADY’ WRIST REST QING DYNASTY, 19TH CENTURY 清 受之款 竹浮雕仕女賞畫圖臂擱
of tile shape, exquisitely carved in low relief with a lady appreciating a scroll painting, the top right carved with the title ‘Shi Nu Tu (Painting of a Lady)’ and ‘year of Geng Yin 庚寅’, together with a carved square ‘Shou Zhi’ seal 18.3cm high
£400-600
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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4 MARBLE-INSET HARDWOOD TABLE SCREEN QING DYNASTY, 19TH CENTURY 清 硬木嵌大理石桌屏
rectangular hardwood frame enclosing the attractively variegated black, white and grey dali marble panel, inserted into a hardwood stand with shaped aprons similarly inserted with a narrow marble panel with continuous pattern, the whole raised on thick shoe feet flanked by standing spandrels 29cm high Note: A comparable marble-inset hongmu table screen, dated to the 19th century, was sold at Christie’s New York, 21st March 2014, lot 2253
£400-600
5 ZITAN SQUARE VASE STAND QING DYNASTY, 19TH CENTURY 清 紫檀方形瓶座
the square section stand terminating in four scroll-form feet, the top carved into concentric circles as a stand for the vase 12cm wide; 9.2cm diameter widest part of the circle
£600-800
6 HUANGHUALI FOUR-TIERED PICNIC BOX WITH HANDLE QING DYNASTY, 19TH CENTURY 清 黃花梨四層提盒
of square form, the cover surmounting four stacked trays, each tier with a beaded lip extending the entire circumference, the corners enforced with yellow brass, the four corners of the flat top inlaid with cloud-shaped brass plates, set on a base frame flanked by two standing spandrels joined at the top with a humpbacked handle 23cm wide x 23cm highx 23cm deep
£600-800
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7 HUANGHUALI CARVED ‘DRAGON’ CIRCULAR BOX AND COVER QING DYNASTY, 18TH CENTURY 清 黃花梨雕雙龍捧壽紋捧盒
the domed cover carved in low relief with a playful pair of dragons enclosing a shou central medallion, sides of the cover and box further decorated with bands of flowers and foliage with scrolling tendrils 17.5cm diameter
£4,000-6,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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8 COURT OFFICIAL HAT 頂戴花翎（含玉翎管）
of conical form, red threads overlaid the creamy ground, wide edge bound with patterned silk roll, lined in burgundy fabric, topped with a red bead finial and jade tube 34cm diameter
£300-500
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RETICULATED IVORY COURT NECKLACE QING DYNASTY, 19TH CENTURY 清 象牙鏤雕朝珠
the court necklace comprising one hundred and eight carved ivory beads spaced with larger turquoise coloured beads, auxiliary tassels adorned with coral coloured beads, with an original box 1.2cm diameter each ivory bead Provenance: Formerly in the Estate of the Late Mary Elizabeth Stuart Harley (1925-2019)
£300-500
10 TWO HAN CHINESE WOMAN’S EMBROIDERED YELLOW SILK PLEATED SKIRTS LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 黃地刺繡蝴蝶牡丹紋馬面裙（共兩件）
both skirts similarly decorated, the front and back panels embroidered in Peking knot with peonies enclosed by flowers and butterflies, the hem covered in black satin decorated with stylised butterflies and flowers, topped with original white cotton waistband, the back with blue silk lining (2) 96cm long each Provenance: Private Scottish collection, Edinburgh
£800-1,200
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11 YELLOW-GROUND EMBROIDERED SILK ‘LOTUS’ SPHERICAL ELBOW CUSHION QING DYNASTY, 19TH CENTURY
清 黃地刺繡纏枝蓮花蝙蝠銜磬紋迎手
made from six oval-shaped panels with two circles at top and bottom, the yellow satin weave ground embroidered in shaded red, white and blue untwisted silk yarn mostly in satin stitch and small knots, each panel has the same design of a large lotus flower hanging below a bat and bianqin- a traditional Chinese percussion instrument, the two circles on the top and bottom similarly decorated with four bats encircling a blossoming flower
Provenance: From the collection of the late Sir Alan Campbell, GCMG, thence by descent to a private collector, Leamington Spa. The ball was possibly acquired by the diplomat Alan Campbell (later Sir Alan Campbell, 1919-2007) in Beijing in 1956-57 during his time as Head of Chancery at the British Legation, or by his father Hugh Campbell (1873-1943), a silk merchant and Director of Ilbert & Co, Shanghai in the early 1900s. Hugh Campbell married Ethel Warren (1881-1951) in Shanghai in 1905, daughter of HM Consul-General in Shanghai, Sir Pelham Warren (1845-1923). It is also possible that the ball may have been a wedding gift to them. Hugh Campbell retired to England after the First World War but returned to China several times in the 1920s/30s in the attempt to save his firm from collapse during the Depression. Note: Solid cushions like this, for resting the elbows and forearms, were put on large throne-like chairs and on the raised heated platforms used for sitting in North China. The graded blues and reds of the embroidery silks and the yellow colour of the background material indicate that they may have originally been in one of the imperial palaces. A pair of closely comparable spherical elbow cushions of similar shape and design, dated to the Qing dynasty 1780-1850, are in the collection of the Victoria & Albert Museum, accession number: FE.138A-1983; another pair of yellow-ground embroidered silk ‘lotus’ square cushions, dated to Qing dynasty 18th-19th century, was sold at Sotheby’s New York, 29 September 2021, lot 948
£800-1,200
27cm wide
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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12 VIETNAMESE KYNAM (KYARA) AGARWOOD PRAYER BEADS BRACELET 越南沉水級樹心油生結奇楠沉香十二木珠手串
comprising twelve large beads, each bead with different wood grain, with distinct and aromatic fragrance, with a wooden box 2cm diameter each bead; 54g Provenance: Private collection, London
£1,200-1,800
13 AGARWOOD NECKLACE 沉香木念珠
comprising one hundred and eight agarwood beads spaced with red beads and adorned with jade and tassels, with a square wooden box 0.5cm diameter each bead
£300-500
14 GILT-PAINT VIETNAMESE KYNAM (KYARA) AGARWOOD CARVING OF A DRAGON-HEAD TURTLE 金漆沉香木雕龍龜擺件
with a fitted wooden box, the mythical animal carved in the round, the fragrant wood covered in gilt paint, with a fitted wooden box 6cm wide; 57g Provenance: Private collection, London
£1,200-1,800
15 BAMBOO FIGURE OF SHOULAO QING DYNASTY, 19TH CENTURY 清 小松款 竹雕壽老座像
the God of Longevity carved seated on rockwork, right hand holding a scroll, left resting on lap, a bat on his lower robe, his face with a joyous expression, back of the rockwork engraved with a maker’s mark ‘Xiao Song’ 13cm high
£500-700
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16 LARGE HUANGHUALI SCROLL POT MING TO QING DYNASTY, 17TH-18TH CENTURY 明至清 黃花梨雕螭龍紋大畫軸筒
of irregular form, finely carved around the exterior in high relief with five playful chi-dragons crawling through cavities of the cave, with lingzhi fungus growing out from the wall 25.5cm wide
£10,000-15,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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17 BLACK LACQUER GILT-AND-POLYCHROME-DECORATED DISPLAY CABINET LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 黑漆加彩描金山水花卉紋多寶櫃
the upper section with five variously proportioned and positioned display compartments, all framed within shaped friezes, above two drawers each decorated with a lotus flower head in the middle, further flanked by two borne on scrolling foliage, the lower section with two square panel doors each painted with a shanshui landscape and houses, both sides of the cabinet meticulously enriched with lotus blossoms borne on interlocking symmetrical and meandering foliate scrolls 100cm wide x 160.2cm high x 30cm deep Provenance: Private Scottish collection
£600-800
15
18 CARVED BAMBOO ‘LADIES IN STUDY’ BRUSH POT QING DYNASTY, 19TH CENTURY
清 仿吳之璠款 竹雕美人讀卷刻秦觀詩筆筒
finely carved in low relief with a scene of two ladies studying in a garden setting, the other side incised with a Song dynasty poem by Qin Guan and ‘Wu Zhifan’ mark 15.4cm high Provenance: Private Canadian collection
£2,000-3,000
Reverse
19 BAMBOO-ROOT CARVING OF A FINGER CITRON QING DYNASTY, 19TH CENTURY 清 竹雕佛手擺件 帶木座
carved fully in the round, issuing from an openwork stem bearing a leaf and an attendant fruit, its tendrils extending from the main body in two concentric circles, their hook-like ends curling inward, the bamboo of a smooth patina, with a carved wood stand 31.5cm wide; 26.5cm high on the stand Provenance: Private Canadian collection
£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
16
20 HUANGHUALI RECTANGULAR DOCUMENT BOX QING DYNASTY, 19TH CENTURY 清 黃花梨長方文具盒
of plain, rectangular form, the faces dovetailed together, the lip of both the box and cover with beaded edge, the cover hinged to the box, the front with two ruyi-form locks against circular plates, with suspended c-shaped handles on either end 55.5cm wide x 13.5cm high x 16.7cm deep
£600-800
21 PAIR OF HUANGHUALI AND HARDWOOD CARVED DRUM FORM STOOLS QING DYNASTY, 19TH CENTURY
清 黃花梨及硬木五開光弦纹坐墩一對
each of drum-form with a circular floating panel top, the plain apron with a row of bosses, over five out-curved struts carved in high relief with a sinuous dragon, the lower straight apron with further raised bosses, all raised on a conforming stretcher supported on five low circular feet (2) 46cm high each Provenance: Private collection, England
£1,500-2,000
Lot 39 (detail)
18
METALWARES
22 ARCHAIC BRONZE RITUAL FOOD VESSEL AND COVER, GUI WESTERN ZHOU DYNASTY
西周 青銅重環紋簋及蓋 及 青銅重環紋饕餮首角型 車馬飾一對（共三件）
of squatted-globular form, the body supported on a wide-spreading foot, the domed cover with a flaring finial, the body and the cover cast with a band of double-ring pattern, the tapering shoulder applied with a pair of protruding knobs as handles; together with A PAIR OF ARCHAIC BRONZE CHARIOT FITTINGS, each of a curvy horn-shape, issuing from a mythical animal taotie head, one side cast with double-ring pattern, the other plain side attached with two loop rings for fitting (3) Gui: 12.5cm wide, 1066g; chariot fittings: 12.1cm and 12.5cm wide, 162g in total Note: A closely comparable Western Zhou dynasty bronze gui vessel with cover, similar in the double-ring pattern around the body and cover, is in the collection of the National Palace Museum, Taipei, museum no. 中銅 Zhong Tong 551. Another comparable Western Zhou bronze gui vessel with cover, cast with horizontal concentric tiers, was sold at Bonhams London, 7th June 2021, lot 431.
£1,500-2,000
23 GROUP OF FIVE BRONZE HUNTING KNIVES LATE EASTERN ZHOU DYNASTY, WARRING STATES PERIOD, ORDOS NORTH-EASTERN CULTURE
東周戰國時期 東北鄂爾多斯文化 各式 青銅獵刀（共五件） each knife of different design on the blade and pommel (5) longest: 21.8cm Note: a closely comparable group of nine Ordos bronze hunting knives of various forms were sold at Bonhams Hong Kong, 25 May 2011, lot 540
£400-600
19
24 RARE ARCHAIC BRONZE TRIPOD VESSEL ON STAND, DING WESTERN ZHOU DYNASTY 西周 饕餮紋托盤夔足鼎
the hemispheric body on three short flattened blade-like kui-dragon feet, further elevated on a circular tray set with three flat legs with upward-curling ends, exterior of the vessel cast with a band of taotie mask adorned with key-fret pattern and flanges, the rim flanked by a pair of upward-pointing loop handles
Provenance: Private European collection Note: Mostly cast with columnar or cabriole legs, bronze ritual vessels fashioned with three flat legs in the form of highly stylised mythical beasts are rarer and were derived from pottery prototypes made from the Neolithic period. It was a swift trend, ranging from the mid to late Shang Dynasty to early Western Zhou Dynasty. Mostly dated to the Shang Dynasty, because such flat feet style was more prominent in the Shang culture. Fine Shang period examples can be seen in the collection of the Taipei National Palace Museum, no. 中銅1514; or sold at Sotheby’s Paris, 12 December 2013, lot 205; or Sotheby’s Hong Kong, 9 October 2020, lot 41. Even rarer is this lot offered here, cast as a tripod Ding with flat feet, further surmounted on a tripod circular tray-stand. This can be compared to three similar examples excavated respectively in Rujiazhuang, Baoji City, Yu Guo Tomb in 1974 and 1975 (寶鷄‘弓魚’國墓地) BRM1乙: 17; Zhangjiapo Xizhou Tomb of Chang’an in 1967 (張家坡西周墓地) M152: 15; and the Tomb of the Marquis of Jin State of Shanxi at Quwo in 1991 (晉侯墓地) M13: 103. See Juntao Guo, ‘Shangzhou Qingtong Bianzuding Tedian Fenxi’ (Analysis of Flat-Footed Western Zhou Bronze Ding), Palace Museum Journal, 197: 6 (2017), pp. 107-123.
£10,000-15,000
17.3cm high; 1170g Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
20
25 BRONZE TRIPOD INCENSE BURNER WITH STRAP HANDLES QING DYNASTY, 17TH-18TH CENTURY 清 宣德款 銅鑄沖天耳三足爐
of typical shallow rounded form, with a pair of smoothly raised strap handles, raised on three conical feet, the base cast with a six-character apocryphal Xuande mark within a recessed panel 15cm wide across handles; 1458g Provenance: Private English collection, Surrey
£2,000-3,000
26 BRONZE INCENSE BURNER OF DING FORM MING TO QING DYNASTY, 17TH-18TH CENTURY 明至清 銅鑄饕餮銜環耳三足鼎式爐
the cylindrical body with a waisted neck and everted rim flanked by a pair of taotie masks with loop rings, supported on three tall tapering conical legs, the base cast with a six-character apocryphal Xuande mark within a recessed panel 14.5cm high; 1560g Provenance: Private English collection, Surrey
£1,000-1,500
21
27 BRONZE ‘SEA CREATURES’ RECTANGULAR INCENSE BURNER QING DYNASTY, 17TH CENTURY
清 宣德款 銅鑄海獸紋雙獅耳長方爐 含木蓋
of tapering rectangular shape standing on four cornered-feet incised with taotie masks, the exterior cast in low relief with mythical beasts prancing on tempestuous waves, flanked by lion mask-handles on the shorter sides, the base cast with a six-character apocryphal Xuande mark within a recessed panel 18.5cm wide across handles; 2950g Provenance: Private English collection, Surrey Note: a closely comparable example similar in the rectangular shape and decoration, dated to the Qing dynasty, was sold at Christie’s Hong Kong, 1st June 2015, lot 717
£3,000-5,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
22
28 BRONZE ‘LION-HEAD’ CENSER QING DYNASTY, 18TH-19TH CENTURY
清 大明宣德年製雙龍底款 銅鑄開光人物故事圖獅耳香爐
of compressed globular form, rising from a splayed foot to a gently flared rim, flanked by lion heads as handles to both sides, the exterior finely cast on either side with figures in pavilions and garden setting in a cartouche, the mouth rim further incised with flowers in tendrils, the base cast with a six-character apocryphal Xuande mark in a recessed panel flanked by two descending dragons 24cm wide across handles; 2822g Provenance: formerly in a private English collection, North London
£1,000-1,500
29 BRONZE RECTANGULAR INCENSE BURNER KANGXI MARK
康熙款 銅鑄方形戟耳馬槽爐
heavily cast and raised on four bracket feet, the body flanked by a pair of handles in openwork, the base cast with a six-character Kangxi mark within a recessed panel 16.5cm wide across handles; 1938g
£600-800
30 BRONZE TRIPOD CENSER 19TH-20TH CENTURY
十九至二十世紀‘道光丁未秋定府行有恒堂造’款 銅鑄沖耳三 足爐
the compressed bulbous body with a pair of vertical looped handles raised on three short conical feet, the base cast with a sixteen-character Daoguang mark with the year of Ding Wei, corresponding to 1847AD 16cm wide; 1630g
£500-700
23
31 GILT BRONZE ‘DRAGON’ WATER POT QING DYNASTY, QIANLONG MARK AND OF THE PERIOD 清乾隆「乾隆年製」雙方框刻款 銅鎏金雙龍戲珠水丞
cast in oblong form supported on four bracket feet raised to a short everted mouth, the interior with a pair of sinuous five-clawed dragons on high relief enclosing a flaming pearl in the centre, the pearl with an opening on top as a water vessel, all underneath a band of key-fret on the mouth, the base incised with a four-character Qianlong mark within a double square 17.2cm wide; 1045g
£8,000-12,000
Detail
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
24
32 BRONZE FIGURE OF A QILIN LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 銅鑄麒麟擺件
the mythical beast modelled with its head looking straight ahead, the face cast with fierce expression with bulging eyes 16cm wide; 715g
£300-500
33 SET OF FIVE BRONZE SEALS 銅鑄題詩套印（一組五件）
comprising five rectangular seals, cleverly arranged with one fitting into another, in total twelve seal fronts (5) 6.4cm high; 777g
£300-500
Detail
34 GILT-BRONZE ‘DOUBLE PHOENIXES’ CANDLE HOLDER QIANLONG MARK, 20TH CENTURY
二十世紀 乾隆款 銅鎏金百寶嵌雉鷄形燭臺
cast as a pair of phoenixes on a high rock enclosing a hollowed tree trunk, the feathers and lingzhi featuring various inlaid gemstones, the base with a fourcharacter apocryphal Qianlong mark, with a fitted lacquer box 19cm high; 1993g
£800-1,000
25
35 GILT-BRONZE ‘DOUBLE DRAGONS’ RITUAL BELL, BIANZHONG 19TH-20TH CENTURY
十九至二十世紀 鎏金銅鑄雙龍捧珠編鐘
heavily cast, the cylindrical body boldly surmounted by a pair of addorsed dragons each crisply cast with a finely scaled arched back, the horned head raised with mouth agape bearing fangs, and supported on powerful extended front claws, the gently convex sides cast in sharp relief with a pair of animated five-clawed dragons striding amidst roiling seas and fiery clouds, centred to either side with an upright rectangular cartouche set on a tiered lotus stand and ornamented on three sides with symmetrical cloud scrolls, all between bands of formal foliate scroll and stylized clouds 24.5cm high; 14kg Provenance: Private collection, London Note: comparable gilt-bronze ritual bells of similar design and dated to the Qianlong period, were sold respectively at Christie’s Hong Kong, 3 Jun 2015, lot 3119 and Sotheby’s New York, 15 September 2015, lot 160
£1,000-1,500
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
26
36 CHINESE EXPORT SILVER TANKARD QING DYNASTY, CHENG JI, CANTON, CIRCA 1850-60 清 澄記款 外銷銀閣樓人物紋把杯
the ‘double-skinned’ cylindrical vessel tapering up with exterior repoussé in relief with a continuous scene of scholars at leisure amongst trees, rockwork and pavilions, a sinuous dragon-form handle set to one side, with engraved initials ‘MCSS’ in a shield-form cartouche, the base with a two-character maker’s mark ‘澄記 (Cheng Ji)’ in Chinese 12.5cm wide; 280g Provenance: Private Scottish collection, Stirling
Note: Cheng Ji 澄記 was an artisan operating in Canton (Guangzhou) from early to mid-19th century. It only produced tankards and stemmed goblets and is known to have made on a regular basis for the two Canton retail merchants HOACHING (何金) and the mark that is still generally known as “GOTHIC K”. With thanks to Adrien von Ferscht, a Chinese export silver specialist, for the dating and footnote on this lot.
£400-600
37 CASED CHINESE EXPORT SILVER THREE-PIECE TEA SERVICE WITH SUGAR TONGS LATE QING TO REPUBLIC PERIOD, SHENG CHANG, CANTON, CIRCA 1875-1930
清末民初「慎昌」、 「90」、 「70」款 外銷銀竹林舞蝶圖海棠形 茶具一組四件（帶原盒） comprising: a teapot, a handled milk jug, a twin-handled sugar bowl, and a pair of sugar tongs, all vessels of quatrefoil form elegantly carved with bamboo grooves visited by butterflies, except the tongs, all marked ‘慎昌 (Shen Chang)’, ‘90’ and ‘70’, in a cloth-lined original fitted wooden case (4) Teapot: 15cm high, 579g; milk jug: 12cm high, 224g; sugar bowl: 11cm high, 229g; sugar tongs: 11.7cm long, 43g Provenance: Private Scottish collection, has been in the family for over 100 years
£800-1,200
38 CHINESE EXPORT SILVER ‘BAMBOO’ TANKARD QING DYNASTY, LEE CHING, CANTON AND SHANGHAI, CIRCA 1830-1895 清「泉」、 「LC」款 外銷銀石竹紋把杯
the tapered cylindrical body elegantly incised with a dense bamboo groove issuing from low piles of rocks visited by insects, a shield-form cartouche on the centre, plain handle with bands set to the reverse, ‘double-skinned’ interior gilded, the base marked ‘LC’ and ‘泉 (Quan)’ 9.5cm high; 166g Provenance: Private collection, Scottish Highlands
£300-500
27
39 CHINESE EXPORT SILVER THREE-PIECE TEA SERVICE AND A COFFEE POT LATE QING DYNASTY, WANG HING 90 TAIKUT, CIRCA 1850-1900
清末「Wang Hing」、 「90」、 「大吉」錘印款 外銷銀八角人物花卉圖茶具一組三件 及 咖啡壺一件（共四件）
comprising: a three-piece tea service including a teapot, milk jug, and sugar jar, and a tall coffee pot; each of octagonal form, the side panel applied with dragons in clouds, goldfish in watergrass, scholars gathering in garden setting, birds in bamboo grove, attached with one or two sinuous five-clawed dragon handles, each piece marked on the base with ‘Wang Hing 90 Taikut’ mark in square (4) Tea pot: 23cm, 677g; sugar jar: 18cm wide, 316g; milk jug: 12.5cm wide, 206g; coffee pot: 23.5cm wide, 799g
Provenance: Private English collection, London; acquired by Mary Josephine Anderson, née Noble (1888-1964) who was born in Hong Kong, thence by descent. Her father George E. Noble (1846-1901) joined the newly founded Hongkong & Shanghai Banking Corporation (HSBC) when he was 19 and rose to the top position of Chief Manager until illness necessitated his early retirement. Note: Taikut (大吉) was the name of a silver workshop located in Canton, active during the late Qing period. There is also the mark of Wang Hing which was a well-known craft shop, based in Hong Kong, 10 Queen’s Road Central, famous for specialising in gold and silver. According to Adrien von Frescht, “The Taikut mark appears on its own as well as in conjunction with the Wang Hing mark. This implies that Taikut was both a manufacturing workshop and a retail silversmith. It is perhaps revealing that the Wang Hing/Tai Kut combined mark is actually created by a single punch, indicating this was some form of working partnership and a regularly used one.” See Chinese Export Silver 1785-1940, The Definitive Collectors’ Guide, University of Glasgow. Scottish Centre for China Research, 2015
£1,200-1,800
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
28
40 CLOISONNÉ ENAMEL ‘GRAPES’ TRIPOD INCENSE BURNER LATE MING-EARLY QING DYNASTY, 17TH-18TH CENTURY 明末清初 銅胎掐絲琺瑯葡 萄紋筒式三足爐
of barrel-shape, supported on three small bulging feet, the exterior of the body brightly enamelled with clusters of grapes and colourful foliage among curling tendrils, the base further adorned with small flowers with foliage, with gilt highlights
Base
7cm high; 340g Provenance: Private French collection, Paris; acquired from Germany in 1980s when stationed in Germany as a French Diplomat (by repute). Note: a closely comparable cloisonne enamel tripod incense burner of similar form and grape decoration, was sold at Sotheby’s Paris, 10 June 2021, lot 176
£1,500-2,000
41
42
PAKTONG CLOISONNÉ ENAMEL WATER PIPE
CLOISONNÉ ENAMEL ‘LOTUS’ VASE
LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 白銅掐絲琺瑯水煙斗
the stylistically shaped body decorated with various antiquities on a dark blue ground, all between two bands of ruyi-head cloud patter, the interior of the lid incised with two lines of Chinese characters, indicating it was made for a commissioner from Kyoto, Japan
LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 老天利製刻款 銅胎掐絲琺 瑯纏枝蓮紋賞瓶
Provenance: Private English collection, Surrey
the lobed globular body supported on a splayed foot, the slender neck terminating into an inward mouth rim, each lobe of the body finely decorated with a lotus in tendrils, the neck similarly adorned, the ridged neck and the base with gilt highlights, the base incised with a four-character workshop mark ‘Lao Tian Li Zhi (Made by Laotianli)’
£300-500
9.7cm high; 104g
28.5cm high
£600-800
29
43 LARGE CLOISONNÉ ENAMEL FOLIATE CHARGER QING DYNASTY, 18TH-19TH CENTURY 清 康熙款 銅胎掐絲琺瑯鳳凰麒麟圖大盤
supported on a short straight foot, the interior finely decorated with a running mythical animal qilin and a flying phoenix in a garden scene, the cavetto lined with alternating panels depicting pairs of cranes and deer, the underside of the cavetto adorned with Eight Buddhist Emblems alternating with lotus flowers in foliage, the base further decorated with six lotus flowers, the centre carved with a six-character Kangxi mark in a double rectangular panel and with gilt highlights 48.2cm diameter
£5,000-7,000
Reverse
30
OLEMNITY— RELIGIOUS S FIGURES IN ASIAN ART 法像莊嚴— 亞洲宗教造像
Religious art is one of the most significant art forms in Asia. For
goddess, Xiwangmu- Queen Mother of the West, dated to the
millennia, artists have been giving form to the Asian deities, sacred
Ming Dynasty. These panels would possibly been part of the wall
iconographies, and devotional symbols in ways that visually capture
of a temple (lot 53). Moving from Daoist to Vajrayana Buddhist
their doctrines. For votive and complex ritual practices, religious
tradition, from China to Tibet, we have two thangkas in this
figures in Asian art are deemed to be powerful and sacred, giving
section (lot 54-55) and gilt bronze figures (lot 56-58).
birth to the most beautiful and sophisticated works of art.
Solemnity also features a number of comparatively unusual
Solemnity is a curated selection of religious figures focusing
materials depicting divine iconographies, including jade and
on two thousand years of Asian art, juxtaposing Vajrayana
soapstone carvings, ranging from the Qing Dynasty to the
and Mahayana Buddhist, Daoist, and Hindu traditions. This
Republic Period (lot 59-62). Worth mentioning is a Japanese
section starts with an early Buddhist sculpture, a rare Western
grey stone stele of Nyoirin Kanon, Edo Period (lot 63), from the
Himalayan cast copper alloy figure of Shakyamuni (lot 44) from
collection of the renowned late businessman Sir Ernest Ridley
the Swat Valley. Then moving geographically eastwards and
Debenham (1865-1952). Lot 64 is the only porcelain figure,
chronologically forward, we present you a series of Eastern
depicting Cundi Bodhisattva the pearly white Blanc De Chine
Himalayan and Chinese sculptures, celebrating a multitude of
glaze reflects the divinity and purity of a religious figure.
materials and artisanship, including cast gilt, lacquered bronze, and carved wooden divine figures from the Song (960-1279) to Qing Dynasties (1644-1912) (lot 45-52).
Ending this section, we move across to India. Representing Hindu art is lot 65, a red sandstone head of Vishnu, dated to ca. 6 century. The above gives us an overview of religious figures
Painted works are also crucial within Asian religious art. Featuring
across Asia, a series of beautiful and important works that all share
here are a pair of stucco fresco panels of important Daoist
the same sacred and artistic language - solemnity.
31
44 COPPER ALLOY FIGURE OF SHAKYAMUNI SWAT VALLEY, 8TH CENTURY
八世紀 斯瓦特 銅鑄釋迦摩尼佛座像
cast seated in padmasana on a slightly waisted podium supported on a single lotus throne further raised on a stepped plinth, holding the hem of his robe in his left hand, missing right hand half raised, he wears a ripple-effect robe covering both shoulders draped on the seat, his face well defined with downcast eyes, prominent lips and nose flanked by a pair of large pendulous ears, the head and domed ushnisha covered with tight curls 15.5cm high; 896g
Provenance: Private European collection Note: By the fifth century, Buddhism had been thriving in Gandhara and the Swat Valley in Northern Pakistan for six hundred years. Strategically located on the ancient Silk Road, the Swat Valley was once a vibrant centre of Buddhism with flowing artistic traditions financed by the extensive trade that flowed through the Khyber and Karakorum passes. The ancient Swat Valley Buddhist art was predominantly in sculptural form and the term ‘Swat Valley sculpture’ refers to a region and a time period, which covers the far Western Himalayan regions inclusive of the Swat Valley, Gilgit and Baltistan from the 6th to the 9th centuries. The Swat Valley iconographic subjects were not extensive but had included important primarily buddha, peaceful deity, and complex deity figures. Offered here is a seated Buddha cast in copper alloy, the usual material for Swat Valley sculptures, covered in dark brown and a touch of forest-green patina. This finely modelled figure is a classic rendition of Buddha Shakyamuni. The Buddha is shown seated on a throne supported on a single lotus base and the large lotus petals are bulbous, polished and smooth, contrasting with the robe he wears with rippling folds. He holds the hem of his robe with his left hand. This gesture is widely employed in seated Swat Buddhas, extending the style from earlier Gandharan stone images. His face peacefully rendered, the cavity in his eyes suggests that they might have been inlaid with silver, a common finish to celebrate Buddha’s enlightened nature in Swat figures. Comparable to a Swat Valley copper alloy seated Shakyamuni, 8th-9th century, which was sold at Bonham’s Hong Kong, 2 Dec 2021, lot 1007; another silver-inlaid bronze figure of Buddha Shakyamuni, 7th century, was sold at Christie’s New York, 15 Mar 2016, lot 44. See gilded, partial gilded and copper alloy Swat Valley figures of seated Shakyamuni in Himalayan Art Resources, item no. 1636, 9342, and 20105.
£10,000-15,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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45 BRONZE VOTIVE FIGURE OF WATER-AND-MOON GUANYIN SONG DYNASTY
宋 銅鑄水月觀音座像
cast seated in lalitasana, the right arm resting on the knee, the left hand against the floor, wearing a dhoti and beaded necklace, the crowned head against a mandorla with radiating flames extending to the pointed tip 14cm high; 265g
£300-400
46 LACQUERED BRONZE FIGURE OF A SEATED BUDDHA MING DYNASTY, 17TH CENTURY 明 銅胎髹金漆佛座像
seated in dhyanasana pose, with right hand in bhumisparsha mudra and left in dhyanasana, wears a robe falling in naturalistic folds around the arms and legs and open at the chest, the face has a serene expression with eyes downcast, with elongated ears, the hair is dressed in curls surrounding the ushnisha 21.5cm high; 1937g
£600-800
47 BRONZE FIGURE OF A SEATED AVALOKITESVARA QING DYNASTY, 18TH-19TH CENTURY 清 銅鑄觀音座像
cast seated in lalitasana with right hand holding a willow stem and left hand holding a cup resting on thigh, dressed in a loose dhoti open at the chest to reveal a necklace suspending floral pendant chains, the face with a serene expression and downcast eyes framed elaborate headdress, with remnants of gilt paint on the concave parts, on a bespoke wooden stand 19.5cm high; 682g Provenance: Private English collection, London
£300-500
48
33
LARGE GILT BRONZE STUPA 19TH-20TH CENTURY
十九至二十世紀 銅鎏金嵌珊瑚綠松石尊勝塔
the reliquary cast on a waisted square throne decorated in relief with a pair of Buddhist lions in quatrefoil cartouches, below a circular platform of three inscribed steps supported on lotus bands, leading to a bejewelled domed stupa accommodating Bhaiṣajyaguru set within arched niche framed by flame scrolls, all supporting a harmika and a set of thirteen-wheeled spire with inscriptions and parasol, topped with a sun-moon finial, and flaming jewel pinnacle, variously embellished with turquoise and coral beads 43.5cm high; 11.5kg Provenance: Private collection, London
£1,000-1,500
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
34
Reverse
49 GILT BRONZE FIGURE OF BUDDHA MING DYNASTY, YONGLE MARK
明 大明永樂年施刻款 銅鎏金佛座像
finely cast and portrayed seated in dhyanasana, right hand lowered in karana mudra and the left in dhyana mudra, the buddha wears a loose robe falling in elegant folds leaving the right shoulder bare, the serene face with downcast eyes and gentle smile flanked by pendulous ears with pierced lobes, the head and domed ushnisha covered with tight curls applied in blue pigment, further surmounted by a jewel, all supported on a double lotus pedestal with beaded edges, engraved on the front top of the pedestal with a six-character ‘Da Ming Yongle Nian Shi’ mark 21.5cm high; 2158g Provenance: Private European collection Note: Compare the proportions, the treatment of the robes, the lotus thrones, and the facial features of the present lot with two gilt-bronze figures of Shakyamuni, both mark and period of Yongle, one larger one smaller, sold at Sotheby’s New York, 11 September 2012, lot 183 and Sotheby’s Hong Kong, 08 October 2013, lot 3075. A further comparable example also incised with six-character Yongle mark was sold at Bonhams San Francisco, 16 Dec 2014, lot 8018
£15,000-20,000
35
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
36
50 WOODEN FIGURE OF AMITABHA MING DYNASTY, 15TH-16TH CENTURY 明 木雕阿彌陀佛立像
standing upright, the demure face carved with elongated eyes, arched brows flanked by pendulous earlobes, the hair arranged in tight curls with an ushnisha, on a later wooden stand 44.5cm high
£800-1,200
51 WOODEN SCULPTURE OF WATER-AND-MOON GUANYIN QING DYNASTY, 17TH CENTURY 清 木雕水月觀音坐像
carved seated in lalitasana or royal ease pose, the right arm resting on the knee, the left hand half raised in front of the chest, wearing layers of robes naturally draped downwards, finely incised hair arranged in a high chignon and covered by a cowl, her benign face finely carved with downcast eyes, finely closed lips and elongated ears, with remnant of red and black pigments 24.5cm high
£600-800
37
52 LARGE GILT-LACQUERED WOOD FIGURE OF SHAKYAMUNI MING DYNASTY
明 漆金木雕釋迦牟尼佛座像
carved seated in padmasana and his right hand held in bhumisparsha, the Buddha wears a long robe with ripples overall leaving the chest bare adorned with a swastika, his eyes downcast with a meditative facial expression, his hair in its delicate snail-shell curls applied with blue pigment further with gilt ushnisha 49cm high Provenance: Private European collection, formerly in a private French collection Note: A comparable size and style gilt-lacquered wood seated figure of Shakyamuni, dated to the Ming Dynasty, was sold at Ravenel Taipei, 3 June 2017, lot 624. Note the treatment of the design and drapery of the robe, the hand gestures, and the curls of the hair are highly comparable
£15,000-20,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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53 PAIR OF STUCCO FRESCO PANELS WITH FEMALE DEITIES MING DYNASTY
明 彩繪西王母圖壁畫（兩幅）
each rectangular panel painted in polychrome pigments highlighting the gilded ornamentation with gesso relief, depicting Xiwangmu accompanied by a celestial maiden, both wearing brightly coloured flowing robes with billowing scarves and crowned with jewelled headpieces, one Queen Mother of the West sitting atop an alerted mythical lion, holding a white hare in her hands, the other sitting on a white horse looking back to the deity, she holds a wish-fulfilling flaming jewel on right palm, and a ruyi sceptre on left hand, all above swirling clouds, framed (2) 80cm x 45cm each Provenance: from an important Scottish collection, acquired from Phillips, Edinburgh, sale no. 2452, 11 April 1986, lot 33. With the original auction catalogue as illustrated.
Note: In Daoist mythology, Xiwangmu 西王母 ‘Queen Mother of the West’ is the queen of the immortals in charge of female deities who dwell in a fairyland called Xihua ‘West Flower’. Often depicted celebrating her birthday with the Eight Immortals and Shoulao, the God of Longevity, symbolising her image of immortality. Other archaeological materials also show that the icons of the Queen Mother of the West do not appear as a single isolated major goddess. The icons of the Goddess appeared in various configurations with numeral subordinate animals intertwined with the myth of immortality. In which, the white hare is one of the most iconic animals associated with the Goddess. In one of the examples offered in this lot, the Goddess holds a white hare closely to her chest. The white hare is known as Yutu, the Jade Rabbit who lives on the Moon and constantly pounding the elixir of life. Wish-fulfilling jewel (Sanskrit: Cintamani) is a common symbol in Hindu and Buddhist traditions. Often held by deities to entail the divine duty and function of the immortals and enlightened ones. In the other example offered here, the Goddess holds a flaming jewel symbolising her compassion to liberate others from suffering, and a ruyi sceptre shows a mainstream Chinese influence on the icons of the Deities. Accompanying this lot is an original Phillips auction catalogue dated 11 April 1986 with an illustration of the pair of panels. Compare with a polychrome fresco of females, Ming dynasty, sold at Christie’s New York, 22 March 2019, lot 1771; a fresco panel with female deities, Ming dynasty, sold at Bonhams London, 5 November 2020, lot 82; and a wall fresco fragment of two ladies, Mind dynasty, sold at Bonhams London, 7 Jun 2021, lot 525
£8,000-12,000
Phillips auction catalogue
39
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
40
54 THANGKA DEPICTING GUHYASAMAJA MANDALA 19TH-20TH CENTURY
十九至二十世紀 密集金剛唐卡
distemper on cloth, the main figure with three faces and ten hands in yabyum with his consort while seated in padmasana posture on a lotus at the centre of the celestial palace surrounded by meditation deities, and lineage teachers 126.2cm x 90.5cm Provenance: Private English collection, London; acquired by late Jack Franses (1927-2010). Jack Franses was an expert in textiles, tapestries and oriental carpets, and a former Head of the Islamic Art Department at Sotheby’s and Senior Director at Sotheby’s in charge of Middle East and India.
£600-800
55 THANGKA DEPICTING PADMASAMBHAVA QING DYNASTY, 19TH CENTURY 清 蓮花生大士唐卡
distemper on cloth, the Guru Rimpoche joined by his two wives, Mandarva and Yeshe Tsogyal flanked the sides of his lotus throne, Samantabhadra in the sky, below with Vajrapani 125cm x 77.5cm Provenance: Private English collection, London; acquired from Merton Abbey Mills (by repute) Note: Two comparable thangkas depicting Padmasambhava with similar compositions, both dated to the 19th century, are in Himalayan Art Resources, item no. 61843 and 4101
£800-1,200
41
56 GROUP OF THREE SILVER AND GILT COPPER ALLOY FIGURES OF BUDDHIST MASTERS QING DYNASTY, 19TH CENTURY
清 銀質銅鎏金密勒日巴、第三世噶瑪巴讓烱多傑、及喇嘛座像（一組三件）
comprising: a figural group of Milarepa flanked by a deer and a dog, all seated on lotus thrones issuing from a domed circular lotus podium; a seated figure depicting the Third Karmapa, Rangjung Dorje (1284–1339), he wears a Karmapa hat and rests both hands on his knees; and a seated lama with right hand in bhumisparsha mudra, left holding a long-life vase before his abdomen, all bases sealed with plaques carved with crossed vajra (3) largest: 14.7cm high; 1119g Provenance: Private collection, London; formerly in a private Italian collection
£1,000-1,500
57 GILT BRONZE FIGURE OF A GELUGPA LAMA QING DYNASTY, 19TH CENTURY 清 銅鎏金格魯派上師座像
cast seated on a double-lotus throne, right hand in bhumisparsha mudra, left hand rested on knee holding a rosary wrapped around his wrist, wearing a richly decorated robe, his face with large eyes in benevolent expression surmounted by the pandita cap of the Gelug order, the base sealed with a plaque incised with a crossed vajra 24cm high; 4527g Provenance: Private collection, London; formerly in a private Italian collection Note: A copper alloy figure of a Sakya school lama, dated to ca. 16th century, is depicted similarly with this lot with corpulent contours, both hands over his knees with the left hand holding a mala, was sold in Bonhams Hong Kong, 2 Dec 2020, lot 1002
£1,000-1,500
58 GROUP OF FOUR BRONZE DEITIES QING DYNASTY, 19TH CENTURY
清 各色銅鎏金及銅鑄造像（一組四件）
comprising: a gilt-bronze figure of a seated Manjushri; a gilt bronze figural group of wrathful deity and consort, both bases sealed with plaques incised with double vajra; a bronze figure of seated Green Tara; and a bronze figure of a standing deity with flaming nimbus (4) largest: 13.8cm high; 181g Provenance: Private collection, London; formerly in a private Italian collection
£1,000-1,500
42
59 GROUP OF THREE JADE CARVINGS OF BUDDHIST OBJECTS QING DYNASTY, 18TH-19TH CENTURY
清 白玉雕座佛、青白玉雕佛手 及 青白玉雕袈裟扣（共三件）
comprising: one white jade seated Buddha with his right hand in abhaya mudra, minutely carved wearing drapery robes, 3.5cm high; a naturalistically carved pale celadon jade hand with fingernails, 4.2cm high; and a pale celadon jade cloth buckle with its square panel carved in relief with a seated Buddha flanked by two attendants, 5cm high (3) largest: 5cm high
£1,000-1,500
60 CARVED SOAPSTONE SEATED SIZHOU BUDDHA LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 壽山石雕泗州佛座像
seated in dhyanasana pose with dhyana mudra, wearing a robe falling in naturalistic folds around the arms and legs and open at the bejewelled chest, the face has a serene expression with well-defined features and downcast eyes, the hair neatly arranged under headcover, with a wooden base 11.5cm high
£400-600
61 SOAPSTONE CARVING OF AN ARHAT 19TH-20TH CENTURY
十九至二十世紀 壽山石雕托塔羅漢座像
carved in the round depicting the last disciple of Shakyamuni named Suvinda, who carries a tower as the remembrance of Buddha, his face and clothes incised minutely with details, the stone of orangy yellowish colour and inlaid with small coloured beads 9.5cm high
£400-600
43
62 SPINACH JADE PANEL INCISED WITH ARHAT, THE FIGURE OF ARHAT AFTER DING GUAN PENG QING DYNASTY, 18TH-19TH CENTURY
清 碧玉描金御題詩第四嘎禮嘎尊者圖玉片
finely incised and gilded, depicting the fourth Arhat Kālika (Galiga zunzhe) seated on a jagged rock after a painting by Ding Guanpeng, all below an incised poem extracted from the text by the Qianlong Emperor entitled “Guanxiu hua shiliu yingzhen xiang zan” (Praise of the sixteen luohans painted by Guan Xiu)
Provenance: formerly in a private Paris collection Note: the translation of the poem: ‘Shaking the rock, he leans his knee on it and there takes his rest. It is only this superior being, neither speaking nor silent, who has such eyebrows that trail to the ground. As he pulls them up by hand, does he not seem to be sorting through clouds, and this shows how very fine they are.’ A comparable white jade panel incised with sixteen arhats and poem was sold at Sotheby’s Paris, 11 December 2014, lot 164
£1,200-1,800
14cm x 9cm
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
44
63 GREY STONE STELE OF NYOIRIN KANNON EDO PERIOD, DATED 1708AD
江戸‘理照妙諦信士 寳永五（戊子）年霜月四日 中沢氏’刻文 如意輪観音石碑
carved with Avalokitesvara seated contemplatively in royal ease posture on a throne, his right foot over left ankle and folded leg half raised, allowing his right elbow to gently rest on his inner right thigh, head tilted to right and sensitively rested on right palm, his eyes closed, face in serene expression, dated to right of the figure on the mandorla ‘Fifth year (Year of Tsuchinoe Ne) of Hōei era, Fourth of Shimotsuki Month (Month of Frost, eleventh month in the old calendar)’, carved on the opposite with a male devotee’s holy name ‘Rishō Myōtei Shinji’ (?), centre of the base further with ‘Nakazawa Shi’ 93cm high Provenance: From the collection of the late Sir Ernest Ridley Debenham (1865-1952), bequeathed by the late Marjorie Debenham, thence by direct descent. With an original letter dated 14 August 1970 from John G. Ayers, the then keeper of the Far Eastern Section in the Victoria and Albert Museum, addressed to the abovementioned ‘Miss M C Debenham’, the current owner’s aunt. The letter identifies the stele is of Japanese origin and dated the stele according to the inscription. Sir Ernest Ridley Debenham, 1st Baronet, was an English businessman who famously owned and chaired the renowned namesake departmental store Debenhams Ltd in 1892-1927. Note: Nyoirin Kannon (Skt: Cintamani Chakra Avalokiteshvara), the Bodhisattva of Compassion with the Wish-fulfilling Jewel, is a prominent deity in the Japanese Esoteric Buddhist pantheon. Nyoirin is also a transformed figure of Kannon Bosatsu and one of the Roku Kannon (six Kannon). Mostly depicted seated in Hanka (half-lotus posture) with six arms holding various tributes, including Nyoi hoju, a wish-fulfilling jewel (Skt: Cintamani), and Rin, an abbreviation of Horin, the Dharma wheel (Skt: cakra) representing Buddhist teachings, which combined into Nyoi-Rin, the name of the Kannon. The name carries Kannon’s aspirations and vows, which is to fulfil all hopes and through the Buddhist teachings, one would destroy Bonno (earthly desires). Its true wish is to preach at will, living in zanmai (Skt: Samadhi) of Nyoi hoju, removing the troubles of living things in Rokudo (six posthumous worlds) and providing benefits to these worlds. The votive stele of Nyoirin Kannon presented here is carved with two hands. The right hand raised in Shiyui-so, a meditative posture with chin resting upon palm, left palm naturally rested on left leg. Flowingly carved, this example shows a harmonious and meditative tranquillity in Buddhist votive figures. A slightly larger and similar example of a stone stele depicting Nyoirin Kannon, with inscriptions on both sides of the mandorla, dated to Edo Period 1703AD, is in the collection of the Museu Etnològic i de Cultures del Món, Barcelona, accession number ‘MEB 152-795’; Further compare with two slightly smaller examples, dated to the Edo Period, in the collection of the Royal Asiatic Society of Great Britain and Ireland, accession numbers ‘TEMP01’ and ‘TEMP02’; Also compare with a Memorial Stone (Ita-Hi) depicting Nyoirin Kannon Cintamanicakra, dated to 1671AD, in the collection of Horniman Museum and Gardens, London, accession number ‘nn19126’
£1,000-1,500
Letter from John G. Ayers
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Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
46
64 DEHUA FIGURE OF CUNDI BODHISATTVA QING DYNASTY, 18TH CENTURY 清 德化白瓷準提菩薩座像
shown seated in padmasana on a lotus base, her two forehands in uttarabodhi mudra raising in front of her chest, holding scrolls and various other attributes in other hands, long loose robe well defined, two beaded necklaces adorn her exposed chest, her face casts down in serene and benevolent expression and the third eye on her forehead, crowned with an elaborate pointed tiara 16cm high Provenance: formerly in a Dutch private collection
£400-600
65 RED SANDSTONE HEAD OF VISHNU INDIA, GUPTA PERIOD, CIRCA 6TH CENTURY 印度 笈多王朝 紅砂岩雕濕婆神頭像
weathered carved sandstone, with narrow slightly smiling lips and large oval eyes, with vertical headdress 20cm high
£600-800
Lot 89 (detail)
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PAINTINGS & WORKS ON PAPER INCLUDING A PRIVATE ENGLISH COLLECTION OF PITH PAINTINGS & FANS (LOTS 90-103)
66
67
INK PAINTING DEPICTING CUI ZONGZHI
JIANG LIAN (1796-)
QING DYNASTY, 19TH CENTURY
INK PAINTING DEPICTING A BEAUTY, QING DYNASTY, 19TH CENTURY
清 崔宗之圖 設色絹本
款識: 宗之瀟灑美少年/舉觴白眼望青天/皎如玉樹臨風前 上道(?) 鈐印: 上道(?)
ink and colour on silk, painted with one of the legendary Eight Immortals Indulged in Wine in the Tang Dynasty (618-907) named Cui Zongzhi holding a wine cup accompanied by a boy attendant holding a wine ewer, inscribed top left with an associated poem by Du Fu (712-770) introducing the figure, further signed and sealed, framed 39cm x 33.5cm Provenance: Private Italian collection
£300-500
清 蔣蓮 美人捧香爐水墨畫 設色絹本 鏡框 題識：仿陳老蓮先生筆 蔣蓮 鈐印：蔣蓮、香湖
ink and colour on silk; inscribed ‘after Chen Hongshou’s style’; signed, with two seals of the artist, framed 31.2cm x 17.9cm Provenance: Private Scottish collection; acquired by sinologist Robert Bruce (1911-1999) when he resided in China, and was the Head of the British Council in Hong Kong. He spoke four Chinese languages and was the author of several books including a biography of Sun Yat-Sen, Oxford University Press, 1969.
£400-600
49
69 FENG MOGONG INK SCROLL PAINTING OF TORRENT WATCHING, DATED 1981AD 馮默公《觀激圖》設色紙本 立軸 款識: 辛丑秋月畫於北京 默公 鈐印: 默公
ink and colour on paper, titled ‘Guan Ji Tu’, dated to the year of Xin You, corresponding to 1981AD, signed and a red seal ‘Mo Gong’ to the top right, mounted as a hanging scroll 119.5cm x 46.8cm
£2,000-3,000
68 LIU HUI (CHUNG) (1851-1926) INK SCROLL PAINTNG OF LANDSCAPE, DATED 1906AD 一九零六年 劉暉 山水圖 水墨紙本 立軸 鈐印: 劉暉印信、春谷
ink and colour on paper, inscribed, signed ‘Chun Gu Liu Hui’ with two red seals, dated to the Bing Wu year, corresponding to 1906AD, mounted as a hanging scroll 73cm x 36.5cm Provenance: Private English collection, London
£700-900
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
50
71 COUPLET OF CALLIGRAPHY ATTRIBUTED TO ZUO ZONGTANG (1812-1885) 左宗棠款《湖山葛嶺》書法對聯 水墨絹本 立軸
款識: 綬荃一兄屬/湖山飛雲氣深穩/葛嶺喬木與天參/左宗棠
ink on silk, signed ‘Zuo Zongtang’ and sealed on the lower left of one scroll, each mounted as hanging scroll 176.2cm x 41.5cm each
£1,000-2,000
70 CALLIGRAPHY SCROLL ATTRIBUTED TO LI KERAN (1907-1989)
李可染款《樂石文房之寳》書法 水墨紙本 立軸 款識: 歲次甲子李可染題 鈐印: 李、可染、師牛堂
ink on paper, signed and sealed of the artist, dated to the year of Jia Zi, corresponding to 1984AD, mounted as a hanging scroll 99cm x 44.8cm
£1,000-1,500
51
73 INK PAINTING OF PEONIES ATTRIBUTED TO EMPRESS DOWAGER CIXI (1835-1908) 慈禧款 牡丹圖 設色絹本 木框 款識: 乙未春正月 慈禧御筆 鈐印: 慈禧皇太后御筆之寶
ink and colour on silk, signed empress Dowager Cixi, inscribed with the year of Yi Wei, corresponding to 1895 AD, further mounted on textile and to a wooden board, in gilt frames 90cm x 40.5cm Provenance: Private London collection; formerly in a property from a West Cornwall Connecticut and Former New Orleans Louisiana Asian Art Collection.
£500-700
72 INK SCROLL PAINTING OF A LEARNED AND A BOY 19TH-20TH CENTURY
十九至二十世紀 翁與童圖 設色紙本 立軸
款識: 甲寅仲冬在台江碧雪中古松山處 仿南田老人(惲壽平,別號南 田), □□小衲清池如金筆 鈐印: 清池、如金
ink and colour on paper, the inscription on the top right mentions this painting was after an early Qing dynasty artist Yun Shouping (known as Nantian, 1633-1690), dated to the winter of Jia Yin year, signed ‘Qing Chi Ru Jin’, together with two red seals of the artist, mounted as a hanging scroll 134cm x 66cm
£300-500
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
52
74 PU RU (1896-1963) INK PAINTING WITH BAMBOO AND ROCKWORK 溥儒《空庭竹葉》圖 水墨紙本 款識: 空庭竹葉秋 心畬 鈐印: 溥儒
ink on paper, inscribed top left with a poem, signed ‘Xin Yu’ and a red seal ‘Pu Ru’ 100.5cm x 20.4cm
£400-600
75 JIN MENGSHI (1869-1952) LUOHAN WITH BOOKS, DATED 1925AD 金夢石 羅漢繫帶 設色紙本 扇面
款識: 子文先生□□乙丑八月吳都金夢石寫 鈐印: 夢石、龢印
ink and colour on paper of fan shape, further mounted on textile, depicting a kneeling arhat tying up his shoelace, inscribed on the upper right including the year of Yi Chou, corresponding to 1925AD, and two red seals reading ‘Meng Shi’ and ‘He Yin’ 49cm wide
£400-600
53
77 GAO YIFENG (1914-) INK PAINTING OF A HORSE 高一峰 駿馬圖 水墨紙本 款式: 一峰 鈐印: 一峰
ink on paper, depicting a galloping horse, signed and sealed ‘Yi Feng’ on the lower left 55.6cm x 31cm
£400-600
76 JIN CHENG (1878-1926) INK PAINTING OF HORSE SHOWERING, DATED 1924AD 一九二四年 金城 洗馬圖 設色紙本 款識: 甲子十二月吳興金城 鈐印: 金城
ink and colour on paper, depicting a man washing a horse in a river underneath a large willow tree, signed on the top left with ‘Wuxing Jin Cheng’, a red seal ‘Jincheng’, and dated to the twelfth month of Jia Zi year, corresponding to 1924AD 73.2cm x 55.2cm
£400-600
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
54
78 LIN YUSHAN (1907-2004) INK PAINTING WITH BIRDS AND POMEGRANATES 二十世紀 林玉山 石榴花鳥圖 設色紙本 款識: 桃城散人玉山寫 鈐印: 林英貴印
ink and colour on paper, inscribed ‘Taocheng Sanren Yushan Xie’, and a red seal ‘Lin Ying Gui Yin’ on the lower left 48.8cm x 27cm
£400-600
79 GAO QIFENG (1889-1933) INK PAINTING OF FISH 高奇峰 魚樂圖 水墨紙本 款識: 高翁 鈐印: 奇峰
ink and colour on paper, depicting three fish, signed ‘Gao Weng’ and sealed ‘Qi Feng’ on the lower left (2) 55.6cm x 31cm
£400-600
55
80 FU JUANFU (1910-2007) TWO INK PAINTINGS OF LANDSCAPES, 20TH CENTURY 二十世紀 傅狷夫 山水畫 設色紙本（共兩幅）
款識: 丁卯仲夏傅狷夫; 傅狷夫時客台灣二十又八年 鈐印: 覺翁; 心香室
both ink and colour on paper, one painted horizontally with waves crashing on rocks, dated to the summer of Ding Mao year, corresponding to 1987AD, signed and a red seal ‘Jue Weng’ on the lower right; the other depicting vertically a shanshui landscape, signed, inscribed ‘as a guest in Taiwan for the 28th year’, corresponding to 1977AD, and a red seal ‘Xin Xiang Shi’ on the upper left (2) 30.5cm x 82.2cm; 85.6cm x 31.1cm
£400-600
81 DING YANYONG (1902-1978) INK PAINTING OF A BUFFALO
二十世紀 丁衍庸 水牛圖 水墨紙本 款識: 丁衍庸寫 鈐印: 丁庸
ink and colour on paper, depicting a recumbent buffalo, signed ‘Ding Yanyong’ and a red seal ‘Ding Yong’ on the lower right 48.1cm x 30cm
£400-600
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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83 TWO LARGE ANCESTOR PORTRAIT PAINTINGS QING DYNASTY, 19TH CENTURY
清 祖先像紙本設色 鏡框 （共兩幅） ink and colour on papers, one depicting a seated couple before a half-folded floor screen showcasing three paintings, the figures wear black robes with a bird rank badge; the other painted with a male court official wearing a black robe with a ninth-rank ‘quail’ badge, sitting on a chair covered with red cloth on an elaborate floral floor, framed (2) 166cm x 98.5cm; 165cm x 95.5cm Provenance: Private English collection, London; acquired by late Jack Franses (19272010) at a house sale in Chester in 1980s. Jack Franses was an expert in textiles, tapestries and oriental carpets, and a former Head of the Islamic Art Department at Sotheby’s and Senior Director at Sotheby’s in charge of Middle East and India.
£1,000-1,500
82 TWO ANCESTOR PORTRAIT PAINTINGS QING DYNASTY, 19TH CENTURY 清 祖先像紙本設色 鏡框（共兩幅）
ink and colour on papers, one painted with a seated male court official holding a folded fan in his right hand, rosary beads in the left, wearing a fur-lined black robe; the other painted with a female figure similarly dressed with elaborate sleeves and green pleated shirt, framed (2) 158cm x 90cm each Provenance: See lot 83
£600-800
57
84 YU FEIAN (1888-1959) INK SCROLL PAINTING OF ORCHIDS AND BUTTERFLIES, DATED 1957AD 一九五七年 于非闇 蘭花舞蝶圖 紙本設色 立軸
款識: 初春友人贈蘭花數十叢/亟出古銅釉瓷鉢種之/至今月餘/每叢 皆開花一二朵/其種於青花瓷鉢者究在一叢中開花四朵/為我從來所 未見/固檢佳□寫此國香以□一時典會也/一九五七年八月/非闇 鈐印: 再生、非闇、王山硯齋
ink and colour on paper, inscribed, signed ‘Fei An’, sealed, and dated August 1957 lower left, further sealed lower right, mounted as a hanging scroll 96cm x 35cm
£1,500-2,500
85 ZHENG NAIGUANG (1911-2005) INK SCROLL PAINTING OF GEESE, DATED 1991AD 一九九一年 鄭乃珖 荷塘雙鵝圖 紙本設色 立軸 款識: 辛未年鄭乃珖作
鈐印: 八閩鄭氏、古閩鄭乃珖印
ink and colour on paper, brightly painted with a pair of geese in a lotus pond, dated to the year of Xin Mo, corresponding to 1991AD, signed and two red seals of the artist, mounted as a hanging scroll 102cm x 41.7cm
£1,000-2,000
58
87 86 REVERSE GLASS PAINTING QING DYNASTY, 19TH CENTURY 清 玻璃鏡畫訪友圖 木框
REVERSE GLASS PAINTING OF LADIES LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 玻璃鏡畫仕女圖 木框
depicting a scholar and his attendant crossing a bridge on their way to visit a friend, who sits in the front garden with his attendant cooling him down with a fan and his two wives coming out from a luxury house, the scene set on the shore of a lake in a wild mountainous landscape, framed
depicting a seated lady leaning slightly towards the right to a standing lady holding a scroll in a room with a wall with a large shaped window, centre of the room with a divider panel further with red cloth to the right, framed
50cm x 72.5cm
38cm x 28cm
Provenance: Private Scottish collection
Provenance: Private Scottish collection
£800-1,200
£400-600
88 LARGE COLLECTION OF ASIAN ART AUCTION CATALOGUES, CHRISTIE’S & SOTHEBY’S 1980-1990
一九八零年代至九零年 蘇富比及佳士得亞洲藝 術拍賣圖錄（一百零五刊） comprising 105 issues in total; 73 from Sotheby’s ranging from years 1980-1990; remaining 32 Christie’s from 1984-1989, both for sales in London, New York and Hong Kong (105)
Provenance: from an important Scottish collection
£1,000-1,500
59
89 FINE GROUP OF FOUR CHINESE SCHOOL GOUACHE ON PAPER PAINTINGS QING DYNASTY, 19TH CENTURY
清 外銷畫花果鳥圖 設色紙本（共四幅）
comprising: two depicting luscious exotic fruits, one including lychee, pomegranate, grape, lemon, berry, and others borne on foliage and flowers, written in pencil with ‘Lichee Pomegranate’ on the lower-left, the other similarly composed and including melons, dates, tangerines, both paper impressed with ‘WKing 1829’ watermark; the other two paintings with birds, one with a pair of Mandarin ducks on a lotus pond, the other with a pair of blue magpies elegantly perched on a twig (4) largest: 30cm x 37cm Provenance: Private English collection, acquired from a private English estate
£1,200-1,800
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
60
A PRIVATE ENGLISH COLLECTION OF PITH PAINTINGS & FANS (LOTS 90-103)
90 GROUP OF THREE PITH PAINTINGS QING DYNASTY, 19TH CENTURY
清 外銷通草紙畫人物圖 鏡框（共三幅）
gouache on pith papers, comprising: one painted with a seated high-ranked male figure holding a ruyi sceptre accompanied by an official; one of a mirror image with a seated high-ranked female figure and a maiden behind; together with one depicting an elderly male figure seated leaning on a table to his left, the table displayed with melons on a raised green bowl, an attendant presenting a white ruyi sceptre, all framed (3) largest: 23.3cm x 17cm Provenance: Private English collection
£300-500
91 EXPORT PITH PAINTING DEPICTING SAINT HELENA QING DYNASTY, 19TH CENTURY 清 廣東外銷通草紙畫聖赫勒拿島
gouache on pith paper, titled ‘St Helena’, framed 16cm x 23cm Provenance: Private English collection Note: Saint Helena is a British possession in the South Atlantic Ocean. Compare to a Chinese School oil painting on brass, dated to the early 19th century, depicting St Helena from a different perspective with the bay and junks flying the Red Ensign flag, which was part of a group painting sold at Christie’s London, 7 Nov 2019, lot 9. The St Helena view is a copy of plate 2 (‘The Roads, St Helena’) of George Hutchins Belassis’s Views of Saint Helena, published London, 1 Nov. 1815, for which see R.F. Kennedy, Ibid, B235.
£300-500
A PRIVATE ENGLISH COLLECTION OF PITH PAINTINGS & FANS
61
92 INK PAINTING AND INSCRIBED FOLDING FAN QING DYNASTY, 19TH CENTURY
清 唐寅款 烏木股嵌竹黃水墨人物及行 書摺扇
ink and colour on silk, the fan leaves painted on one side with two elders and two boys resting under a willow tree, together with an inscription and two seals on the top right, including the Ming-dynasty artist’s name ‘Tang Yin’, the other side fully inscribed, the fan with black wood sticks and guards, the guards inset with bamboo strips 32cm high Provenance: Private English collection
£400-600 Reverse
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
62
93
Y
CANTON LACQUERED, WOOD, IVORY AND PAPER ‘TELESCOPIC’ FAN QING DYNASTY, 19TH CENTURY 清 黑漆描金紙面人物圖伸縮扇
the fan leaves brightly painted on both sides with figures amongst elaborate terraced pavilions, each figure with finely detailed faces and applied silk clothing, the gilt-lacquered guards and sticks made of gilt-lacquer, sandalwood and ivory panels adorned with small figures in a garden setting, the paper leaves could be moved up and down to expand the dimension of the fan 19cm to 25cm high Provenance: Private English collection
£500-700
Reverse
94 LARGE CANTON LACQUERED AND PAPER ARTICULATED FAN QING DYNASTY, 19TH CENTURY 清 黑漆描金花鳥蝴蝶紋大摺扇
the gouache on silk leaves painted to one side with three birds in flight amongst various flowers against a light green ground, the other side similarly decorated but with two butterflies against an indigo ground, the sticks with articulated design and gilt-lacquer decorated with figures gathering in a garden 35.5cm high Provenance: Private English collection
£600-800
Reverse
95 CANTON LACQUERED AND PAPER ‘COIN’ FAN QING DYNASTY, 19TH CENTURY
清 黑漆描金開光花鳥山水人物紋及銅錢紋摺扇
the fan leaves brightly painted on one side with figures amongst landscape or a bird with flowers in three cartouches with tendril borders, the other side with ‘thousand faces’ design or a butterfly with flowers in three further cartouches, the guards gilt-lacquer decorated against a black ground with Chinese copper coins with different inscriptions, and each stick similarly adorned with suspending vase 27.2cm high Provenance: Private English collection
£500-700
Reverse
A PRIVATE ENGLISH COLLECTION OF PITH PAINTINGS & FANS
63
96 FINE GILT AND BLACK LACQUER BRISÈ FAN QING DYNASTY, 19TH CENTURY 清 黑漆描金亭臺閣樓人物紋摺扇
painted on both sides with Chinese figures pursuing leisurely activities in outdoor settings amidst pagodas and pavilions inside a central cartouche, surrounded by Daoist motifs in tendrils and under a band of figures in a landscape setting 24cm high Provenance: Private English collection
£800-1,200
Reverse
97 MOTHER OF PEARL ‘TELESCOPIC’ FAN QING DYNASTY, 19TH CENTURY 清 鏍鈿雕紙面人物圖伸縮扇
the fan leaves brightly painted on both sides with figures amongst elaborate terraced pavilions, each figure with finely detailed faces and applied silk clothing, the guards and sticks made of mother of pearl carved in low relief with small figures in a garden setting, the paper leaves could be moved up and down to expand the dimension of the fan 20.5cm to 23.5cm high Provenance: Private English collection
£600-800
Reverse
98
Y
IVORY BRISÉ FAN QING DYNASTY, 18TH-19TH CENTURY 清 象牙鏤雕開光花鳥紋摺扇
finely carved on one side, with birds and flowers in foliage enclosing a central shield with coronet and monogram, the solid guard sticks minutely carved in low relief with flowers 27.4cm high Provenance: Private English collection
£300-500
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
64
99 CANTON LACQUERED AND PAPER ‘BIRDS AND FLOWER’ FAN QING DYNASTY, 19TH CENTURY 清 黑漆描金花鳥人物紋摺扇
the paper leaves painted to one side with a large pheasant and bird with various flowers against a silvery ground, the other side with ‘thousand faces’ design with various small figures in a garden setting, each figure with finely detailed faces and applied silk clothing, the guards and sticks gilt-lacquer decorated against a black ground with small figures 28.8cm high Provenance: Private English collection
£600-800
Reverse
100 CANTON LACQUERED AND PAPER ‘THOUSAND FACES’ FAN QING DYNASTY, 19TH CENTURY 清 黑漆描金人物紋摺扇
the fan leaves brightly painted on both sides with small figures amongst pavilions or landscape, each figure with finely detailed faces and applied silk clothing, the guards and sticks gilt-lacquer decorated against a black ground with small figures 28cm high Provenance: Private English collection
£600-800
Reverse
101 CANTON LACQUERED AND PAPER ‘LANDSCAPE’ FAN QING DYNASTY, 19TH CENTURY 清 黑漆描金開光山水人物紋摺扇
the fan leaves brightly painted on one side with figures amongst landscape or in a garden setting in three cartouches, further flanked by bat, fish and antique motifs, the other side with ‘thousand faces’ design with small figures in a garden setting, each figure with finely detailed faces and applied silk clothing, the guards and sticks gilt-lacquer decorated against a black ground with small figures 28cm high Provenance: Private English collection
£350-450
Reverse
A PRIVATE ENGLISH COLLECTION OF PITH PAINTINGS & FANS
65
Reverse
102 FINE CANTON LACQUERED AND PAPER ‘THOUSAND FACES’ FAN QING DYNASTY, 19TH CENTURY
清 黑漆描金人物紋 摺扇
the fan leaves brightly painted on both sides with small figures amongst pavilions or landscape, each figure with finely detailed faces and applied silk clothing, the guards and sticks giltlacquer decorated against a black ground with small figures Provenance: Private English collection
£1,000-1,500
103
Y
JAPANESE PAPER AND IVORY FAN MEIJI PERIOD
明治 象牙描金美人花卉圖紙摺扇
double-paper leaf with ivory sticks and guards, each side painted in ink, one side delicately painted with Japanese women bijin in three circular cartouches against a gilt-paint ground, the reverse depicting various flowers and butterflies in the field, the ivory guards decorated in gold paint and shibayama inlaid with a flowering branch and a carved and polychromed bijin portrait in a floral cartouche 22.5cm high Provenance: Private English collection
£400-600
Reverse Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
66
JADE & HARDSTONES
104 CELADON JADE ‘FISH CAGE’ BRUSH WASHER QING DYNASTY, 19TH CENTURY 清 青玉帶皮雕魚籠蝦蟹筆洗
carved as an oval bamboo-woven fish cage, the base supported by a pool of swirling waves, the sides further adorned with a fish, two crabs and a lotus bud popping out from the waves in high relief, the stone of greyish celadon tone with russet patches 9cm wide
£300-500
105 TWO ‘MOUNTAIN’ BRUSH RESTS QING DYNASTY, 19TH CENTURY
清 秀水款 壽山石雕山水人物筆山 及 水晶雕山形筆山 帶酸枝木座（一組兩件）
one carved soapstone brush rest in the form of a pointed mountain, one side carved in low relief with small houses in bamboo groves, the other side with six Chinese characters; the other a carved rock crystal brush rest of five-pointed mountain form with peaks and rugged surface, with a fitted wooden stand (2) widths: 9.9cm and 8.5cm
£300-500
106 PALE CELADON JADE ‘PRUNUS’ BRUSH WASHER QING DYNASTY, 19TH CENTURY 清 青白玉鏤雕梅花紋筆洗
the vessel of oval form, carved in openwork with branches of trailing plum blossoms crawling over the aperture on the top, the stone of an even pale celadon tone 11.6cm wide
£800-1,200
67
107 CARNELIAN AGATE ‘PHOENIX AND PEACH’ VASE QING DYNASTY, 19TH CENTURY 清 瑪瑙雕靈芝紋瓶
the receptacle gnarled tree trunk cleverly carved from the white part of the agate, beside a lingzhi fungus growing as a smaller receptacle, the peaches and other lingzhi fungus branching from the carnelian stone, a large phoenix perching on the trunk 12.5cm wide
£1,000-1,500
108 TWO JADE CARVINGS OF SCHOLAR’S OBJECTS QING DYNASTY, 18TH-19TH CENTURY
清 青玉雕賞石形筆架 及 白玉雕如意紋長方形墨床（共兩件）
one celadon jade brush rest, 18th century, carved naturalistically in the form of a scholar’s rock, the stone with some linear inclusions in black; the other white jade rectangular ink rest, 19th century, carved in the form of a low kang table, the surface decorated with ruyi-cloud pattern in low relief, the stone of even creamy white colour with some brown inclusion around the edge (2) widths: 6.5cm and 8cm
£600-800
109 AGATE VASE WITH LID 19TH-20TH CENTURY
十九至二十世紀 瑪瑙巧雕帶蓋瓶
of naturalistic form, cleverly carved with leaves and birds following the natural shades of the material, the lid topped with leaves and branches in openwork as finial 13cm high Provenance: Private English collection, Surrey; formerly in a private English collection, Berkshire
£300-500
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
68
110 CELADON JADE WITH RUSSET SKIN ‘TIGER’ WATER POT QING DYNASTY, 19TH CENTURY 清 青玉帶皮雕虎形水丞
carved in the round in standing pose, the head looking straight forward with snarling expression, the body and legs incised with swirling pattern, the back with a circular aperture leading to a concave space for containing water, the stone of uneven celadon colour with russet streaky inclusions, resembling the natural tiger skin 6.5cm wide
£400-600
111 WHITE JADE WITH RUSSET SKIN CARVING OF WATER POT QING DYNASTY, 18TH-19TH CENTURY 清 白玉雕童子水丞
carved in the round as a large bamboo basket surrounded by a playful boy, a crab and a blossoming lotus, the white jade with sections of russet skin 6.5cm wide Provenance: Private collection, England, has been collecting Chinese jades for over 20 years
£2,000-3,000
112 WHITE JADE ‘LINGZHI’ FLOWER POT QING DYNASTY, 19TH CENTURY 清 白玉雕靈芝花插
carved in openwork in the form of a branch of lingzhi sprig, with a large lingzhi head, a flower bud and leaf-form tubular vessel issuing upwards from the sprig, the stone of translucent white tone with some russet patches 11cm wide
£800-1,200
69
113 WHITE JADE ‘BOY AND RUYI’ WATER POT QING DYNASTY, 18TH CENTURY 清 白玉雕平安如意童子水丞
carved as an oval vase with a ruyi cloud mouth rim, flanked and carved in high relief on one side with a joyous seated boy holding a lingzhi sprig, the opposite with a chi dragon crawling upwards, further incised with a ruyi cloud pattern on both sides, the stone of creamy white colour with light russet patches 7.5cm wide
£1,000-1,500
114 CELADON WITH RUSSET SKIN JADE ‘MOUNTAIN’ BRUSH REST QING DYNASTY, 18TH-19TH CENTURY 清 青玉帶皮雕猴兔嬉遊筆山
carved as a mountainous rock with a monkey and rabbit playing amongst the trees and a river running through in relief, the pale celadon stone has some areas of orangy brown skin 12.5cm wide Provenance: Private collection, England, has been collecting Chinese jades for over 20 years
£2,000-3,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
70
115 WHITE JADE ‘TURTLEDOVE’ STAFF HEAD WESTERN HAN DYNASTY 西漢 白玉雕鳩杖首
carved in the round as a turtledove with a long beak and looking backwards, the body finely carved in low relief with feathered wings, the flattened base carved with a circle and two apertures for fitting onto staff, the translucent white stone with a slight green tinge and russet inclusions 5.5cm wide Note: a closely comparable example, also dated to the Western Han dynasty, is in the collection of the National Palace Museum, Taipei, no. 購玉 270
£4,000-6,000
116 WHITE JADE WITH RUSSET SKIN CARVING OF A TIGER LIAO OR JIN DYNASTY
遼或金 白玉帶皮雕臥虎擺件
carved in the round of a reclining tiger with a ‘Wang (king)’ character on its forehead, its four feet tucked underneath the body, the semi-translucent white with greyish tone and orangy-brown skin 4.5cm wide Provenance: Private collection, England, has been collecting Chinese jades for over 20 years
£4,000-6,000
117 CELADON JADE WITH RUSSET SKIN CARVING OF A TIGER MING DYNASTY, 17TH CENTURY 明 青玉帶皮雕虎形擺件
carved in the round in seated pose, its head turned towards its right and biting its own tail curling around its rear hind, the face vividly carved in relief with bulging eyes and pointed nose, the body delicately incised with parallel lines as tiger skin, the back has an aperture running through the body, the stone of uneven celadon colour with russet streaky inclusions, resembling the natural tiger skin 5cm high
£600-800
71
118 WHITE JADE WITH RUSSET SKIN CARVING OF A MYTHICAL WINGED ANIMAL QING DYNASTY, 18TH-19TH CENTURY 清 白玉帶皮雕翼獸擺件 帶木座
carved in the round with its legs tucked underneath its body, the body finely carved in relief with spread wings, the horned head well defined with bulging eyes, the stone of even white tone with some russet skin, with a fitted wooden stand 8cm wide Provenance: Private European collection
£2,000-3,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
72
119 RUSSET JADE CARVING OF A MYTHICAL ANIMAL YUAN TO MING DYNASTY, 14TH-15TH CENTURY 元至明 赤褐玉雕瑞獸擺件
carved in the round of a recumbent mythical animal, its head looking straight and ears extending backwards, its tongue sticking out between sharp teeth, the stone of deep brown colour with russet inclusions 6.5cm wide
£500-700
120 CELADON JADE ‘TORTOISESHELL’ PENDANT MING DYNASTY, 17TH CENTURY 明 青玉雕龜甲吊墜
carved in the round in the form of a naturalistic tortoiseshell on both sides, an aperture running through the centre, the stone of uneven brownish celadon colour with black streak inclusions 7.2cm high
£400-600
121 CELADON JADE WITH RUSSET SKIN CARVING OF A TOAD MING DYNASTY, 17TH CENTURY 明 青玉帶皮雕蟾蜍擺件
naturalistically carved in the round with four legs tucked under its body, and with circular holes on its back and bulging eyes carved in relief, the stone of uneven celadon colour with brown and orangy patches on its back and legs 7cm wide
£1,000-1,500
73
122 YELLOW JADE CARVING OF A QILIN QING DYNASTY, 18TH-19TH CENTURY 清 黃玉雕麒麟擺件
well depicted recumbent with the hind legs and front left leg tucked beneath the body, the right leg against the ground, rendered with its head looking straight ahead, the horned beast further detailed with bulging eyes, curled whiskers and a winged body, the stone of a yellowish celadon colour highlighted with russet veins 10.2cm wide
£4,000-6,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
74
123 PALE CELADON JADE CARVING OF A QILIN AND CUB MING TO QING DYNASTY, 17TH-18TH CENTURY 明至清 青白玉提油雕麒麟帶子擺件
carved with a unicorn qilin together with its cub, both in the recumbent position, the minutely carved head looking backwards to the cub, the stone of uneven celadon and black colour 5cm wide
£300-500
124 WHITE JADE ‘DEER’ CENSER COVER FINIAL MING DYNASTY, 17TH CENTURY 明 白玉雕鹿銜靈芝紋爐頂
carved in openwork with four deer holding lingzhi fungus in the forest with birds in flight in between, the base with four small apertures, the stone of white tone with some russet inclusions 4.5cm wide
£700-900
125 PALE CELADON JADE CARVING OF ‘QUAIL AND VASE ‘ PENDANT MING TO QING DYNASTY, 17TH-18TH CENTURY 明至清 青白玉雕平安如意吊墜
carved in openwork with a vase (ping), quail (an) and branch of lingzhi fungus (ruyi) issuing from a rock base, together as a pun for ‘wish you safe and pleasant’, the stone of pale celadon hue with some dark brown mottling 6.5cm wide Provenance: Private collection, England, has been collecting Chinese jades for over 20 years
£2,000-3,000
75
126 WHITE AND RUSSET JADE ‘TAOTIE’ CUP WITH DRAGON AND CHILONG HANDLES MING DYNASTY, 16TH-17TH CENTURY 明 白玉提油仿古饕餮紋倭角海棠式龍首杯
raised on a stepped ring foot, the quatrefoil form cup carved in low relief on either side with an archaic taotie mask flanked by a stylised phoenix head, the vessel flanked with a chilong clambering up from the bottom to the slightly everted rim on one side, the other side carved with a protruding horned dragon head forming handles, the creamy-white stone has some dark brown russet section, with a fitted wooden stand 18.5cm wide Provenance: Private collection, England, has been collecting Chinese jades for over 20 years; Previously in a private Swiss collection
£8,000-12,000 Reverse Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
76
127 WHITE JADE CARVING OF A TIGER DEITY QING DYNASTY, 18TH CENTURY 清 白玉雕十二生肖虎官座像擺件
depicting one of the Chinese zodiac animals, the upright-seated tiger deity with human-form body in incised robe, holding a flower basket in his right hand, the stone of even translucent whitish colour 4.6cm high
£800-1,200
128 CELADON JADE CARVING OF A SQUATTED BARBARIAN QING DYNASTY, 18TH CENTURY 清 青玉雕胡人蹲踞像擺件
carved in the round in squatting position, wearing short trunks, his exposed chest adorned with a skull necklace, his left hand holding a drum stick in hand, the face carving in detail with alert expression, the stone of even celadon colour with some russet inclusions on the rocky base 9cm wide
£2,000-3,000
129 TWO PALE CELADON CARVINGS OF APSARA QING DYNASTY, 18TH-19TH CENTURY 清 青白玉雕飛天吊墜（共兩件）
each flying deity dressed in a long robe with scarf floating horizontally due to the blowing wind, her head half raised with jewelled high chignon, both arms extending forward holding a vessel, a band of swirling clouds supporting her underneath, the stone of even pale celadon colour (2) 7cm wide each Provenance: Private collection, England, has been collecting Chinese jades for over 20 years
£600-800
77
130 WHITE JADE ‘CHI DRAGON’ SQUARE SEAL QING DYNASTY, 18TH CENTURY 清 白玉雕螭龍鈕方章
carved with a horned chi dragon crawling on a square podium as a knob, the seal with a four-character inscription in seal script, the stone of an even white tone 3.5cm wide
£3,000-5,000
131 YELLOW JADE ‘DRAGON’ PLAQUE QING DYNASTY, 18TH CENTURY 清 黃玉透雕如意雲龍紋玉帶板
the rectangular border enclosing an openwork carving of a sinuous dragon writhing amidst layers of ruyi-head clouds, the stone of yellowish celadon colour with some russet inclusions 7.5cm x 10.7cm Provenance: Private European collection, formerly in a private English collection
£4,000-6,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
78
132 WHITE JADE WITH RUSSET SKIN CARVING OF ‘HEHE’ BOYS QING DYANSTY, 18TH CENTURY 清 白玉雕和合二仙把件
attractively carved in the round with ‘He-He Erxian (the twin spirits of harmony and happiness)’, one body carrying the other one on his shoulder, each boy holding a branch of lingzhi fungus in hands, the stone of even white colour with a touch of russet tone skin clearly carved on the top of a boy’s and lingzhi’s heads 7cm high
£800-1,200
133 WHITE JADE ‘CRANE AND LOTUS’ HAT FINIAL QING DYNASTY, 18TH-19TH CENTURY 清 白玉雕仙鶴荷塘帽頂
minutely carved in openwork with five cranes underneath a large lotus leaf, the flat base with four perforations, the stone of even white tone 3.4cm wide Provenance: Private collection, England, has been collecting Chinese jades for over 20 years
£1,500-2,000
134 WHITE JADE CARVING OF A BOY PLAYING DRUM QING DYNASTY, 18TH CENTURY 清 白玉雕童子擊鼓把件
finely carved in the round as a boy in squatting position and with a circular drum between his legs, his right hand securing the top of the drum and his left hand holding a drumstick, his face minutely carved with joyful expression, the stone of even creamy white colour 4.3cm wide
£600-800
79
135 FINE CARVED WHITE JADE ‘LANDSCAPE’ AND INSCRIBED PANEL QING DYNASTY, QIANLONG MARK AND OF THE PERIOD
清乾隆 乾隆甲寅三月上浣款 白玉雕山水漁舟 圖 及 陰刻《藍田溪與漁者宿》詩文玉片
of rectangular form, carved in low relief on one side with a fisherman sailing his sampan in undulating waves, on the rocky shore large willow trees blown by strong wind, the afar mountain detailed with jagged rocks, the reverse inscribed with a Tang dynasty poem ‘Lan Tian Xi Yu Yu Zhe Su (Lantian River and Staying with Fisherman)’ by Qian Qi (722 780), and the year of Jia Yin, corresponding to 1794AD, the stone of an even white colour 11cm x 17cm
£10,000-20,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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136 ARCHAIC STYLE WHITE JADE CARVING OF A CYLINDER QING DYNASTY, 19TH CENTURY 清 仿古白玉透雕活環
carved in openwork with interlocking ‘T’ scrolls, the exterior decorated with archaistic scrolls, the stone of brownish-white colour 5.5cm diameter
£2,000-3,000
137 WHITE JADE ‘PHOENIX AND CHI DRAGON’ LIBATION CUP QING DYNASTY, 19TH CENTURY 清 白玉雕鳳凰螭龍犀角杯
in the archaic style, the horn-shaped cup finely carved with a phoenix’s head on its narrower end, the bird’s scaled body and feathered wings minutely carved in low relief on either side, a chi dragon crawling upwards the mouth rim that further incised with a band of key-fret pattern, the stone of even translucent white tone 8cm high
£600-800
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Reverse
138 YELLOW JADE CARVING OF TOADS ON LOTUS PODS QING DYNASTY, 18TH-19TH CENTURY 清 黃玉雕清政廉明把件
carved in openwork with two three-legged toads on lotus pods, associated with a pun ‘wish you upright and honest’ and was a gift to governors 6cm wide Provenance: Private collection, England, has been collecting Chinese jades for over 20 years
£3,000-5,000
139 PALE CELADON JADE CARVING OF ‘HEHE’ BOYS MING DYNASTY, 17TH CENTURY 明 青白玉雕和合二仙把件
attractively carved in the round with ‘He-He Erxian (the twin spirits of harmony and happiness)’, one squatted boy holding a large branch of lingzhi fungus in hands, the other standing boy assisting aside, the stone of even pale celadon colour 7.5cm high Provenance: Private collection, England, has been collecting Chinese jades for over 20 years
£2,000-3,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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Alternate view
140 WHITE JADE WITH RUSSET SKIN CARVING ‘DOUBLE-GOURD WITH BAT’ PENDANT QING DYNASTY, 19TH CENTURY 清 白玉帶皮巧雕福祿雙全吊墜
finely carved of a double-gourd form, decorated with a further gourd and a flying bat in high relief, the stone of even white colour, the bat highlighted in russet colour with the original stone skin 6cm high
£400-600
141 WHITE JADE WITH RUSSET SKIN ‘SQUIRREL AND GRAPE’ PENDANT QING DYNASTY, 18TH CENTURY 清 白玉帶皮雕松鼠葡萄紋吊墜
carved in the round of a bunch of grapes, a playful squirrel standing on the top, the stone of translucent white colour, cleverly leaving the russet skin on the back and carved as a withered leaf 6cm high
£600-800
142 WHITE JADE CARVING OF A TIGER PENDANT QING DYNASTY, 18TH-19TH CENTURY 清 白玉雕虎形珮
the circular pendant carved in the form of a tiger biting its own tail, the stone of even white tone 3.5cm wide Provenance: Private collection, England, has been collecting Chinese jades for over 20 years
£1,000-1,500
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143 WHITE JADE ‘MELON AND BUTTERFLY’ PENDANT QING DYNASTY, 18TH CENTURY 清 白玉雕瓜瓞綿綿吊墜
finely carved and pierced as a leafy stem bearing two ripe melons, a butterfly perched upon one of the fruits, the stone of even white tone with the russet inclusions cleverly worked into the carving to highlight the butterfly 5cm high
£1,500-2,000
144 CELADON JADE CARING OF A LIDDED VASE QING DYNASTY, 19TH CENTURY 清 青玉浮雕花卉賞瓶帶蓋
of flattened, high-shoulder form, rising from a rocky base, the body flanked by flower branches and a hovering bat, the jade of celadon colour with russet inclusions 16cm high
£3,000-5,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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145 PALE CELADON JADE ‘MONKEY ON HORSE’ CARVING QING DYNASTY, 19TH CENTURY 清 青白玉馬上封侯把件
carved in the round with a recumbent horse turning its head backwards to face the monkey seated upon its back, the monkey playfully holding the horse’s reins, the stone of even pale celadon colour with minor white inclusions 6.6cm wide Provenance: Private Scottish collection, Perthshire
£500-700
146 CELADON JADE ‘BOYS AT PLAY’ BALL MING DYNASTY OR LATER 明或以後 青玉雕嬰戲紋珠
carved in relief with boys in dance or riding on a large goose, together with an auspicious deer and bird in flight, all against a billowing cloud ground, a perforation piercing through the ball, with a wooden stand 4cm diameter Provenance: Private collection, England, has been collecting Chinese jades for over 20 years
£800-1,200
147 TWO JADE ANIMAL CARVINGS QING DYNASTY, 19TH CENTURY
清 白玉雕馬上封侯 及 青白玉雕臥牛擺件（共兩件）
one in the form of a recumbent horse with a small monkey climbing on its back, the stone of white tone with some russet patches on its rear end; the other recumbent buffalo carved with two large horns, with a yoke fastened to its nose, the stone of even pale celadon colour (2) widths: 4.8cm and 6.5cm
£800-1,200
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148 GROUP OF THREE JADE ORNAMENTS QING DYNASTY, 19TH CENTURY
清 青玉雕龍紋鑲嵌花片、青白玉雕手鐲 及 青玉雕龍紋珠 （共三件）
comprising: one rectangular celadon jade plaque carved in openwork with a sinuous dragon above swirling waves, 8.3cm wide; one pale celadon bangle carved in imitation of a beaded bracelet, 8cm diameter; and one celadon jade ball carved in relief with four chi dragons crawling on the surface, an aperture running through the centre, 2.7cm diameter (3) largest: 8.2cm high
£1,000-1,500
149 GROUP OF THREE WHITE JADE CIRCULAR PLAQUES 19TH-20TH CENTURY
十九至二十世紀 白玉雕各式圓形玉牌（共三件）
comprising: one carved with a boy in a rectangular cartouche, the other side carved with three-character ‘Fu, Lu, Shou’ in a seal square, all under two mandarin ducks in openwork; one carved in openwork with ‘Hehe boys’ holding lotus branches; and one carved in relief with a body holding a branch of peaches in a ruyi cloud cartouche, the other side with two characters, all under fruity branches and tendrils in openwork (3) largest: 5.5cm diameter
£500-700
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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A PRIVATE SCOTTISH COLLECTION, KIMMERGHAME HOUSE LOTS 150-159 Major General Sir John Swinton began his military career in 1944 with the Scots Guards, rising in rank to Major General in 1976. He was also Brigadier of the Queen’s Body Guard for Scotland (Royal Company of Archers) in 1977, and retired from Army life in 1979. With his strong military background, he was appointed Deputy Lieutenant for Berwickshire in 1980 and Lord Lieutenant from 1989 to 2000. A high point of his tenure was escorting the Stone of Scone back to Scotland in 1996. The Swinton family history and ownership of land in Berwickshire can be traced to the early part of the 12th century, when Ernulf de Swinton received one of the first private charters recorded in Scotland which confirmed his property from David I of Scotland (1084-1153). This is one of two original charters of David I kept in the cartulary of Durham; both are to Ernulf and also refer to Ernulf’s father (Udard), grandfather (Liulf) and great-grandfather (Eadulf) as holding the land before him. This would make Eadulf the first landowner of Scotland whose ownership could be proved, and means that the Swinton family would by this hypothesis be one of only three (the two others being the Arden and Berkeley families) that could trace its unbroken land ownership and lineage to before the Norman Conquest, making it one of the oldest landed families in Britain. Kimmerghame itself was the site of an earlier house, the home of Sir Andrew Home in the 1730s. The lands and estate of Kimmerghame came into the ownership of the family of Swinton in 1776 when Archibald Swinton of Manderston married Henrietta Campbell of Blythswood in Glasgow. This older house was demolished and rebuilt in the early 1850s, the architect being the celebrated David Bryce, who employed some materials from the older house. Bryce’s Scots Baronial house was substantially damaged by fire in 1938 and only partially rebuilt. The family still retains Kimmerghame and its contents.
150 MUGHAL STYLE PALE CELADON JADE HANDLED BOWL QING DYNASTY, 19TH CENTURY
清 青白玉雕痕都斯坦式花葉紋雙柄碗
the delicate body intricately carved in low relief on the exterior with a band of acanthus leaf, the tip rising from the rim and curling to form a pair of bud-form handles, the deep round body supported on an intricate rosette foot, further encircled by a band of acanthus leaves, the stone of even and translucent pale celadon colour with light occasional cloud inclusions 16cm wide Provenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L. (1925-2018)
£1,000-2,000
PROPERTY FROM A PRIVATE COLLECTION, SCOTLAND
Captain Archibald Swinton (1731-1804) went to India in the service of the East India Company as a surgeon. He reached Madras in 1752 and took part in the campaigns being waged between the French and English Companies for supremacy in the south. He also took part in an expedition 1756-57 to Negrais in Burma. He reached eastern India for the first time in 1759 when he arrived at Ganjam in Orissa and from there went on to Calcutta. He also transferred from being a surgeon to an ensignship in the Company’s Bengal army.
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Major General Sir John Swinton
When Archibald Swinton left the Company’s service at the end of 1765, he took with him a letter from the Emperor to King George III asking for help to reseat him on the throne of his ancestors, since Clive would not do so unilaterally; Swinton took a munshi with him in case the answer should be written in Persian. So ‘Captain Swinton, bringing with him the Munshy (sic) (and including in his baggage the large Indian jars, the Indian pictures, Chinese pictures painted on glass, numberless ivory, silver and crystal handled arms, jewels, Persian books, etc. etc.), sailed from India …’ The important group of Indian paintings and other works of art are now in the care of the National Museum of Scotland having been accepted by the nation in lieu of inheritance tax. The Swinton family have had strong connections with the Army and the legal profession. Part of their impressive collection was sold at our saleroom in Five Centuries: Furniture, Paintings and Works of Art sale on 23 Feb 2022.
151 MUGHAL-STYLE WHITE JADE ‘CHRYSANTHEMUM’ BOWL QING DYNASTY, 19TH CENTURY 清 白玉雕痕都斯坦式菊紋碗
elegantly carved with steep and gently flaring plain sides, supported on a medallion of a blossoming chrysanthemum, the thin polished stone of even and translucent white colour with light occasional cloud inclusions 12cm diameter Provenance: See lot 150
£2,000-4,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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152 OX-BLOOD-GLAZED LANGYAO MEIPING VASE QING DYNASTY, 18TH-19TH CENTURY 清 紅釉郎窯小梅瓶
the high shouldered baluster body rising from a spreading foot to a waisted neck and terminating to a flared rim, covered overall with a rich red glaze thinning on the mouth, the foot suffused with hints of blue and lavender colours, a network of fine crackle throughout, the base with an ivory white glaze with a fine network of crackle, with a carved wooden lid 13cm high Provenance: See lot 150 Note: a slightly larger (17.8 cm high) red-glazed vase similar in the Meiping shape and ox-blood colour, dated to the Kangxi period, is in the collection of the Metropolitan Museum of Art, New York, accession number: 14.40.70
£300-500
153 TURQUOISE-GLAZED HANDLED VASE QING DYNASTY, 19TH CENTURY 清 孔雀綠釉獸耳瓶
rising from a short foot to globular body, waisted neck and wide flared mouth, two makara heads with water emerging from mouth flanking the neck forming a pair of loop handles, covered overall and save for the base with a translucent bright turquoise crackled glaze, the base covered in a thin layer of transparent glaze and revealing the greyish-white body 28cm high Provenance: See lot 150 Note: a comparable handled vase, dated to the Kangxi period, was sold at Christie’s South Kensington, 5 May 2014, lot 615
£300-500
PROPERTY FROM A PRIVATE COLLECTION, SCOTLAND
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154 SANG-DE-BOEUF BOTTLE VASE QING DYNASTY, 18TH-19TH CENTURY 清 紅釉天球瓶
sturdily potted from a recessed foot rising to a bulbous body and straight long neck, applied overall with a thick red glaze thinning on the mouth rim revealing the creamy body, the base covered in an ivory white glaze with a network of fine crackle 39cm high Provenance: See lot 150
£800-1,200
155 BLUE AND WHITE AND UNDERGLAZED-RED BOTTLE VASE 20TH CENTURY
二十世紀 青花釉裏紅三多紋膽瓶
the globular body supported on a slightly flared foot, rising to a long straight neck, painted with fruits borne on foliage underneath bands of ruyi, key-fret, and plantain leaves on the neck 37cm high Provenance: See lot 150
£1,200-1,800
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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156 PAIR OF FAMILLE ROSE ‘COVERT EIGHT IMMORTALS’ PLATES QING DYNASTY, 18TH CENTURY 清 粉彩暗八仙紋盤（一對）
each painted to the central medallion with attributes of Eight Daoist Immortals, including a double-gourd, sword, plantain fan, fish drum, flute, castanets, basket of flowers, and lotus, all borne on ribbons, resting on a large leaf issuing out luscious peonies, all beneath floral and auspicious emblem panels against a pink diaper and swirling ground band (2) 32cm diameter each Provenance: See lot 150
£300-500
157 TWO FAMILLE VERTE GINGER JARS AND COVERS QING DYNASTY, 19TH CENTURY
清 綠彩荷塘清趣圖蓋罐 （兩件）
each similarly painted with a continuous lotus pond scene, with wooden stands (2) heights: 17.5cm and 19.5cm Provenance: See lot 150
£300-500
PROPERTY FROM A PRIVATE COLLECTION, SCOTLAND
158 FAMILLE ROSE ‘LOTUS POND AND MANDARIN DUCKS’ GINGER JAR QING DYNASTY, 19TH CENTURY 清 粉彩荷塘鴛鴦紋罐帶木蓋
of ovoid form, painted to one side with a pair of Mandarin ducks in a lotus pond with large foliage and florals, the reverse with a butterfly, with a carved wooden lid 22cm high Provenance: See lot 150
£300-500
159 JAPANESE KUTANI LIDDED VASE 日本 九谷焼蓋瓶
of bottle form, painted with three figures on the bulbous body 30cm high Provenance: See lot 150
£300-500
Kimmerghame House
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CERAMICS INCLUDING A PRIVATE CANADIAN COLLECTION OF EARLY MONOCHROME (LOTS 169-173) AND A PRIVATE SCOTTISH COLLECTION, LOWOOD HOUSE (LOTS 252 & 253) 160 SANCAI-GLAZED SQUARE POTTERY DISH LIAO DYNASTY, 907-1125 AD 遼 三彩印花方盤
of square form, moulded to the interior with a stylized chrysanthemum blossom and leafy tendrils in amber and green tones on a cream ground, the rim further decorated with flowers and tendrils, the amber glaze covers the sides of the exterior and falls short of the base to reveal the reddish-buff pottery body 11.8cm wide
£600-800
161 CIZHOU TEADUST-GLAZED SGRAFFIATO JAR JIN DYNASTY, 12TH-13TH CENTURY 金代 磁州窯茶葉末釉剔花小罐
the bulbous body supported on a short foot and terminating to a beaded mouth rim, the exterior carved through the tea-dust glaze to the buff-coloured ground before firing with a broad band of leafy scroll between double-line borders 10.2cm wide Note: a comparable Cizhou-type meiping with similar cut-glaze technique and colour of the glaze, also dated to the Jin dynasty, was sold at Christie’s New York, 21 Mar 2014, lot 2087
£300-500
162 TWO QINGBAI BOWLS SONG DYNASTY
宋 青白釉模印花卉紋 及 篦劃紋斗笠碗（共兩件）
each of conical form with gently everted rim, one of the interiors impressed with flower decoration below a beaded band, the other decorated freely with combed pattern, both applied overall with a pale blue glaze tinged with green (2) diameters: 18cm and 18.1cm
£800-1,200
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163 LONGQUAN CELADON ‘LOTUS’ BOWL SOUTHERN SONG DYNASTY 南宋 龍泉窯青釉蓮瓣碗
finely potted, the deep rounded sides rising from a short, slightly tapered foot, the exterior subtly moulded with slender overlapping lotus petals, covered overall with a sea-green glaze, save for the unglazed foot ring revealing the grey stoneware body burnt slightly orange 14cm diameter
£300-500
164 QINGBAI ‘TWIN FISH’ BOWL SONG DYNASTY
宋 青白釉刻雙魚紋斗笠碗
of conical form with gently everted rim, the interior carved freely with a lively leaping pair of carps on a neatly combed wave ground, applied overall with an elegant pale blue glaze tinged with green, the flat foot unglazed, the base with remnant of an old label ‘R.F.A. Riesc.. No. 116’ 17.9cm diameter Provenance: Private Scottish collection, from The Riesco Collection, Sotheby’s London, 11th December 1984, lot 116 (label) Raymond Francis Alfred Riesco (1877-1964), had a long and distinguished career in the insurance world, starting in 1895 and retiring in December 1954. Besides acquiring Chinese porcelain, he was also an authority on philately and bought watercolours and etchings. He was a Council member of the Oriental Ceramic Society from 1951-1961 and was a generous friend of the Society. He built a superb collection of Ming and Qing porcelains and after selecting a few important pieces for the British Museum, donated his whole collection to the corporation of Croydon.
Alternate view
£400-600
165 TWO QINGBAI LOBED BOWLS SONG DYNASTY
宋 青白釉刻花卉紋葵口碗 及 青白釉葵口盞（共兩件）
one supported on a short foot, the sloping sides raising to an elegantly everted rim with six lobes, the interior carved with flowers in swirling tendrils against a combed ground; the other of conical shape with slightly everted rim with six lobes, both bowls covered overall with a lustrous pale bluish glaze and the base left unglazed diameters: 18.2cm and 11cm
£500-700
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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166 LONGQUAN CELADON RETICULATED WARMING BOWL MING DYNASTY
明 龍泉青釉鏤空花卉紋溫碗
the heavily-potted bowl of hollowed and double-walled construction, with deep rounded exterior and the interior a shallow bowl, the exterior freely carved in openwork with flowers in tendrils, revealing the underside of the inner bowl, the centre of the interior carved with a large flower blossom encircled by a band of leafy tendrils on the cavetto, covered overall with a rich olive-green glaze, leaving only the base with an unglazed disc, revealing the burnt orange body 16cm diameter Note: a Ming dynasty Longquan celadon warming bowl with comparable reticulated design was sold at Christie’s New York, 17 March 2017, lot 1171; another warming bowl with carved decoration on the exterior and dated to the early Ming dynasty was sold at Sotheby’s Hong Kong, 18 December 2020, lot 1011.
£600-800
167 LONGQUAN CELADON-GLAZED TEA BOWL SOUTHERN SONG DYNASTY OR LATER 南宋或以後 龍泉粉青釉斗笠盞
of conical form, applied overall save for the ring foot with an attractive translucent light green glaze, the glaze with a broad network of crackles 15.4cm diameter
£1,500-2,000
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168 LARGE LONGQUAN CELADON CARVED ‘FLOWER’ FOLIATED BOWL MING DYNASTY OR LATER
明或以後 龍泉窯青釉劃花紋菱口大碗
heavily potted with lobed sides and a foliated mouth rim, the interior decorated with a central medallion surrounded by leafy lotus and chrysanthemum sprays in scrolling foliage, the exterior further carved with eight upright lotus sprays, the bowl covered overall with a rich olive-green glaze save for an unglazed ring to the base revealing the burnt orange and brown buff body 31cm diameter Note: two closely comparable large Longquan celadon bowls of similar decoration and size, dated to the early Ming dynasty (30.6cm and 32.3cm diameter), are in the collection of the National Palace Museum, Taipei, museum no. 故瓷 Gu Ci 4823 and 17636. A smaller (24.3cm diameter) Ming dynasty Longquan celadon bowl is in the collection of the Suzhou Museum. A Longquan dish also potted with a foliate mouth rim, but with more plain decoration and dated to the 15th century is illustrated in the Southeast Asian Ceramics Society, Chinese Celadons and Other Related Wares in Southeast Asia, Singapore, 1955, pp. 240-241, pls. 186 and 188.
Alternate view
£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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A PRIVATE CANADIAN COLLECTION OF EARLY MONOCHROME LOTS 169-173
169 BLACK-GLAZED ‘OIL-SPOT’ LOTUS-BUD SHAPED WATER POT SONG TO MING DYNASTY
宋至明 山西窯黑釉油滴雞心罐
finely potted with a globular body tapering towards a narrow mouth, covered overall with a black glaze suffused with metallic ‘oil spots’ tone, ending irregularly above the foot and revealing the buff stoneware body 8.8cm high Provenance: Private Canadian collection
£800-1,200
170 YAOZHOU CELADON-GLAZED FOLIATE TEN-LOBED BOWL SONG DYNASTY
宋 耀州窯青釉花口碗
delicately potted, the ten-lobed foliate petal sides radiating out to a wide mouth from the flat bottom, supported on a short slightly flared foot, covered overall in an even pale celadon glaze save for the foot revealing a dense buff stoneware body 14cm diameter Provenance: Private Canadian collection Note: a comparable Yaozhou celadon five-lobed bowl dated to the Five Dynasties/Northern Song dynasty was sold at Sotheby’s New York, 19 March 2007, lot 306
£3,000-5,000
PROPERTY FROM A PRIVATE COLLECTION, CANADA
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171 WHITE-GLAZED STONEWARE CUP TANG DYNASTY 唐 白釉杯
thinly potted of deep U-shape, supported on a low flaring solid foot, covered overall in a transparent glaze suffused with crackles, stopping neatly above the foot to reveal the white body 11.2cm diameter Provenance: Private Canadian collection, acquired in New York; Formerly in the Property of the Estate of David Rockefeller (see images); Ex Private Chinese Collection, acquired in 2001 Note: Item 97 in the David and Peggy Rockefeller Collection Vol. V Supplement, Privately Published, New York, 2005
£4,000-6,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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172 LONGQUAN CELADON-GLAZED VASE SOUTHERN SONG DYNASTY 南宋 龍泉青釉瓶
the pear-shaped body supported on a slightly tapered foot and rising to a tall cylindrical neck and galleried rim, covered overall in an even blue-green glaze save for the foot ring 15.6cm high Provenance: Private Canadian collection
£3,000-5,000
PROPERTY FROM A PRIVATE COLLECTION, CANADA
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173 LONGQUAN CELADON YUHUCHUN VASE EARLY MING DYNASTY
明早期 龍泉窯青釉劃花花卉紋玉壺春瓶
the elegantly proportioned pear-shaped body rising from a slightly splayed foot, sweeping up to a tall waisted neck and an everted lipped rim, the body boldly carved with large flowers borne on an undulating stem also issuing furled leaves, above a broad lotus lappet band enclosing ruyi heads, with a key-fret border at the foot, the shoulder encircled by a pendent ruyi-head border, with classic scroll, key-fret and upright lappet bands at the neck, applied overall with an even olive-green glaze save for the foot ring 31.5cm high Provenance: Private Canadian collection; formerly in a private Hongkongese collection, the late collector acquired it from Hong Kong before migrating to Canada Note: five comparable Longquan celadon-glazed yuhuchun bottle vases incised with flower motifs and dated to the Ming dynasty are in the collection of the National Palace Museum, Taipei, museum number: 故瓷9976, 11899, 14574 and 中瓷1404, 3978; another Ming dynasty example of similar shape and colour of the glaze is in the Summer Palace collection. A further comparable example dated to Ming dynasty, Hongwu period, was sold at Sotheby’s New York, 20 March 2019, lot 607.
£3,000-5,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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174 BLUE AND WHITE ‘DRAGON AND PHOENIX’ JAR WANLI MARK BUT LATER 萬曆款 青花龍鳳紋瓜菱罐
of lobed form, painted on each panel with alternating dragon and phoenix, the base inscribed with a six-character Wanli mark in double-circle in underglaze blue 11.5cm high
£500-700
175 BLUE AND WHITE ‘THREE STAR GODS’ CENSER QING DYNASTY, 18TH CENTURY 清 青花福祿壽三星香爐
of compressed bulbous form, the exterior decorated with the ‘Three Star Gods’ representing prosperity, success and longevity, all in a seated pose, alternating with the characters fu, lu and shou, all below a band of wavy pattern around the mouth rim 21.5cm wide Note: a closely comparable blue and white censer with similar decoration and dated to the Kangxi period, was sold at Christie’s New York, 13 Sep 2019, lot 1117
£600-800
176 LARGE BLUE AND WHITE ‘DRAGON’ JAR MING DYNASTY OR LATER 明或以後 青花龍紋大罐
the bulbous body depicting a sinuous four-clawed dragon chasing a flaming pearl above swirling waves, the short straight neck adorned with geometric pattern 27cm wide Provenance: Private English collection, acquired in 2013; Formerly in a private English collection, Dorchester, it was acquired during his ancestor’s military service in China between 1890 and 1900, and thence by descent
£3,000-5,000
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177 BLUE AND WHITE ‘SEVEN SAGES’ BRUSH POT TRANSITIONAL PERIOD, 17TH CENTURY 過渡期 青花竹林七賢筆筒
of cylindrical form, finely painted with a continuous scene of the ‘Seven Sages’ in a bamboo grove with craggy rocks and plantain trees, engaged in various scholarly pursuits including one playing the qin, another reading poetry, accompanied by attendants preparing an incense burner, between two incised bands 19cm diameter
£6,000-8,000
Reverse
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
102
178 BLUE AND WHITE ‘LANDSCAPE’ GINGER JAR QING DYNASTY, QIANLONG PERIOD 清乾隆 青花山水紋罐
the ovoid body rising to a short neck, the sides painted with small figures in a landscape setting 22cm high Provenance: formerly in a private UK collection
£400-600
179 BLUE AND WHITE ‘DRAGON’ CIRCULAR PLAQUE QING DYNASTY, 18TH CENTURY 清 青花雲龍紋瓷板
painted within double circles with a five-clawed front-facing ferocious dragon chasing a flaming pearl in the centre amidst auspicious clouds, in a faux-bamboo wooden frame 23.7cm diameter
£1,500-2,500
180 BLUE AND WHITE ‘ANTIQUITY’ PORRIDGE JAR QING DYNASTY, KANGXI PERIOD 清康熙 青花開光博古圖冰梅紋粥罐
the slightly tapering cylindrical body rising to a short neck, the sides painted with two cartouches with various antiquities against a ‘cracked-ice and prunus’ ground 20.5cm wide Provenance: formerly in a private English collection, Somerset
£600-800
Reverse
103
181 LARGE PAIR OF BLUE AND WHITE PLATES QING DYNASTY, KANGXI PERIOD 清康熙 青花呂布戲貂蟬圖大盤一對
each finely painted on the interior with a famous story in the classical fiction The Three Kingdoms, depicting a young soldier Lu Bu teasing the beautiful lady Diao Chan and caught by Dong Zhuo, the cavetto further adorned with books and scrolls in cartouches against a diamond ground, the exterior freely painted with flowers in tendrils, the mouth rim applied with brown glaze (2) 33.5cm each Provenance: Formerly in a private English collection, acquired from France about 30 years ago; originally mounted with metal frames for hanging on the wall but removed
£2,000-3,000
182 PAIR OF BLUE AND WHITE ‘DRAGON’ BOWLS CHENGHUA MARK BUT QING DYNASTY, KANGXI PERIOD 清康熙 成化款 青花雙龍趕珠紋撇口碗（一對）
each thinly potted, rising from straight foot to deep rounded sides and everted rim, painted on the exterior with two ferocious dragons chasing flaming pearls against clouds, the centre of the interior painted with a pointed mountain standing in the swirling waves under the full moon, the rim further decorated with clouds, the base inscribed with a sixcharacter Chenghua mark in a double-circle (2) Alternate view
20.2cm diameter each Provenance: Private Scottish collection
£300-500
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
104
183 BLUE AND WHITE ‘DRAGON’ PLATE DAOGUANG MARK BUT 19TH-20TH CENTURY 十九至二十世紀 道光款 青花五爪龍紋盤
supported on a short foot, the interior decorated with a single fiveclawed dragon pursuing a flaming pearl, the exterior similarly adorned with two dragons, the base incised with a six-character Daoguang mark in underglaze blue 16.3cm diameter Provenance: Private English collection, Surrey
£800-1,200
184 GE-TYPE CRACKLE-GLAZED WITH BLUE AND WHITE ‘BUTTERFLY AND MELON’ VASE QING DYNASTY, 19TH CENTURY 清 仿哥釉青花瓜瓞綿綿紋雙耳瓶
of baluster form, the exterior painted in underglaze blue with butterflies in flight between melons on branches, with two tendrils forming the handles flanking the neck, both the interior and exterior covered overall with a thick layer of creamy glaze with ivory tinge and a web of fine russet crackles, leaving the foot rim unglazed and revealing the buff stoneware body 25.5cm high
£400-600
185 BLUE AND WHITE RECTANGULAR VASE QING DYNASTY, KANGXI MARK BUT 19TH CENTURY 清 康熙款 青花花卉人物紋方瓶
of four-sectioned baluster form with an everted mouth rim, one wider side of the exterior painted with three figures in a garden setting, the other three sides painted with different blossoming flowers on rocks, the neck similarly decorated, the base inscribed with a sixcharacter apocryphal Kangxi mark in underglaze blue 30cm high Provenance: formerly in a private English collection
£1,000-1,500
Reverse
186 BLUE AND WHITE ‘IMMORTALS’ GU VASE MING DYNASTY, CHONGZHEN PERIOD 明崇禎 青花雙仙圖花觚
of trumpeted beaker form, animatedly painted around the body with the Daoist immortal Liu Haichan teasing his three-legged toad with the help of Han Xiangzi buoyantly playing music with a flute, all within two incised bands near the foot and mouth 39cm high Provenance: Private European collection Note: Compare to a blue and white gu vase, painted in the same theme, slightly shorter (36.3cm), dated to Ming dynasty Chongzhen period, sold at Johan’s Beijing, 15 April 2018, lot 22
£8,000-12,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
106
187 DOUCAI ‘WANG XIZHI AND GOOSE’ CUP QING DYNASTY, KANGXI MARK AND OF THE PERIOD 清康熙款及年代 鬥彩羲之愛鵝圖杯
Reverse
delicately potted with a slightly everted rim, the exterior painted with a continuous scene depicting the Jin Dynasty writer Wang Xizhi leaning against a gnarled pine tree watching a pair of geese and a boy attendant, the base inscribed with a six-character Kangxi mark within double-circle in underglaze blue 9.1cm diameter
£3,000-5,000
188 TWO BLUE AND WHITE TEAPOTS WITH LIDS QING DYNASTY, KANGXI AND QIANLONG PERIOD
清康熙 青花花卉紋執壺帶蓋 及 清乾隆 青花山水樓閣壺帶蓋（一組兩件）
one of melon form, Kangxi period, attached with a looped handle and straight spout on either side, the ribbed body and dome cover both painted with various flowers on branches; and one of globular form attached with a looped handle and an animal-form spout, the body painted with figures in landscapes, the cover with an animal figure (2) widths: 15.5cm and 18cm Provenance: Private English collection, Norfolk
£800-1,200
189 DOUCAI GINGER JAR QING DYNASTY, 19TH CENTURY 清 鬥彩花卉紋罐
of bulbous form, painted freely with blossoming flowers borne on scrolling tendrils, the base left unglazed 18cm high
£300-500
107
Alternate view
190 LARGE BLUE AND WHITE FLASK, BIANHU 20TH CENTURY
二十世紀 青花花卉紋大扁壺
sturdily potted with a flattened spherical body with a domed side, painted with a band of floral scroll within a band of crashing and swirling waves, the centre further raised with a domed boss decorated with an Islamic eight-pointed star, set with a short cylindrical mouth on the top and flanked by two ring handles, the base unglazed with a countersunk central recess 50cm high Note: It is rare to find a flask of this form, possibly after a metal shape. The large, flat expanses and sharp angles natural to a metal shape are difficult to translate into porcelain clay, which tends to warp and crack during firing. A number of Chinese porcelains were made of this form during the Ming dynasty that show the influence of Islamic artefacts, probably inspired by Islamic metalwork. There is a slightly larger Syrian brass canteen, dating to the early-15th century, in the collection of the Freer Gallery, Washington, accession number F1941.10. This porcelain form of vessel may have been made for a Chinese clientele fascinated by Islamic metalware forms. Some comparable blue and white flasks dated to the Ming dynasty: one of 41.8cm wide is in the collection of Freer Gallery of Art, accession number F1958.2; a slightly smaller one of 36.5cm width with different decoration on the central boss is in the collection of National Palace Museum Taipei, no. 故瓷11643; a further example sold at Christie’s London on 6 Nov 2007, lot 156
£400-600
191 LARGE BLUE AND WHITE WITH UNDERGLAZE RED ‘LOTUS’ VASE LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 青花釉裏紅纏枝連紋螭龍耳大瓶
the body heavily potted and supported on a splayed foot, the angled shoulder tapered to a waisted neck, extending to a large opening of a disc mouth, the body finely painted with lotus in tendrils, the neck adorned with peaches and pomegranates on branches between plantain leaves and wave pattern, a pair of chi dragon handles flanking the neck, the base unglazed 46.5cm high
£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
108
192 TWO BLUE AND WHITE SEAL PASTE BOXES AND COVERS QING DYNASTY, KANGXI AND YONGZHENG MARKS BUT 19TH CENTURY 清 康熙款 青花山水人物紋印盒 及 雍正款 青花螭龍紋印盒（共兩件）
one painted with small figures in mountainous landscape on the domed cover, and small fishermen on the sides of the box, the base inscribed with a six-character Kangxi mark; the other adorned with a sinuous chi dragon against a swirling tendril on the ground, the box similarly decorated, the base inscribed with a six-character Yongzheng mark (2) Diameters: 8.5cm and 5.5cm
£400-600
193 DOUCAI ‘LOTUS’ VASE LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 鬥彩纏枝蓮紋賞瓶
decorated on the bulbous body with lotus flowers borne on foliated slender tendrils, the slender neck with a band of shaped plantain leaves, all decorations outlined in underglaze blue and enhanced with enamels, the base unglazed 16cm high
£300-500
194 BLUE AND WHITE PORRIDGE JAR 青花開光博古山水圖壽字紋粥罐
the tapering cylindrical body rising to a short neck, the sides decorated with two cartouches, respectively painted with various antiquities and small figures in a landscape setting, flanked by longevity character, all below a key-fret band 19cm wide, 16.5cm high
£1,000-1,500
109
195 PAIR OF BLUE AND WHITE ‘LADY’ BALUSTER VASES QING DYNASTY, KANGXI MARK BUT 19TH CENTURY 清 康熙款 青花仕女圖瓶一對
each rising from a short spreading foot to a short and straight neck, the exterior painted with four ladies holding a flower in a cartouche formed by plantain trees and butterflies, the neck further adorned with flowers, the base inscribed with a four-character apocryphal Kangxi mark in underglaze blue (2) 23.5cm high each
£400-600
196 BLUE AND WHITE ‘LONGEVITY’ GINGER JAR QING DYNASTY, KANGXI PERIOD 清康熙 青花壽字花卉紋罐
the exterior painted with six ‘shou’ longevity characters, intermittent with floral motifs, all between plantain leaves above the foot and a band of ruyi cloud head below the mouth 20.5cm high Provenance: Private English collection, Surrey; acquired from a private Scottish collection
£800-1,200
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
110
197 DOUCAI ‘PHOENIX AND FLOWER’ VASE 19TH-20TH CENTURY
十九至二十世紀 鬥彩穿花鳳凰紋瓶
of bottle form, painted with stylised phoenixes amongst dense flower heads borne on scrolling tendrils, all between ruyi and plantain leaf bands 29cm high
£300-500
198 CELADON-GLAZED BLUE AND WHITE BOTTLE VASE 19TH-20TH CENTURY
十九至二十世紀 豆青釉青花群仙獻壽瓶
heavily potted with a globular body, extending to a long straight neck, the body painted in blue with various immortals gathering in a garden setting, including Shoulao (the immortal of longevity), who grants an elder man a large peach, accompanied by a crane, all reserved on a subtle celadon glaze ground 44cm high
£800-1,200
111
199 LARGE BLUE AND WHITE VASE WANG XILIANG (1922-), DATED 1991AD
一九九一年 王錫良款 青花奇峰蒼松圖撇口大瓶
painted on the ovoid body with a continuous landscape with pine trees and dramatic peaks from afar, inscribed on one side with a poem, signed ‘Wang Xiliang’, sealed, and dated to the year of Xin Mo, corresponding to 1991AD 62cm high
Reverse
£400-600
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
112
200 COPPER-RED-GLAZED WATER POT YONGZHENG MARK BUT LATER 雍正款 紅釉水丞 含銅龍首勺
of compressed globular form, covered on the exterior with a rich copper-red glaze below the white rim, the base inscribed with an apocryphal Yongzheng mark in double-circle in underglaze blue, together with a bronze dragon-headed ladle 6.8cm wide
£300-500
201 PAIR OF IRON-RED-DECORATED ‘DRAGON’ CUPS QIANLONG MARK BUT 19TH-20TH CENTURY
十九至二十世紀 乾隆款 白地軋道礬紅彩雙龍 趕珠紋杯一對 each thinly potted with smoothly flaring rim, the exterior enamelled in iron-red with two striding five-clawed dragons chasing flaming pearls amongst clouds and flame scrolls, all against a sgraffito wavy ground in white enamel, all below a gilt rim, the base inscribed with a six-character Qianlong mark in double-square in iron-red (2) 6cm diameter each
£300-500
202 CORAL-GROUND RESERVE-DECORATED ‘BAMBOO’ BOWL QING DYNASTY, DAOGUANG MARK, 19TH CENTURY 清 道光款 珊瑚紅地留白竹紋碗
finely potted with deep rounded sides rising from a short straight foot, reserve painted in rich coral-red with leafy bamboo branches, the interior glazed white, the base inscribed with a six-character Daoguang mark in underglaze blue 11.3cm diameter Provenance: Private London collection
£800-1,200
113
203 GILT-DECORATED CORAL-RED- GLAZED TEA BOAT QING DYNASTY, JIAQING MARK AND OF THE PERIOD 清嘉慶款及年代 珊瑚紅地描金纏枝蓮紋茶船
of boat form, the base of the interior painted with a lotus surrounded by four butterflies, each side of the interior decorated with a bat and lotus in tendrils, the exterior further adorned with butterflies and lotus in tendrils, the base inscribed with a six-character Jiaqing mark in iron-red on a turquoise ground 14.5cm wide Provenance: Private English collection, Surrey Note: In Tao Ya, the old man of Jiyuan in the Qing Dynasty mentioned that “A cup holder is called a tea boat. In the Ming dynasty, it was made like a boat. In the Kangyong (Kangxi and Yongzheng) period, the holder for a small wine cup was rounded and not hollowed, but the Song kiln was hollowed. The design over time has fixed the simplicity and clumsiness.” It can be seen that the boat-shaped cup holder or saucer appeared in the Ming dynasty. Its purpose was to hold the teacup to keep the heat from hands. Later, due to its boat-like shape, it was then named the “tea boat”.
£3,000-5,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
114
204 CRACKLED GREEN-GLAZED BOTTLE VASE 19TH-20TH CENTURY
十九至二十世紀 郎窯綠釉天球瓶
sturdily potted, the globular body surmounted by a long neck and terminating to an everted rim, the exterior covered in a pale apple-green crackled glaze 30.5cm high
£300-500
205 COPPER-RED-GLAZED VASE QING DYNASTY, 18TH-19TH CENTURY 清 郎窯紅釉尊
sturdily potted with a deep bulbous body, waisted neck and everted rim, covered overall with a deep red glaze thinning on the mouth and neck with white streaks, suffused with fine craquelure throughout, the base covered with a ge-type glaze 37.8cm high Provenance: Private Scottish collection, has been in the family for over three generations
£300-500
115
206 FLAMBÉ-GLAZED BOTTLE VASE QING DYNASTY, 18TH-19TH CENTURY 清 窯變釉天球瓶
heavily potted with globular body rising to a long cylindrical neck, covered overall with an uneven red glaze suffused with lavender and blue streaks, the glaze thinning on the mouth revealing a yellowish-brown coloured body, the thick glaze pooling and forming the foot, the unglazed base revealing the brownish buff body 37.3cm high Provenance: Private Scottish collection, has been in the family for over three generations. The base with a handwritten label ‘Alloa House Sale Earl of Mar & Kellie 1957’
£300-500
207 APPLE-GREEN CRACKLE-GLAZED VASE QING DYNASTY, QIANLONG PERIOD 清乾隆 綠釉仿金屬器形雙龍耳瓷瓶
the lobed globular body supported on an octagonal foot, the rectangular neck surmounted on two oval steps and terminating into a foliate everted rim, flanked by two dragon-headed loop handles, covered overall with an apple-green glaze suffused with a fine network of russet colour 21.5cm high Provenance: formerly in a private French collection
£600-800 Base
116
208 RUBY-RED-GLAZED CUP KANGXI MARK AND POSSIBLY OF THE PERIOD 康熙款或到代 胭脂紅釉小杯
thinly potted with deep bulbous sides rising to a slightly tapered body, applied on the exterior with bright ruby-red glaze, the countersinking base inscribed with a six-character Kangxi mark within double-circles in underglaze blue 6.3cm diameter
£2,000-3,000
209 CORAL-GROUND RESERVE-DECORATED ‘LOTUS’ BOWL QING DYNASTY, GUANGXU MARK AND OF THE PERIOD 清光緒款及年代 珊瑚紅地留白纏枝連紋碗
finely potted with deep rounded sides rising from a short straight foot, reserve painted in rich coral-red with blossoming lotus flower in tendrils, the interior glazed white, the base inscribed with a six-character Guangxu mark in underglaze blue 12.6cm diameter Provenance: Private London collection; acquired from an art gallery in New York
£1,500-2,000
117
210 TEADUST-GLAZED OLIVE-FORM VASE QINALONG SIX-CHARACTER MARK AND POSSIBLY OF THE PERIOD 乾隆款或到代 茶葉末釉橄欖瓶
of ovoid form, with gently swelling sides rising to a subtly tapered opening, covered overall in a rich golden olive-green glaze speckled with yellow and brown and thinning to a deep caramel tone at the mouth, with the foot rim dressed in a dark brown wash, the recessed base impressed with a six-character Qianlong mark 13.5cm high Provenance: formerly in a private English collection, acquired from Hong Kong in the early 1990s; the base is inscribed with ‘1.742’ in a red-paint. Note: Teadust-glazed vases of this ovoid form are extremely rare. Other examples of teadust-glazed vases of this form include one exhibited at the Arts Club of Chicago, Chinese Art from the Collection of James W. and Marilynn Alsdorf, 1970, no. c73, and subsequently sold at Christie’s Hong Kong, 23 March 1993, lot 741; and another sold at Sotheby’s London, 12 June 1990, lot 283. Another example exhibited at Christie’s London, An Exhibition of Important Chinese Ceramics from the Robert Chang Collection, 2-14 June 1993, Catalogue no. 52, and subsequently sold at Christie’s New York, 25 Mar 2022, lot 1049
£5,000-7,000
Base
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
118
212 YELLOW-GLAZED DISH XUANDE MARK BUT POSSIBLY QING DYNASTY 或為清代 宣德年製款 嬌黃釉盤
with rounded sides rising from the short, tapering foot, covered in a rich yellow glaze save for the white-glazed base, inscribed with a six-character Xuande mark within a double circle in underglaze blue 19.5cm diameter
£3,000-5,000
211 GE-TYPE CRACKLE-GLAZED VASE QING DYNASTY, 18TH-19TH CENTURY 清 仿哥釉瓶
of spindle shape, the high shouldered body rising smoothly to a waisted neck and terminating to a flared rim, the exterior covered in a thick layer of light greyish glaze with greenish tinge suffused with a network of russet crackle, the sunken base applied with white glaze 27.5cm high
£600-800
213 CELADON-GLAZED ‘MAKARA’ HANDLED VASE QING DYNASTY, YONGZHENG MARK BUT 19TH CENTURY 清 雍正款 粉青釉雙獸耳瓶
the bulbous body supported on a splayed foot and terminating to the wide mouth, the neck applied with makara (dragon fish) handles, covered overall with a celadon glaze, leaving the foot ring unglazed revealing the fine porcelain body, the base inscribed with a six-character apocryphal Yongzheng mark in underglaze blue 26cm high Provenance: Private English collection, Surrey Note: a paper label on the base “no.1863”
£600-800
119
214 PEACHBLOOM-GLAZED BEEHIVE WATER POT KANGXI SIX-CHARACTER MARK AND POSSIBLY OF THE PERIOD 康熙款或到代 豇豆紅釉太白尊
the rounded sides raised to a short, waisted neck and slightly flaring mouth, incised with three archaistic dragon roundels beneath a glaze of even, crushed strawberry tone suffused with mottled copper-green, the rim, interior and base are covered in a transparent glaze, the base inscribed with a six-character Kangxi mark in underglaze blue 12.5cm wide Provenance: formerly in a private American collection Note: Water pots of this form are known as Taibai zun, after the Tang dynasty poet Li Bai (also named Li Taibai, 701-762) who is often depicted leaning against a large wine vat of this shape. Similar peachbloom-glazed water pots are found in various museums and collections worldwide, including the Percival David Foundation of Chinese Art, illustrated in Earth, Fire and Water: Chinese Ceramic Technology, London, 1996, no. 24, p. 34; the Baur Collection, Catalogue, vol. III, Geneva, 1999, nos. A305, A310 and A313-A316; a full set of the eight vessels at the Metropolitan Museum of Art, illustrated by S.G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, p. 237; the British Museum, Oriental Ceramics, The World’s Great Collections, vol. 5, Tokyo, 1981, no. 230. Compare to a similar water pot sold at Christie’s Hong Kong, 30 November 2011, lot 2924. An example of a smaller size (8.9cm diam.) was sold at Sotheby’s Hong Kong, 11 April 2008, lot 2907.
£10,000-15,000
Base Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
120
215 GE-TYPE CRACKLE-GLAZED INCENSE BURNER QING DYNASTY, 19TH CENTURY 清 雍正款 仿哥釉簋式爐
of archaic vessel ‘gui’ shape with compressed globular body and waisted neck, flanked on both sides with two loop handles, applied overall with a thick bluish-grey glaze suffused with a broad network of black and russet crackles, the base inscribed with a sixcharacter Yongzheng mark in underglaze blue 20cm wide across handles
£1,000-2,000
216 GE-TYPE CRACKLE-GLAZED ‘TAOTIE’ JAR XUANDE MARK BUT 19TH CENTURY 清 宣德款 仿哥釉雙饕餮耳罐
the bulbous body supported on a short foot ring and terminating into a stepped mouth rim, either side flanked with a taotie-headed loop handle, the vessel fully covered in a creamy ivory glaze, with a web of fine russet crackles, leaving the foot rim unglazed, a russet colour applied to the mouth rim, handles and the middle of the body, the base inscribed with a four-character apocryphal Xuande mark 20.5cm high Provenance: Private English collection, Surrey
£600-800
217 GE-TYPE CRACKLE-GLAZED WASHER QING DYNASTY, 19TH CENTURY 清 仿哥釉鏜鑼洗
sturdily potted in compressed globular form rising to a short straight rim, applied overall save for the disc foot with a creamy white glaze with a network of black crackles, the rim applied with a light brown glaze 21.5cm diameter Provenance: Private Scottish collection, Edinburgh. Acquired in Shanghai by current owner’s grandparents in 1920s when worked at the customs service, thence by direct descent
£400-600
121
218 GE-TYPE CRACKLE-GLAZED LION-HEAD CENSER QING DYNASTY, 18TH CENTURY 清 仿哥釉雙獅耳香爐
of compressed globular form, supported on a short foot ring and terminating into a splayed mouth rim, either side flanked with a lion-headed handle, the vessel fully covered in a thick greyish glaze with a web of fine russet crackles, leaving the foot rim unglazed, a russet colour applied to the mouth rim and the handles 20.2cm diameter
£1,000-1,500
219 LEMON-YELLOW-GLAZED FOLIATED BOWL QING DYNASTY, DAOGUANG MARK, 19TH CENTURY 清 道光款 檸檬黃釉花口碗
thinly potted with deep and steep body, flared rim, moulded in the interior with a rosette as the central medallion, notched rim to resemble flower petals, applied overall save for the base with a luscious bright yellow glaze, the base inscribed with a six-character Daoguang mark in underglaze blue 17.2cm diameter
£1,000-1,500
220 GE-TYPE CRACKLE-GLAZED SQUARE VASE 仿哥釉饕餮耳方壺
of hu form with squared sections, raised from a splayed foot and terminating in a flared mouth, the foot, the shoulder flanked with two taotie masks and ring handles on two sides, the vessel covered overall in a thick layer of glaze with black crackles, the foot ring painted in brown, the base with a six-character reign mark in underglaze blue but drilled through 32.5cm high
£800-1,200
Base
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
Lot 253 (in Lowood House)
123
221 WUCAI ‘DRAGON AND PHOENIX’ BOX WANLI MARK BUT LATER 萬曆款 五彩龍鳳紋盒
of rectangular form, supported on a stepped foot, the exterior painted with dragons and phoenixes, the base inscribed with a six-character apocryphal Wanli mark in double-rectangular in underglaze blue 16cm wide Provenance: Private English collection, has been in the family for over 30 years
£400-600
222 WUCAI BARREL-SHAPED TEAPOT WITH COVER QING DYNASTY, KANGXI PERIOD
清康熙 五彩開光山水人物紋鼓式茶壺（含後嵌銀壺 嘴）
finely painted on either side with small figures in a mountainous landscape in a cartouche, the top and bottom of the teapot moulded with raised bosses, the cover similarly decorated with a lion finial, attached with a loop handle, mounted with a silver straight spout 18cm wide Provenance: Private English collection, Surrey; formerly in a private English collection, Devonshire
£500-700
223 GROUP OF THREE WUCAI WARES QING DYNASTY, 19TH CENTURY
清 各式五彩花鳥樹紋瓶、碗及水丞（共三件）
comprising: one small bottle vase decorated with birds and chrysanthemums; one bowl with pine trees and plum blossoms, the base inscribed with a square mark in underglaze blue; and one water pot with three birds flying amidst plum blossoms (3) the vase: 15.5cm high; the bowl: 11.5cm diameter; the jar: 10.5cm wide
£600-800
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
124
Reverse
225 WUCAI BRUSH POT QING DYNASTY, 19TH CENTURY 清 五彩文王訪賢圖筆筒
painted around the exterior with a narrative scene of a fisherman called away from his work to meet with King Wen of Zhou accompanied by a retinue of attendants and armoured guards 24cm high Provenance: acquired from the Newark Antiques Fair, England; previously in a private English collection
£500-700
224 WUCAI OVOID VASE QING DYNASTY, 19TH CENTURY 清 五彩西廂記人物故事圖橢圓形瓶
of flattened form, the four-lobed body finely painted in cartouches with scenes in the Romance of the Western Chamber, where the female protagonist Cui Yinyin, accompanied by her servant girl Hong Niang, visiting her lover Zhang Sheng studying in a pavilion in a garden setting, the narrower lobes painted with merchants and officers in stylised roundels, the neck similarly decorated, all against a flower-and-butterfly ground 42.5cm high
£500-700
226 WUCAI FOUR-SECTIONED ‘WARRIORS’ VASE QING DYNASTY, 19TH CENTURY 清 五彩武士圖菱形瓶
sturdily potted, supported on a splayed foot, the four-sectioned, diamond-shape vase with straight sides, topped with a short curvy neck and terminated to an everted rim, each side of the body finely painted with a different warrior, all below a band of plantain leaves 48.5cm high Provenance: Private English collection, Surrey; acquired from a private Scottish collection
£600-800
125
227 WUCAI ‘ZHONG KUI AND SISTER’ VASE QING DYNASTY, 19TH CENTURY 清 五彩鍾馗嫁妹圖瓶
the exterior finely decorated with the legendary “demon queller” Zhong Kui leading his sister to her new home accompanied by an escort of demons, all below a band of Daoist attributes around the shoulder, the neck painted with meandering red clouds 31.5cm high Provenance: Private English collection, Surrey
£800-1,200
Reverse
228 PAIR OF WUCAI ROULEAU VASES 20TH CENTURY
二十世紀 五彩西廂記人物故事圖賞瓶 一對
each painted on the exterior in rectangular panels with scenes in the Romance of the Western Chamber, where the female protagonist Cui Yinyin, accompanied by her servant girl Hong Niang, visiting her lover Zhang Sheng, the neck painted with flowers in stylised cartouche, all against a flower-andbutterfly ground 46cm high each
£1,000-1,500
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
126
229 PAIR OF FAMILLE ROSE BRUSH WASHERS QING DYNASTY, 19TH CENTURY
清 道光年造款 粉彩如意蝙蝠紋四方筆洗（共兩件）
each of squatted square form, supported on a short foot, the exterior painted with iron-red bats hovering amidst ruyi clouds in polychrome, the base inscribed with a four-character ‘Dao Guang Nian Zao’ mark in square in iron-red, with fitted wooden stand (2) 7.5cm wide each
£1,000-1,500
230 PAIR OF FAMILLE ROSE TEACUPS WITH COVERS 19TH-20TH CENTURY
十九至二十世紀 慎德堂款 粉彩花卉紋茶杯帶蓋（一對）
each cover and cup similarly decorated with floral bush, the base of the cup and inside the finial of the cover both inscribed with a four-character ‘Shen De Tang Zhi’ (made for the Hall of Prudent Virtue) in iron-red (2) 11.9cm diameter each
£400-600
127
231 FAUX-BOIS AND GILT-DECORATED FAMILLE ROSE ‘FLOWER’ CUP QING DYNASTY, 18TH-19TH CENTURY 清 仿木紋描金地粉彩開光花卉紋杯
supported on a short straight foot, the exterior decorated with blossoming peonies, plums and chrysanthemums in three circular roundels, all against a fauxbois ground further adorned in gilt paint, the interior and the base similar covered in faux-bois, the base further inscribed with a stylised ‘longevity’ mark in gilt 7.5cm diameter Provenance: Private English collection, Surrey
£800-1,200
232 PAIR OF YELLOW-GROUND FAMILLE ROSE ‘FLOWER’ CUPS QING DYNASTY, XUANTONG MARK AND OF PERIOD 清宣統款及年代 黃地粉彩花卉紋杯一對
each thinly potted, the exterior finely painted with five different types of flowers against a yellow ground, the base inscribed with a six-character Xuantong mark in iron-red (2) 9.3cm diameter each
£2,000-3,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
128
233 FAMILLE ROSE FAUX-MARBLE RECTANGULAR INK TRAY WITH COVER QING DYNASTY, QIANLONG MARK BUT 19TH CENTURY 清 乾隆款 粉彩仿石釉地開光御題詩長方蓋盒
the top of the domed lid inscribed with a poem attributed to the Qianlong emperor in a panel reserved on a painted marble textured ground, the interior of the box and cover with three compartments enamelled in turquoise, the base inscribed with a six-character Qianlong mark in iron-red on a turquoise ground 25cm wide
£2,000-3,000
234 FAMILLE ROSE ‘HORSE’ ALTAR EMBLEM QIANLONG MARK BUT REPUBLIC PERIOD 民國 乾隆款 粉彩七珍勝馬寳供
of columnar form, on top of the drum-shaped podium surmounted by a horse standing on all fours covered with a cloth bearing a stand, the podium raised on an openwork foliated stem issuing from a double-gourd flanked with ribbons supported on a dome foot painted with dragons, the base with a six-character Qianlong mark within double squares in iron-red 23.2cm high Note: The present alter emblem is one of the Seven Regal Treasures, Qizhenbao, in Buddhism. These Seven Treasures, also known as the Seven Jewels of Royal Power, as described in the Buddhist sutra, were brought to earth by the Universal MonarchChakravartin. These saptaratna serve as the indispensable symbols for the governance of a ‘wheel turning sage king’. They include the Elephant, symbolising sovereignty and opulence; the Wheel, representing the Buddhist doctrine; the Horse, representing facility in war and mobility; the Wish-Granting Jewel; the Queen who serves as the virtuous wife to the king; the Minister who is responsible for the welfare of the people; and the General who holds authority over the military troops for peace. A comparable example of a famille rose horse altar emblem, Qianlong mark and period, was sold together with an elephant altar emblem, at Christie’s London, 8 Jun 2004, lot 437; Two famille rose ‘Minister’ and ‘Woman’ altar emblems, Qianlong mark and period, were offered at Sotheby’s Hong Kong, 08 October 2008, lot 2608; a pair of ‘Flaming Pearl’ altar emblems, Qianlong mark and period, were offered at Sotheby’s Hong Kong, 04 October 2016, lot 106. A number of sets of the ‘Seven Regal Treasures’ are known in various materials; for example a rare group of seven imperial cloisonne enamel, gilt bronze and white jade alter emblems, in which three are the Seven Treasures, and four are the Eight Buddhist Emblems, dated to Qianlong period, were sold at Christie’s, 3 Dec 2008, lot 2601; a parcel-gilt full set of Seven Regal Treasures are in the collection of Bodhimanda Foundation, accession no V-851
£500-700
Top view
129
235 FAMILLE ROSE ‘CRANES AND PHEASANTS’ VASE QIANLONG MARK BUT REPUBLIC PERIOD 民國 乾隆款 琺瑯彩開光松鶴雉鷄紋螭耳瓶
with two cartouches on each side of the body painted with cranes and pheasants, reserved on a red-enamelled ground depicting flower heads borne on tendrils, set with a pair of moulded chi-dragon as handles on the shoulders, the base inscribed with a four-character Qianlong mark within double squares in blue 19cm high
£3,000-5,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
130
236 RUBY-RED-GROUND FAMILLE ROSE ‘LOTUS AND BAT’ PLATE QING DYNASTY, QIANLONG MARK BUT 19TH CENTURY 清 乾隆款 珊瑚紅地粉彩番蓮紋五福捧壽盤
supported on a short straight foot, the exterior delicately painted with four lotus in tendrils against a ruby-red ground, all between a band of ruyi cloud head around the mouth rim and lappet pattern around the foot, the interior painted with five flying bats in iron-red, the base inscribed with a six-character Qianlong mark in underglaze blue 19.5cm diameter Provenance: Private English collection, Surrey
£500-700
237 FAMILLE ROSE ‘FLOWERS AND BATS’ PLATE QING DYNASTY, QIANLONG MARK AND OF THE PERIOD 清乾隆款及年代 粉彩玉堂富貴紋盤
painted around the exterior with magnolia, chrysanthemum and other flowers, the interior scattered with five flying bats, the base inscribed with a six-character Qianlong mark in underglaze blue 23.7cm diameter
£1,500-2,500
238 FAMILLE ROSE ‘MILLEFLEUR’ AND ‘BOYS AT PLAY’ BOWL QIANLONG MARK BUT LATER
乾隆款 粉彩百花不落地開光嬰戲圖大碗
the exterior finely painted with four sets of ‘boys at play’ motif in roundels, all against a densely painted millefleur pattern in a vibrant palette, the base inscribed with a sixcharacter Qianlong mark in iron-red 19.7cm diameter
£600-800
Alternate view
131
239 FAMILLE ROSE SGRAFFITO-GROUND ‘FRUITS’ VASE, YUHUCHUNPING QING DYNASTY, QIANLONG MARK, 18TH-19TH CENTURY
清 乾隆款 白釉軋道粉彩過枝桃及佛手紋玉壺春瓶
delicately potted from a short flared foot rising to a bulbous body, waisted neck and everted mouth, painted on one side with a branch bearing peaches, leaves and flowers, reverse similarly decorated but with Buddha’s Hands, all against a white sgraffito ground incised with swirling hachured lines, the base inscribed with a sixcharacter Qianlong mark in underglaze blue 28cm high Provenance: Private European collection
£2,000-3,000
240 FAMILLE ROSE ‘ASHTAMANGALA’ TRIPOD CENSER QING DYNASTY, 18TH-19TH CENTURY
清‘介圃雅玩’款 粉彩八吉祥紋朝冠 耳三足爐
sturdily potted with globular body supported on three feet, flanked by a pair of sinuous ears extending upwards, decorated overall with the Eight Auspicious motifs and lotus borne on scrolling tendrils, within an unglazed disc on the underside inscribed with a four-character studio mark ‘Jie Pu Ya Wan’ 30.2cm high
£1,500-2,500
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
132
Reverse
241 LARGE FAMILLE ROSE ‘FOREIGN TRIBUTE BEARERS’ VASE QING DYNASTY, QIANLONG MARK, 18TH-19TH CENTURY 清 乾隆款 粉彩胭脂紫地通景進寶圖螭龍耳大賞瓶
the tapered cylindrical body below a waisted neck and flaring rim with stylised flowerheads amongst scrolling foliage on a ruby ground, flanked with two pale blue chi-dragon handles, the central band painted with a continuous scene of foreigners on horses, extraordinary animals, and foot traveling through a dramatic shanshui landscape, they hold in their hands precious produce and objects, including vases with ruyi, coral, jewels, fruits and many others, further loaded with valuable gifts in carrying poles and wheeled carts as tributes, the base inscribed with a six-character Qianlong mark in iron-red on a turquoise ground 76.2cm high Provenance: Private European collection Note: Compare to a pair of similarly themed vases, but in yellow ground and slightly smaller (68cm high each), Jiaqing mark and period, sold at Christie’s London, 15 May 2012, lot 318
£300-500
133
242 LARGE FAMILLE ROSE ‘PEONY’ BASIN QING DYNASTY, 19TH CENTURY
清 體和殿製款 黃地粉彩牡丹紋大缸
painted around the globular body with blossoming peonies against a yellow ground, underneath ruyi and key-fret bands, the upper side inscribed with a four-character ‘Ti He Dian Zhi’ mark in gilt paint, the base unglazed 52.5cm diameter
£2,000-3,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
134
243 FAMILLE ROSE PEACH-FORM ‘PHEASANT AND BAMBOO’ CADOGAN POT QING DYNASTY, QIANLONG PERIOD
清乾隆 粉彩雉雞竹林花卉紋壽桃型倒流壺
moulded in peach form standing on an everted foot, painted on one side with a pheasant in a bamboo grove, the other side adorned with various flowers, branches of moulded leafy stems encircling the top of the body, set with a hollow loop-handle with an opening at the bottom and an upward-pointing spout, the base with a very thin coating of glaze and a perforation in the centre 19.5cm wide
Provenance: Private English collection, acquired in 2017; Formerly in an English private collection, Suffolk. Note: a comparable famille rose peach-shaped cadogan pot with applied floral design, dated to the Qianlong period, was sold at Rob Michiels Auctions, Belgium on 13th March 2021, lot 105. These peach form pots were a Chinese novelty meant to be a puzzling curiosity to a gathering of people who were sharing the wine. It appears there is no way to fill the ewer as there is no aperture on top, it seems impossible to fill it from the hole beneath as it would run straight out. The liquid is filled through a funnel in the base that extends vertically inside the pot to a height that prevents the liquid from escaping when the pot is turned right side up after filling. The later name, Cadogan, refers to teapots made in Europe, as well as the original Chinese form. It is said that William Cadogan, 1st Earl Cadogan (1675 – 1726), was the first person to own a Chinese wine pot of this shape, hence the name. In England, the Cadogan teapot was particularly popular in the second quarter of the 19th century. A Meissen copy of such Chinese form and decorated in European style, dated ca. 1725, is in the collection of the Metropolitan Museum of Art, accession number: 1974.356.488. It was modelled after a Chinese porcelain wine pot from the Kangxi period (1662–1722).
£1,000-1,500
Base
244 FAMILLE ROSE ‘DREAM OF THE RED CHAMBER’ GINGER JAR QING DYNASTY, 18TH-19TH CENTURY 清 粉彩紅樓夢金陵十二釵人物圖罐
the exterior finely painted with the ‘Twelve beauties of Jinling’ in the famous novel ‘Dream of the Red Chamber’, including Lin Daiyu playing musical instrument qin in a pavilion, also Wang Xifen, Xue Baochai, You Erjie, Li Wan, Miaoyu, Xichun, Chiaojie, Shi Xiangyun, Tanchun, Yingchun, and Yuanchuan in a garden setting 22cm high Provenance: Private English collection, Surrey
£600-800
Reverse
135
245 GROUP OF THREE EXPORT FAMILLE ROSE WARES QING DYNASTY, 18TH CENTURY
清 外銷粉彩雙耳杯帶盞及茶杯（一組三件）
comprising: a chocolate cup and saucer, each with a central cartouche with monogram ‘HR’, surrounded by a border of ribbons and flowers; and a teacup with its central reserve with monogram ‘JJJ’ surrounded by flowers (3) largest: 13m diameter
£300-500
246 TWO FAMILLE ROSE FOLIATED PLATES QING DYNASTY, 18TH CENTURY 清 粉彩花鳥紋花口盤（共兩件）
both sturdily potted, one with central medallion painted with a floral bush and butterflies, the other with various birds in a pond (2) diameters: 30cm and 31cm
£300-500
247 FAMILLE ROSE ‘BOYS AT PLAY’ PLATE QING DYNASTY, QIANLONG MARK BUT 18TH-19TH CENTURY 清 乾隆款 粉彩嬰戲圖盤
the interior finely painted with various boys playing in a fenced garden under a large pine tree, the exterior painted with three attributes with ribbons, the base inscribed with a four-character apocryphal Qianlong mark in iron-red 19cm diameter
£400-600
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
136
248 GROUP OF THREE WUCAI PLATES QING DYNASTY, 18TH-19TH CENTURY 清 五彩官迎仙人圖盤（共三件）
each painted with two officers receiving two immortals descending from the sky in a garden setting, two plates with almost identical colour palettes, the third one slightly smaller and with different arrangements (3) largest: 28.5cm diameter
£1,000-1,500
249 LARGE FAMILLE ROSE ‘LOTUS POND’ BASIN QING DYNASTY, 19TH CENTURY 清 粉彩荷塘清趣圖大缸
heavily potted, rising to steep sides and lipped rim, painted with a lotus pond visited by birds, under a ruyi band below the rim, the base unglazed 35.8cm diameter
£800-1,200
137
250 WUCAI ‘DRAGON’ SLEEVE VASE QING DYNASTY, 18TH CENTURY 清 五彩龍紋筒瓶
the elongated body extending towards a short neck and terminating into an everted mouth rim, the exterior painted with two sinuous four-clawed dragons in green and red, all below a mountain-and-wave decoration around the neck 43.5cm high Provenance: Private London collection
£800-1,200
251 PAIR OF FAMILLE VERTE ‘HU’ VASES KANGXI MARK BUT 19TH-20TH CENTURY
十九至二十世紀 康熙款 綠彩花鳥紋四方壺形對瓶
each of four-sectioned ‘hu’ form, supported on a high splayed foot, the exterior painted with birds and butterflies with various flowers, the sides of the foot painted with different Daoist attributes, all decorated in mirrored arrangement, the base inscribed with a six-character apocryphal Kangxi mark in underglaze blue (2) 30.5cm high each Provenance: Private English collection, Southampton
£1,000-1,500
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
A PRIVATE SCOTTISH COLLECTION, LOWOOD HOUSE LOTS 252-253
252 MASSIVE FAMILLE ROSE ‘IMMORTALS’ PUNCH BOWL QING DYNASTY, 18TH-19TH CENTURY 清 粉彩神仙人物紋大碗
of generous proportions, finely enamelled in a cartouche on the exterior with numerous immortals, including the Eight Immortals, Sanxing, Hehe Twins and many others paying birthday tribute to a male deity seated on a sedan chair, the reverse with courtly figures, the interior with a central foliated medallion further decorated with Sanxing enclosed by a band of dragons underneath a figural band 53cm diameter Provenance: From the contents of Lowood House, Melrose, Scotland. Sitting by the banks of the River Tweed near Melrose, Lowood has been the home of the Hamilton family since 1947 and the eclectic and fantastic collection offered on 6 October 2021 at Lyon and Turnbull was amassed over the past two centuries by two Scottish lowland families: the Crum Ewings and the Hamiltons.
£600-800
PROPERTY FROM THE LOWOOD HOUSE COLLECTION
253 PAIR OF MONUMENTAL FAMILLE ROSE ‘WUSHUANGPU’ FLOOR VASES QING DYNASTY, 19TH CENTURY
清 粉彩無雙譜紋落地大瓶 帶木座（一對）
each of baluster form with flared mouth and applied stylised chi dragon handles, decorated with calligraphic panels and notable figures depicted in landscapes, gardens, and pavilions taken from Wushuangpu, each on a cubic oak plinth carved with foliate motifs (2) 127cm high each; 167cm high with stand
Provenance: See lot 252 Note: Compare to a pair of large ‘Wushuangpu’ vases, similar in size, dated to Qing dynasty 19th century, sold at Christie’s London, 11 Nov 2015, lot 723
£6,000-8,000
139
140
254 PAIR OF CANTON FAMILLE ROSE VASES QING DYNASTY, 19TH CENTURY 清 廣彩開光人物故事紋對瓶
with lobed everted rims, the exterior painted with figural panels on a floral ground, the shoulders applied with chi-dragons, with gilt highlights (2) 45cm high each Provenance: formerly in a private collection from the Channel Islands
£600-800
255 CANTON FAMILLE ROSE CIRCULAR BOWL QING DYNASTY, 19TH CENTURY 清 廣彩描金人物故事紋大碗
the exterior densely painted in polychrome with gilt with four figural panels, all below a frieze with antiquities and flowers, the interior similarly decorated with a central roundel incorporating a continuous panel on the cavetto 40.5cm diameter
£1,000-1,500
256 CANTON FAMILLE ROSE BALUSTER VASE QING DYNASTY, 19TH CENTURY 清 廣彩開光人物故事紋瓶
with an everted rim, the exterior painted with figural panels on a floral ground, the shoulders applied with a pair of taotie masks with looped rings, with gilt highlights 45cm high Provenance: Private London collection; acquired from Newark antique fair, formerly in a private English collection
£400-600
141
257 MASSIVE CANTON FAMILLE ROSE PUNCH BOWL QING DYNASTY, 19TH CENTURY 清 廣彩描金人物故事紋大碗
finely enamelled and gilt inside out with various court scenes in lidded jar-shaped and bat-enclosed cartouches, all against a white ground painted freely with covert Eight Immortals motifs with flowers and butterflies, the central medallion in the interior depicts an officer sitting high up watching a fighting scene, encircled with a band of bats, birds, and auspicious offerings, all beneath a rich, gilt-ground, millefleurs band with birds, butterflies and vases at the rim 53cm diameter Provenance: Private Scottish collection, has been in the family for over three generations Note: Comparable examples in slightly larger size were sold in Bonhams Knightsbridge, 8 May 2017, lot 40A and Christie’s New York, 20 Jan 2021, lot 1
£1,200-1,800
Alternate view
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
142
258 QIANJIANG ENAMELLED SEAL PASTE BOX AND COVER LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 雲生款 淺絳彩花鳥紋蓋盒
the domed cover finely painted with a bird perching on a twig above blossoming flowers, the right side inscribed with ‘Yunsheng’ mark and a red seal, the exterior of the base similarly decorated with flowers 6.3cm diameter
£600-800
Alternate view
259 RECTANGULAR FAMILLE ROSE FLOWER POT 20TH CENTURY
二十世紀 汪大滄底款 粉彩山水題詩方盆
supported on four bracketed feet, the exterior finely painted with small figures in landscape setting on two wider sides, inscribed on two other sides, the base inscribed with ‘Wang Da Cang (1899-1957)’ in a square in iron-red 24cm wide
£500-700
260 FAMILLE ROSE ‘PRUNUS AND BAMBOO’ VASE QIANLONG MARK BUT REPUBLIC PERIOD 民國 乾隆款 粉彩梅竹雙清瓶
of baluster form, delicately painted to one side with blossoming prunus amidst bamboo sprigs, the reverse inscribed with a poem, the base inscribed with a four-character Qianlong mark in iron-red 20.2cm high
£500-700
143
261 TWO QIANJIANG ENAMELLED WARES LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY
清末民初 友竹款 淺絳彩花鳥溫酒器 及 蓋罐 （共兩件）
one wine warmer of pear shape, both the bulbous body and the dome cover painted with a bird perching on a tree branch, inscribed on the side with a poem and signed ‘You Zhu’; the other cylindrical covered box similarly decorated and inscribed, either side attached with two moulded tree branches as loop handles (2) heights: 12.6cm and 14cm
£800-1,200
262 QIANJIANG ENAMELLED ‘BIRD AND PEONY’ JAR AND COVER LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY
清末民初 江永源款 淺絳彩富貴花開圖 蓋罐
of ovoid form, painted to one side with a bird perching on a large blossoming peony flower, the reverse with a twoline inscription, signed ‘Jiang Yong Yuan (1899-1919)’ 28cm high Provenance: Private Scottish collection
£400-600
263 QIANJIANG ENAMELLED TEA CANISTER LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 淺絳彩長方形茶罐
of rectangular form with canted corners, the wider sides respectively depicting figures and mountainous landscapes, the narrower sides each inscribed with two lines of a Chinese poem 11.5cm high
£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
144
264 FAMILLE ROSE PORCELAIN PLAQUE 20TH CENTURY
二十世紀 鄧碧珊款 粉彩題詩魚藻圖瓷板
depicting five carps amongst aquatic plants, inscribed top left with a poem, signed ‘Tie Jianzi Deng Bishan’, sealed ‘Bishan’, dated to the year of Wu Chen, corresponding to 1928AD 39.2cm x 26.4cm
£400-600
265 QIANJIANG ENAMELLED BALUSTER VASE 20TH CENTURY
二十世紀 畢伯濤款‘南昌程興盛製’底 款 淺絳彩‘東風舞燕斜’瓶
painted with a magpie in a windy sky amongst swaying wisteria, the reverse titled, dated to the Bing Zi year, corresponding to 1936AD, signed Bi Botao (18861961) and sealed, the base further inscribed with a six-character studio mark ‘Nanchang Cheng Xingsheng zhi (made by Cheng Xingsheng in Nanchang)’ 23.5cm high
£300-500
266 FAMILLE ROSE ‘WATERFALL’ VASE 20TH CENTURY
二十世紀 汪桂英款 平山草堂底款 粉彩松雲觀瀑圖賞瓶
the bulbous body supported on a splayed foot and terminating into an everted rim, the exterior painted on one side with a waterfall and large pine trees in a mountainous landscape, the other side with small figures on sampans on the river, inscribed with the title and the year of Xin Chou, corresponding to 1991AD, and signed Wang Gui Ying (1931-2012), the waisted shoulder flanked by two moulded bats, the base inscribed with a four-character ‘Ping Shan Cao Tang’ mark in square in iron-red 40.5cm high
£300-500
145
267 FAMILLE ROSE PORCELAIN PLAQUE 20TH CENTURY
二十世紀 粉彩駿馬人物圖瓷板
depicting an assistant holding the bridle of a black horse to the main male figure with a magnificent long beard 12.3cm x 19cm
£300-500
268 QIANJIANG ENAMELLED LEAF-FORM PORCELAIN PLAQUE 19TH-20TH CENTURY
十九至二十世紀 巍山氏款 淺絳彩高士紋葉形瓷板
painted with an elderly scholar holding a staff accompanied by a boy attendant bearing a woven basket issuing flowers on his back, both underneath a tree canopy, signed top right ‘Weishan’ and sealed 27.3cm x 21cm
£600-800
269 TWO FAMILLE ROSE PORCELAIN PLAQUES 20TH CENTURY
二十世紀 粉彩花鳥紋 及 熊甫卿款‘淵明愛菊’瓷板（兩件）
one painted with the legendary poet Tao Yuanming (365-427) holding a staff tied with a double-gourd, accompanied by a boy attendant holding a woven basket full of chrysanthemum, titled, signed and sealed on top left, attributed to Xiong Buqing; the other painted with a pheasant gliding on air arriving to a chrysanthemum bush issuing from rockwork with bamboo, both framed (2) 19.3cm x 12.4cm; 19.2cm x 12cm
£300-500
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
146
270 FAMILLE ROSE ‘CHRYSANTHEMUM’ MILK JUG DATED 1956AD
’江西景德鎮一九五六年製’底款 粉彩菊花紋奶壺
of squatted globular form, with a dragon-head looped handle and an upturned spout, the exterior painted with chrysanthemum on branches, the base inscribed with a two-line mark ‘Jiang Xi Jing De Zheng/ 1956 Zhi (Made in Jingdezheng, Jiangxi, 1956)’ in iron-red 14.5cm wide
£400-600
271 TWO FAMILLE ROSE ‘CARPS’ SCHOLAR’S OBJECTS 20TH CENTURY
二十世紀 鄧碧珊款 粉彩魚藻紋筆舔及圓蓋盒（共兩件）
comprising: a lipped-rim brush lick, and a circular ink paste box with cover, both similarly decorated with carps amongst aquatic plants, signed and sealed ‘Bishan’, the base further sealed ‘Bishan’ (2) diameters: 14cm and 5.3cm
£300-500
272 FAMILLE VERTE ‘BIRD AND BUTTERFLY’ PLATE 19TH-20TH CENTURY
十九至二十世紀 花押款 綠彩花鳥蝴蝶紋盤
the interior finely pained with a bird perching on the tree branches and a butterfly hovering nearby, the base inscribed with a leaf mark within doublecircle in underglaze blue 30.5cm diameter
£500-700
273 FAMILLE ROSE ‘BUFFALO AND BOY’ VASE 20TH CENTURY
二十世紀 菊亭款 粉彩童子騎牛賞瓶
thinly potted, the exterior finely painted with a herdboy riding a buffalo in a paddy field, all under a large tree, the top right inscribed and including the year of Bing Zi, corresponding to 1936, the base inscribed with a two-character mark ‘Ju Ting’ in a square in iron-red 12.1cm high
£300-500
147
274 POLYCHROME ENAMELED PORCELAIN PLAQUE 20TH CENTURY
二十世紀 王大凡款 粉彩人物紋瓷板
depicting a male figure pointing his studio out to a young attendant, who gathered water from a well and left a water basket aside, the inscription on the top right mentioning year of Wu Chen 戊辰, corresponding to 1928AD, with a red seal ‘堃 kun’, the studio name of the artist Wang Dafan (1888-1961) 41cm x 26.5cm
£400-600
275 FAMILLE ROSE ‘GOLDFISH’ PLATE 20TH CENTURY
二十世紀 章鑒款‘景德鎮製’底款 粉彩金魚圖盤
the interior finely painted with two goldfish swimming between waterweeds, signed on the left with ‘Zhang Jian’ (1917-2008), the base inscribed with ‘Jing De Zhen Zhi (Made in Jingdezhen)’ mark in iron-red 21.1cm diameter
£600-800
276 FAMILLE ROSE PORCELAIN PLAQUE 20TH CENTURY
二十世紀 劉雨岑款 粉彩花鳥紋瓷板
painted with three birds above a lotus pond, signed top right ‘Danhu Liu Yucen’, dated to the year of Xin Mao, corresponding to 1969AD, painted at the artist’s studio ‘Jue An Nan Xuan’ in Zhushan 38.3cm x 25cm
£500-700
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
149
JAPANESE ART 277 YELLOW CLOISONNÉ ENAMEL VASE ANDO MARK, TAISHO PERIOD
大正 純銀款 安藤七宝焼 黃玉釉瓶
of baluster form with tall tapering neck and silver mount, the neck worked in musen (wireless) enamels with a band of white striations, the base with seal mark of the Ando Company, the foot set with silver rim marked ‘jungin’ (pure silver), with original tomobako box with its cover inscribed ‘Shippo heishi-gata ogyoku-yu kabin’ (a yellow-ground cloisonné enamel vase in the form of a ritual sake flask), signed ‘Ando shippo ten zo’ and sealed 22cm high Note: Compare to similar examples offered in Sotheby’s London, 3 November 2021, Lot 81, and sold in Christie’s London, 11 December 2018, lot 79
£500-700
278 PATINATED BRONZE VASE WITH MIXED METAL ACCENTS MEIJI PERIOD
明治 禽鳥花卉紋嵌銅花瓶
of baluster form, the exterior decorated with a continuous scene of draping branches bearing blossoming flowers, one side with a tree perched by a bird, all applied in silver shakudo and gold takazogan mixedmetals, all against a finely chiselled ground, the neck further adorned with two moths with flowers in tendrils, the base unmarked 24.1cm high; 1.98kg Provenance: Private Scottish collection
£300-500
279
Y
IVORY OKIMONO FIGURE OF A STREET VENDOR MEIJI PERIOD
明治 永真款 象牙雕人物置物
standing on a low podium in his waraji, carrying over his shoulder a bamboo pole suspended with various goods, including baskets of assorted size, drums densely piled together, a kabuto helmet, and a dog-shaped bag, signed in a red lacquer reserve Eishin/Nagamasa 17.8cm high Provenance: Private Scottish collection, Edinburgh Note: Compare to a similar example in the same size of a carved ivory street vendor by Eishin sold at Bonhams London, 15 May 2014, lot 320
£400-600
150
280 LARGE BRONZE OKIMONO OF A STONE CUTTER ATSUYOSHI, FOR THE MARUKI COMPANY, MEIJI PERIOD 明治‘厚義作 まるき社中製作’款 銅鑄石匠置物
cast in generous proportions with dark brown patination as a male figure holds a chisel against the edge of a cubic stone which his left leg folds and steps on, his right leg steps across, a chipping hammer held high in his right hand ready to strike, his face finely detailed in pensive and focused expression, signed lower left on the right side of the stone with ‘Atsuyoshi saku’ in an oval reserve above cast characters of a seal-style mark ‘Maruki shachū seisaku’ (Manufactured at the Maruki Company, 丸喜社) 45.7cm high
Provenance: Private Scottish collection Note: Well known for his finely and freely modelled okimono depicting wild and domesticated animals, figures are a rarer subject matter for Atsuyoshi. His artworks were produced almost exclusively for the highly acclaimed Tokyo-based Maruki Company. A figural group of boys made by Atsuyoshi was sold in Bonhams, New Bond Street, 11 Nov 2010, lot 275
£500-800
151
281 LARGE BRONZE TRIPOD CENSER WITH COVER EDO PERIOD, BUNSEI ERA
江戶文政 整珉鑄款 龍紋三足銅爐帶蓋
cast in generous proportions, the globular body supported on three elongated mythical mask-feet, decorated on both sides of the body with a fierce winged dragon amongst clouds in relief, reserved on a geometric ground, two downward-facing mythical beasts with intertwined tails form each of the handles, the cover with five apertures and topped with a large shishi finial, the underside of the bulbous body cast with ‘Bunsei nen, Seimin ju’ (cast by Seimin in Bunsei year) in a recessed panel 48cm high; 6.5kg
£1,200-1,500
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
152
282 ARITA PORCELAIN STEM CUP EDO PERIOD, CIRCA 1800-30 江戸 有田燒題詩駿馬圖高足碗
supported on a tall stepped foot, the cup terminating into an everted rim, the exterior of the cup finely painted with One Hundred Horse design, the centre of the interior adorned with a male immortal riding a phoenix in flight, all surrounded by beaded jewel strings and tassels with flower heads on the cavettos, the stem fully written with calligraphy in gilt 16cm diameter Provenance: formerly in a private Scottish collection, Edinburgh
£400-600
283 GROUP OF FOUR WOODBLOCK PRINTS BY VARIOUS ARTISTS EDO PERIOD comprising: two oban tate-e Kabuki memorial portraits attributed to Toyokawa Yoshikuni (active 1804-1843), one depicting the actor Arashi Kitsusaburo I seated on a bench smoking a pipe, published by Toshikuraya Shinbei, circa 1821, the other the same actor with a cartouche records his posthumous Buddhist name, circa 1821; and two Edo period surimono, one depicting a shunga pine mushroom and red clamshell, the other of Tosa style, depicting two aristocratic lovers exchanging love poems to each other on either side of a sliding door (4) largest: 35.5cm x 24cm
£400-600
153
284 LARGE BRONZE USUBATA VASE EDO PERIOD
江戶 整珉鑄款 龍紋銅薄端
constructed in three parts comprising a base, main body and rim, the stepped circular base set with four adorned elephant heads as feet further supporting a ring stand, the body of baluster form flanked by large pairs of elephant heads with sinuous trunks as handles, each side decorated with a winged-dragon in relief, the namesake ‘thin-rim’ with openwork swastikas around the edge, the upper surface plain, lower with a band of auspicious clouds in relief, all decorations reserved on a geometric ground, underside of the main body marked ‘Seimin ju’ (cast by Seimin) 50.4cm; 8kg
£1,200-1,500
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
154
285
286
YOSA BUSON (JAPANESE 1716-1784)
KOICHIRO KONDO (JAPANESE 1884-1962)
CALLIGRAPHY WITH PAINTING
TWO HORSES
kakejiku, ink and slight colour on paper, signed and sealed
ink on paper, depicting two horses in a field, signed and sealed lower right, mounted on paper
與謝蕪村 書法 紙本設色 立軸
91.5cm x 22.3cm
近藤浩一路 雙駿圖 紙本水墨
Provenance: Old collection of the late David C Symon, thence by descent
44.4cm x 52.3cm
David C Symon, a Scottish diplomat, raised in Edinburgh, studied at Oxford University, was posted to Japan in 1949-1955 under a scheme by the British Foreign Office following The Second World War. Five young men were sent, Hugh Cortazzi, Sydney Giffard (both to become British Ambassadors to Japan), David Symon, Dick Ellingworth and another.
£300-500
Mr Symon was appointed to the Imperial Court as the British liaison for the then Crown Prince Akihito to prepare him and accompany the Crown Prince to Britain for the Queen’s Coronation in 1953. The visit lasted nearly a month. The photograph illustrated here shows the two of them walking the day before the coronation, through St James’s Park in London. Mr Symon remained close to the Crown Prince and on the Emperor’s last visit to Britain a few years ago, the Emperor asked at the Foreign Office how the “family of my dear friend, David Symon” were doing as he “still missed him”. Mr Symon and his family arrived again in Tokyo in 1962 for a long tour of duty but sadly Mr Symon passed away in 1964 in Tokyo and the family returned to the UK.
£800-1,200
Provenance: See lot 285
155
VIETNAMESE ART
287 NGUYEN THAN BINH (VIETNAMESE 1954-) SCHOOLGIRLS set of four oil on canvas paintings, signed upper left and right with ‘Binh’ and ‘平’, framed (4) 100cm x 50cm each Provenance: Private Scottish collection, Glasgow, acquired from the Glasgow Art Fair, George Square, in 2009 (by repute). With a photocopied written receipt indicating it was sold by the Red River Gallery, signed ‘Dang VH Thach’; the gallery’s business card shows an address ‘7 Hang Khay Street, Hoan Kiem District, Hanoi, Vietnam’ Note: Born 1954 in Hanoi, the contemporary Vietnamese artist Nguyen Thanh Binh studied and graduated at Hanoi College of Fine Art in 1972. His training in oil painting was at the Gia Dinh Na College of Fine Art in Ho Chi Minh City during 1978-1983. Best known for his simplified depictions of figures, including ballerina dancers, nudes, musicians, and schoolgirls upon a flat backdrop of colour. Binh employs simple but well-placed lines and subtle forms in his figures to separate them from space, creating a minimalist and elegant aesthetic. Binh participated in numerous international exhibitions, including Hong Kong, UK, USA, Australia, Dubai, and Japan. He currently lives and works in Ho Chi Minh City, Vietnam.
£1,500-2,500
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
156
INDIAN & ISLAMIC ART 288 A PAINTING OF ANANTASAYANA: VISHNU RECLINING AGAINST THE GIANT HOOD OF THE SERPENT SHESHA WITH LAKSHMI KANGRA, 19TH CENTURY gouache and gold on paper, depicting Vishnu dressed in a yellow dhoti with golden crown and holding his implements, a lotus stem issues from him supporting a pink blossom and the fourheaded Brahma, his feet are being massaged by Lakshmi, all within an ocean setting, yellow and blue margins, framed 19.5cm x 29.5cm
£1,500-2,000
289 AN ILLUSTRATION FROM A DEVI MAHATMYA SERIES: DURGA IN COMBAT WITH AN ARMY OF DEMONS KANGRA, LATE 19TH CENTURY gouache and gold on paper, depicting the nine-armed goddess Durga holding weapons and attacking the demons with a striped yellow tiger below, blue border with repeat white flower-heads, framed 16.5cm x 18.1cm Provenance: verso with an old sticker of framer Kunst-u Rahmenhandlung. Anton Bock, Wienix, Wahringerstrass 27
£400-600
290 CORONATION OF RAMA ATTENDED BY A LARGE NUMBER OF DEITIES, PRIESTS, NOBLEMEN, MONKEYS AND MUSICIANS KOTAH, CIRCA 1840-50 gouache and gold on paper, red border, framed 31cm x 24.5cm Provenance: formerly in a private collection
£800-1,200
157
291 A PRINCESS IN ATTENDANCE DURING CONFINEMENT IN AN OPEN COURTYARD OF A PALACE HAREM PROBABLY KANGRA, LATE 19TH CENTURY gouache and gold on paper, portraying a princess lying down, in what appears to be a state of early confinement, the waterlily on her stomach symbolising life, servants fanning her from behind, whilst two servants in the foreground are burning incense and another is wringing a white cloth, members of the harem looking on from the right 23.7cm x 33.2cm Provenance: formerly in a Swiss collection
£1,000-1,500
292 A SCHOLAR TEACHING MAIDENS ON A TERRACE LATE MUGHAL, 18TH/ 19TH CENTURY gouache and gold on paper laid down on card, with gold sprinkled blue outer border, the scholar holding a pen and paper seated in front of an arched pavilion, with two maidens to his right and one to his left with books and papers sitting on a large carpet, a princess looking on holding a white handkerchief from behind, framed 21.5cm x 13.5cm Provenance: Private English collection, acquired before the First World War in India, thence by descent
£1,200-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
158
293 A REVERSE GLASS PAINTING DEPICTING A SIKH RULER INDIA, 19TH CENTURY depicting a turbaned ruler half length, holding a sword in his right hand and a shield in his left hand, indistinctly signed lower centre in Urdu reading ‘Lal (?) Sing Bahadur’, framed 49.5cm x 34.5cm
£1,000-1,500
294 AN EROTIC PAINTING OF A COUPLE INDIA, 19TH CENTURY OR LATER crayon and beads on paper, wide floral border, framed 16cm x 12.5cm
£500-700
159
Alternate view
295 A RAQQA UNDERGLAZE PAINTED POTTERY JAR SYRIA, 13TH CENTURY of baluster form on a spreading foot with recessed base, the high sloping shoulders rising to a straight cylindrical neck with everted mouth, the body decorated in black on a white ground touched with turquoise, with two cartouches filled with inscriptions against vegetal designs interspersed with stellar rosettes, the shoulder decorated with a narrow band of repeat pseudoinscriptions and dots above, followed by three black rings above 18.5 cm high
£1,000-1,500
296 A ‘SARI WARE’ SLIP PAINTED POTTERY BOWL PERSIA, 11TH CENTURY with flaring sides on a short foot, decorated in brown, yellow, green and black on a white ground with a bird and lollipop flowers, a narrow band of repeat dots below the rim 19cm diameter
£500-700
Alternate view Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
160
297 AN IZNIK POTTERY JUG WITH TULIPS AND HYACINTHS OTTOMAN TURKEY, EARLY 17TH CENTURY of globular form with flaring neck on short-splayed foot, underglaze decoration in bole red, blue and green with black outline depicting tulips and hyacinths 19cm high Provenance: The Estate of the late J E Adam
£700-900
298 AN IZNIK POTTERY DISH WITH TULIPS, CARNATIONS AND ROSES OTTOMAN TURKEY, 17TH CENTURY of shallow rounded form with raised and wide sloping rim, underglaze decoration in bole red, blue and green with black outline depicting tulips, roses and carnations issuing from a grassy tuft, the rim with a repeat wave and floral design 27.5cm diameter Provenance: The Estate of the late J E Adam
£800-1,200
161
299 TWO QAJAR LACQUERED LEATHER PAPIER MACHE BOOK COVERS PERSIA, 19TH CENTURY with central reserves of lovers on white grounds adorned with peacocks and flowers within script borders, the opposing sides with panels of script on red and gilt grounds; one comprising front cover only, framed; the other comprising front and back cover, unframed (2) 46cm x 31cm Provenance: See lot 150
£1,500-2,500
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
162
CONDITIONS OF SALE FOR BUYERS (UK) These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used. Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales. In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller. A. BEFORE THE SALE 1. DESCRIPTIONS OF LOTS 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 only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/ images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only. 2. OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below.
22.1
(a) Condition Reports: Condition Reports are provided on our Website or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way. (b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon. (c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred. 3. WITHDRAWAL Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw. 4. JEWELLERY, CLOCKS & OTHER ITEMS (a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report. (iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological
reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report.
of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300.
(iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced.
(f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.
(b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys. (c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given. (d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case
(e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.
B. REGISTERING TO BID 1. NEW BIDDERS (a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following: (i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement) (ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and; (iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements. (b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844. 2. RETURNING BIDDERS We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.
163 3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller. 4. BIDDING ON BEHALF OF ANOTHER PERSON (a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/ her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party. 5. BIDDING IN PERSON If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration. 6. BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding. (c) Written Bids While 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 shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. 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. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.
responsible for any error (human or otherwise) omission or breakdown in providing these services.
C. DURING THE SALE
7. SUCCESSFUL BIDS Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.
1. ADMISSION TO OUR AUCTIONS We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction.
8. RELEVANT LEGISLATION You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.
2. RESERVES Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot.
D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY
3. AUCTIONEER’S DISCRETION The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen. 4. BIDDING The Auctioneer accepts bids from: (a) Bidders in the saleroom; (b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction. 5. BIDDING INCREMENTS Bidding increments shall be at the Auctioneer’s sole discretion. 6. CURRENCY CONVERTER The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not
1. THE PURCHASE PRICE For each Lot purchased a Buyer’s Premium of 25% of the Hammer Price of each Lot up to and including £500,000, plus 20% from £500,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction. Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above. 2. VALUE ADDED TAX 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. (a) Lots affixed with (†): Value Added Tax on the Hammer Price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme. (b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This reduced rate is applicable to Antique items. (c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category outlined above.
3. ARTIST’S RESALE ROYALTY (DROIT DE SUITE) This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs. org.uk. E. WARRANTIES 1. SELLER’S WARRANTIES For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded. 2. AUTHENTICITY GUARANTEE We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the
164 Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below. In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser. This Guarantee does not apply if: (a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or
law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest. 3. YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that:
(b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or
(i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so;
(c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.
(ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and;
This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must:
(iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.
(a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale. We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of
F. PAYMENT 1. MAKING PAYMENT (a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year. (b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) 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. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise
with You in writing. (e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (f) No purchase can be claimed or removed until it has been paid for. (g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. 2. IN THE EVENT OF NON-PAYMENT 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 Sellers and on their 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: (a) To proceed against You for damages for breach of contract; (b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You; (c) To resell the Lot(s) (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). (d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof; (e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale; (f) To retain that or any other Lot sold to You until You pay the Total Amount Due; (g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe
us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and (i) Take any other action we see necessary or appropriate. G. COLLECTION & STORAGE (1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website (2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received. (3) If You do not collect any Lot within seven days following the auction we can, at our discretion; (i) Charge You storage costs at the rates set out on our Website. (ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs. (iii) Sell the Lot in any way we think reasonable. H. TRANSPORT & SHIPPING 1. TRANSPORT AND SHIPPING We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements. 2. EXPORT OF GOODS Buyers intending to export goods should ascertain; (a) Whether an export licence is required; and (b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot. 3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www. defra.gov.uk/ahvla-en/imports-exports/ cites We accept no liability for any Lots which may be subject to CITES but have not be identified as such.
165 I. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties. (b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or (ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph. (c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services. (d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot (e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses. J. OTHER TERMS 1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if; (i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or (iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation. 2. RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrange-
ments to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction. 3. COPYRIGHT We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot. 4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force. 5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities. 6. REPORTING ON WWW.LYONANDTURNBULL.COM Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website. 7. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale. 8. 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 premises, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.
9. DATA PROTECTION Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@lyonandturnbull.com. 10. FORCE MAJEURE We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract. 11. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply. K. DEFINITIONS & GLOSSARY
behalf of the Seller. “Estimate” a statement of our opinion of the range within the hammer is likely to fall. “Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above; “High Value Lot” a Lot with a lower Estimate of £30,000 or above; “Lot” each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses; “Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty; “Sale” the auction sale at which a Lot is to be offered for sale by us. “Seller” the person who offers the Lot for Sale. We act as agent for the Seller. “Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom. “Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com
The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with.
2. GLOSSARY The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings:
1. DEFINITIONS “Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate;
“Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.
“Bidder” a person who has completed a Bidding Form “Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form. “Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words “You” and “Your”
“Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to
“Lien” a right for the person who has possession of the Lot to retain possession of it. “Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value. “Title” the legal and equitable right to the ownership of a Lot.
“Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue. “Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website “Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on
22.1
AUCTION 25 MAY 2022 LIVE ONLINE
311 LITRES OF 32-YEAR OLD MACALLAN SINGLE MALT WHISKY HOLDING THE UNDISPUTED GUINNESS WORLD RECORD FOR THE LARGEST BOTTLE OF WHISKY
THE INTREPID: THE MACALLAN 1989 32 YEAR OLD Bottled on 9 September 2021, vatted from hogshead #6986 and #6992, 311 LITRES / 43% ESTIMATE UPON REQUEST
THE INTREPID: THE MACALLAN 1989 32 YEAR OLD COMPLETE SET OF 12 LIMITED EDITION 50CL BOTTLES, vatted from hogshead #6986 and #6992, all with presentation cases, each 50cl / 43% £15,000-25,000 (+ fees)
For more information please contact Colin Fraser | 0131 557 8844 colin.fraser@lyonandturnbull.com
2
JEWELLERY & WATCHES AUCTION 15 JUNE 2022 LIVE ONLINE EDINBURGH
A SOUTH SEA PEARL AND DIAMOND BROOCH, BY BOODLE & DUNTHORNE £2,000-3,000
A PAIR OF SOUTH SEA PEARL AND DIAMOND EARRINGS, BY BOODLE & DUNTHORNE £1,500-2,500
For more information please contact Ruth Davis | 0131 557 8844 ruth.davis@lyonandturnbull.com Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
168
GUIDE TO BIDDING & PAYMENT REGISTRATION
HOW TO BID
PAYMENT
All potential buyers must register prior to placing a bid. Paddle registration must be completed in advance of the sale day. Please note that bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration:
BY COMMISSION/ ABSENTEE BID
Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods:
1 – Government issued photo ID (Passport/Driving licence) 2 – Proof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale. BIDDING LIMITS Bidding levels in this auction will be capped. All new clients and clients who are looking to spend over £7,000 hammer may be requested by Lyon & Turnbull to submit a Bid Limit Request application and deliver to Lyon & Turnbull a deposit. BIDDING Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.
Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com BY PHONE A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Please note that telephone bidding will only be available for lots over £3,000 and all bids must be booked by Thursday 12th May. First come-first served basis. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.
BANK TRANSFER Account details are included on any invoices we issue or upon request from our accounts department. ONLINE CREDIT OR DEBIT CARD PAYMENTS Payment can be made by Visa Debit, Maestro, Mastercard, Visa Credit or Union Pay cards. We do not accept card payments by phone. Please use our online payment service (provided by Opayo). You will find a link to this service in the email invoice issued after the sale or you can visit the payments section of our website. CASH No cash payments will be accepted for this auction.
BID LIVE ONLINE Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register. Our sales are also available for viewing and live bidding through The-Saleroom, Invaluable, Live Auctioneers, 51bidlive, Epailive, and Art Fox Live (additional charges applicable).
Inside Cover Lot 43
LOND ON | EDINB URGH | GL A SGOW LYO NA NDT UR NBULL.COM