Woolley & Wallis Fine Chinese Paintings & Works of Art by Park Communications

FINE CHINESE PAINTINGS

& WORKS OF ART 中國字畫及藝術品 WEDNESDAY 1ST JULY 2020

Lot 112

SPECIALIST DEPARTMENTS Please dial +44 (0)1722 followed by the number listed below ASIAN ART

VALUATIONS FOR INSURANCE & PROBATE

John Axford MRICS ASFAV 424506 Jeremy Morgan +44 (0)7812 601098 Amber Lees 424571 Sarah Lopez-Ferreiro 424591

Jeremy Lamond MRICS ASFAV FRSA 424598 Paul Viney ASFAV 424509 Amanda Lawrence (PA) 424509

CHINESE PAINTINGS & CALLIGRAPHY

Sally Trench Megan Corbett

Freya Yuan-Richards Amber Lees

424589 424571

JAPANESE WORKS OF ART Alexandra Aguilar Sarah Lopez-Ferreiro

20TH CENTURY DESIGN 424505 446955

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham Hollie Morrison

424507 446964

FURNITURE, WORKS OF ART & CLOCKS Mark Yuan-Richards Jim Gale Suzy Becsy

JEWELLERY

Sharon Ringwood Pauline Jones Nicola Young Ruth Pike Sarah Bennie

CASTLE GATE RECEPTION Sally Litherland

John Axford MRICS ASFAV Chairman Natalie Milsted FCCA Managing Director

Marielle Whiting FGA 424595 Jonathan Edwards FGAA (Consultant) 424504 Charlotte Glyde FGA 424586

Paul Viney ASFAV Non-Executive Director

MEDALS & COINS, ARMS & ARMOUR

Janice Clift Clare Durham Victor Fauvelle Will Hobbs Michael Jeffery Jeremy Lamond MRICS ASFAV FRSA Rupert Slingsby Marielle Whiting FGA Mark Yuan-Richards

Ned Cowell Zoe Cordey

341469 446980

PAINTINGS Victor Fauvelle Ed Beer Hannah Vernon

446961 446962 446970

SILVER Rupert Slingsby Lucy Chalmers

ASSOCIATE DIRECTORS

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

339752 446980

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

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: +44 (0)1722 424500 • www.woolleyandwallis.co.uk 2

424500

GENERAL OFFICE

BOARD OF DIRECTORS 411854 339161 411854

446959 446960

ACCOUNTS Janice Clift (Office Manager)

424583 424591

Michael Jeffery Zoe Smith

MARKETING

Front Cover: Lots 46, 47, 63, 88 & 163 Back Cover: Lot 29

424500

FINE CHINESE PAINTINGS

& WORKS OF ART 中國字畫及藝術品

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

Jeremy Morgan +44 (0)7812 601098 jm@woolleyandwallis.co.uk

WEDNESDAY 1ST JULY 2020 10.30am at our Castle Street Salerooms, SP1 3SU

Viewing Viewing will be by appointment. Please contact the department to make an appointment. 煩請閣下提前預約參觀預展，以避免不必要的等候。 There will be no viewing on the morning of the sale. Saturday 27th June Sunday 28th June Monday 29th June Tuesday 30th June

10.00am– 4.00pm 10.00am– 4.00pm 10.00am– 4.00pm 10.00am– 4.00pm

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

Sarah Lopez-Ferreiro +44 (0)1722 424591 slf@woolleyandwallis.co.uk

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

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

LIVE ONLINE BIDDING - FREE OF CHARGE

威立士網上競投 bid.woolleyandwallis.co.uk Please register by 12 noon on Tuesday 30th June. 本公司提供免費網上即時競投，請在6月30日中午12點之前登錄 bid.woolleyandwallis.co.uk登記競投賬戶。注：所有網絡買家需要支付至少£5,000的保證金。網上競投總金額的限額為£50,000。 All online bidders will be required to pay a deposit of £5,000. This deposit will allow the online bidder to bid up to a maximum of £50,000 in total at this auction. IMPORTANT CHANGES TO OUR BIDDING PROCEDURE Please note that, owing to the recent introduction of Money Laundering Regulations, clients wishing to bid in this auction are likely to be asked to provide two forms of identification. This applies to both new and existing clients.

Telephone Bidding Requests for telephone bidding cannot be accepted after 12 noon on Tuesday 30th June. BUYER’S PREMIUM See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices.

新浪微博 @艾思福

Lot 41 detail

SPECIAL ASIAN ART NOTICES Restricted Bidding If you wish to bid at this auction you will need to register and provide proof of identity and of your address and provide photographic ID. You may be asked to pay a deposit of £5,000. Any deposit must be paid by debit card or bank transfer. Woolley and Wallis must have cleared funds no later than 12 noon on Tuesday 30th June. If you are not successful you will be refunded (without interest) within seven working days. ALL ONLINE BIDDERS WILL BE REQUIRED TO PAY A DEPOSIT OF £5,000. THIS DEPOSIT WILL ALLOW THE ONLINE BIDDER TO BID UP TO A MAXIMUM OF £50,000 IN TOTAL AT THIS AUCTION. 網絡競投需向本公司支付£5000押金，網上競投總金額的限額為£50,000。特別提示：競拍者須憑本人護照領取競投號牌，并預交保證金£5000 請務必妥善保管自己的競投號牌，不得將自己的競投號借於他人使用。若他人使用其號牌競投相應拍品，競買者需承擔全部法律責任。注：註冊拍賣截止時間為6月30日中午12點整。 Bank Transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Telephone Bidding Requests for telephone bidding cannot be accepted after 12 noon on Tuesday 30th June. Condition of lots Please note that the condition of lots is not stated in the catalogue descriptions. Reports on condition may be available on request. The absence of condition reports in the catalogue does not imply that the lot is free from imperfections or faults. 品相報告競買人應於拍賣之前的預展中視察拍品。純為方便買家威立士可以在拍賣開始前提供品相報告，但未記載的品相報告並不代表其品相完美，如果您有需要請聯繫我們咨訊相關信息。

CHRONOLOGY OF CHINA 中國歷代年表

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

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

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

FINE CHINESE PAINTINGS

& WORKS OF ART 中國字畫及藝術品 WEDNESDAY 1ST JULY 2020

Lot 123 detail

part lot

FINE PAINTINGS & CALLIGRAPHY

中國字畫

LOTS 1-39

1 DAI JIAN (19TH CENTURY) LANDSCAPE

2 QING KUAN (1848-1927) LANDSCAPE

A Chinese scroll painting, ink on paper, dated the dingyou year (1837), signed with two artist’s seals and one collector’s seal, with an antique shop label, 60.5cm x 28cm.

A Chinese scroll painting, ink and colour on paper, signed and dated the bingchen year (1916), with two artist’s seals and an antique shop label, together with two other paintings of a horse and landscape after Wen Zhengming, 82.5cm x 41.5cm. (3)

£200-300 Provenance: from the collection of Carol Cameron who was a British chargée d’affaires in Beijing. The painting was purchased from an antique shop in Beijing c.1965.

戴鑑（晚清）山水設色紙本立軸款識：經營縹緲意如何，漠漠青山遠遠波，豈但穠華謝桃李，空林紅葉已無多。丁酉夏清和寫為，郎邨老弟台雅正，石坪戴鑑。鈐印：臣鑑、石坪、昨日少年金白頭。來源：Carol Cameron女士收藏，Carol曾擔任英國駐華大使，在北京工作及生活了10多年，所有字畫於1965年左右購於北京文物商店（附標籤）。

£200-300 Provenance: from the collection of Carol Cameron who was a British chargée d’affaires in Beijing. The painting was purchased from an antique shop in Beijing c.1965.

慶寬（1848-1927）山水圖設色紙本立軸款識：思盡工已拋棄廿餘年，近遐無聊後重習自娛，偶擬燕文貴山樓仙館圖，並錄原題山靜北太古日長如小年今荷庚子難友。敷民老弟見索即贈為一哂，丙辰十月望日，松月居士慶寬時年近七十矣。鈐印：臣慶寬印，筱珊。來源：Carol Cameron女士收藏，Carol曾擔任英國駐華大使，在北京工作及生活了10多年，所有字畫於1965年左右購於北京文物商店。

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

3 LOU XINHU (1881-1950) LEIFENG PAGODA

4 YUAN YING (QING DYNASTY) ADMIRING THE FULL MOON

A Chinese scroll painting, ink and colour on paper, inscribed and dated the gengwu year (1930), signed Xinhu, with two artist’s seals, 67.5cm x 31cm.

A Chinese scroll painting, ink and colour on paper, title-slip by Chen Songqing and with two artist’s seals, signed by Yuan Ying with two artist’s seals and one collector’s seal, with a Beijing antique shop label, 92cm x 44cm.

£200-300 Provenance: from the collection of Carol Cameron who was a British chargée d’affaires in Beijing. The painting was purchased from an antique shop in Beijing c.1965.

樓辛壺（1881-1950）雷鋒夕照圖設色紙本立軸款識：亂碧垂楊殘紅照，水晚風輕拂歸船。數幾番遊，新愁舊恨相牽，寒碪莫把秋心擣，聽南屏鐘也淒然。更堪憐，壯麗西關慘澹荒煙，何時劫火鉛華洗，耐金甌，破闕翠髻添妍萬點，驚鴉巢枝頓失，依眠斜易一抹淒，無語枉騷人，淚灑吟邊剩殘甎，怕見陀羅怕說湖山。琥莆仁兄方家雅屬，寫雷峰夕照遺跡，庚午年十月辛壺。鈐印: 樓虛、辛壺，元始齋。來源：Carol Cameron女士收藏，Carol曾擔任英國駐華大使，在北京工作及生活了10多年，所有字畫於1965年左右購於北京文物商店。

£500-800 Provenance: from the collection of Carol Cameron who was a British chargée d’affaires in Beijing. The painting was purchased from an antique shop in Beijing c.1965.

袁瑛（清）湖心賞月設色紙本立軸署簽：袁二峰先生山水真跡，陳嵩慶署簽。款識：臣袁瑛恭畫。鈐印：嵩、慶、華、畫。來源：Carol Cameron女士收藏，Carol曾擔任英國駐華大使，在北京工作及生活了10多年，所有字畫於1965年左右購於北京文物商店（附標籤）

5 QIAN ZAI (1703-93) BAMBOO, PINE AND ROCK A Chinese scroll painting, ink on silk, title-slip by Fan Jia, signed and dated by Qian Zai with three artist’s seals, also inscribed and dated to the twelfth year of the Jiaqing period (1808) by Yi Bingshou (1754-1815) with two artist’s seals, also with one collector’s seal, 104cm x 41cm.

£1,000-2,000 Provenance: from the collection of Carol Cameron who was a British chargée d’affaires in Beijing. The painting was purchased from an antique shop in Beijing c.1965.

錢載（1703-1793）伊秉綬題枯木竹石圖水墨絹本立軸署簽：錢䕪石先生枯木竹石伊墨卿題，光緒庚寅秋樊嘉署簽。題跋：乾隆年間畫推南華學士䕪石侍郎解子難以並論也，侍郎晚年純伍玄機進乎道矣。嘉慶十二年四月，思定先生借觀於六一堂，汀州伊秉綬。款識：己酉秋窗偶得觀石田先生作雲林筆意遂作此以遣意百福蒼八十二老人錢載。鈐印：錢載、萬松居士、䕪石書畫、墨卿、伊秉綬印、恩亭珍藏。來源：Carol Cameron女士收藏，Carol曾擔任英國駐華大使，在北京工作及生活了10多年，所有字畫於1965年左右購於北京文物商店。註：錢載是乾隆時期著名的士大夫畫家，善水墨，尤工蘭竹。清乾隆進士后授內閣學士兼禮部侍郎，尚書房行走。《四庫全書》總纂，官至二品。

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

6 CHEN ZI (1634-1713) PORTRAIT OF CHEN HONGSHOU A Chinese scroll painting, ink on paper, title-slip reads Chen Xiaolian zhang li xing yin tu, dated the gengchen year (1700), signed Zi Xiaolian with one artist’s seal, inscribed by Gao Fenghan with seven artist’s seals, also inscribed by Liu Qinglan with one artist’s seal, with one collector’s seal which reads Cheng Bo jiu, 66cm x 26cm.

£800-1,000 陳字（1634-1713）杖黎行吟圖水墨紙本立軸題識：（一）老蓮人奇畫自奇，奇從骨里結成之，怪來拂草螢披妙，亦調徐熙亦有兒。陳章侯號老蓮，小蓮其裔也，為子為孫為暇細考。向于金陵曾見其畫冊，綽有章侯遺意，今觀此畫後超亦宗殊有鳳毛也。南梁君其好收之，乾隆庚辰學弟高鳳翰題。（二）杖黎影外露春光，墅客行吟味自長。不是簪花貪愛好，只應遊戲少年場。甲午四月劉晴嵐題。款識：庚辰仲春為石第世長兄寫，字小蓮。鈐印：不求形似、鳳翰、老阜、西園居士、興來不暇懶、老大轉抄、豁然開懷、劉晴嵐、程伯舊收藏印。

S Marchant & Son invoice 11th September 1963

7 YUAN WANZHI (MING/QING DYNASTY) ACCOMPANYING A WATER BUFFALO A Chinese painting, ink and colour on silk, with two artist’s seals and one collector’s seal, 33cm x 26cm.

£800-1,200 Provenance: formerly the Del Drago Collection; and then the John Pullan Chinese Collection, purchased from Marchant & Son on 11th September 1963. A copy of the invoice is available. The blue and white porcelain from the Pullan Chinese Collection was sold at a Spink & Son exhibition held from 16th to 30th November 1998.

沅浣之（明/清）牧童放牛設色絹本冊頁鈐印：沅、浣之、范楠仲珍藏書畫印。來源：John Pullan收藏，1963年9月11日購於Marchant & Son（附發票複印件）。John Pullan是著名中國藝術品收藏家，他的青花瓷器收藏曾由倫敦Spink and Son於1998年11月展覽並出售。 8 ANONYMOUS (QING DYNASTY) VISITING A FRIEND WITH A QIN A Chinese painting, ink and colour on silk, 27cm x 27cm.

£500-800 佚名（清）攜琴訪友設色絹本冊頁

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

9 ANONYMOUS (MING/QING DYNASTY) HORSES A Chinese scroll painting, ink and colour on silk, inscribed with a signature reading Feng Dayou, dated the xinwei year, with two artist’s seals and collectors’ seals, 107cm x 78cm.

£1,000-2,000 佚名（明/清）飲馬圖設色絹本立軸題識：古來善畫韋與韓，此畫豈同凡馬看。人間造次不可得，苜宿秋深煙雨寒。鈐印：建業文房之印、馮大用印、一印漫漶不清。

10 ATTRIBUTED TO QIAN DU CAO GUOJIU A Chinese painting, ink and colour on silk, signed Shumei with one artist’s seal, 19cm x 23cm.

£500-800 錢杜（傳）曹國舅設色絹本冊頁款識：叔美。鈐印：松壺。

11 YANG JIN (1644-1728) BOY RIDING A WATER BUFFALO/ SCHOLAR BENEATH A PINE TREE Two Chinese paintings, ink and colour on silk, both signed Yang Jin, with two artist’s seals, 26cm x 18cm. (2)

£200-300 Provenance: from an English private collection, acquired in London in the 1970s.

楊晉（1644-1728）高士圖及牧童圖設色絹本二開冊款識：楊晉。西亭楊晉。鈐印：楊晉、子鶴。來源：英國私人收藏，購於1970年代。

12 ATTRIBUTED TO WANG YUANQI LANDSCAPE IN THE STYLE OF MI FU A Chinese scroll painting, ink on paper, title-slip reads Wang Litai fang Mi Youren shan shui xiao fu, inscribed and signed Litai Qi, with three artist’s seals, 39cm x 25.5cm.

£300-500 王原祁（傳）仿米家山水水墨紙本立軸署簽：王麗台仿米友仁山水小幅。款識：仿米敷文，麗台祁。鈐印：王原祁印、麗台、埽華菴。

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

13 ANONYMOUS (QING DYNASTY) REVERSE CALLIGRAPHY Two Chinese panels of calligraphy, both ink on paper, one reverse calligraphy inscribed and dated the jiaxu year, with three illegible seals, the other calligraphy of a Tang dynasty poem, signed with three artist’s seals, 33cm x 20cm. (2)

£200-300 Provenance: from an English private collection, acquired in London in the 1970s.

杜多等兩件（清）水墨紙本冊頁款識：（一）吾心似秋月，碧潭清皎潔。無物堪比倫，教我如何說。羅月杜多。（二）《黃岡竹樓記》（反字詳文略，不錄）來源：英國私人收藏，購於1970年代。

14 ATTRIBUTED TO MAO SONG (18TH CENTURY) PHOENIX A Chinese scroll painting, ink and colour on silk, signed Mao Song, together with a painting of catfish attributed to He You, ink and colour on paper, 177.5cm x 59.5cm. (2)

£200-300 毛松（傳）等兩件鳳凰圖設色絹本立軸款識：崑山毛松製。

15 ZHANG DAQIAN (1899-1983) FAREWELL TO A GOOD FRIEND A Chinese painting, ink and colour on paper, inscribed and signed Shu Jun Zhang Daqian, presented to Pan Feilu (Penfield), dated the thirty-third year of the Republic Period (1944), with two artist’s seals, the reverse with a paper label which has a translation of the inscription: ‘James K Penfield (Pan Feilu), who called on me twice at Ta Feng Hall while I was out, as a token for his return to the United States’, 76cm x 43cm.

£50,000-70,000 Provenance: formerly in the collection of the late James Kedzie Penfield (1908-2004). Mr Penfield was part of an American diplomatic team which travelled during the 1930s and 1940s. In 1961, he was appointed as the American Ambassador Extraordinary and Plenipotentiary to Iceland. The image of a scholar under a willow tree represents friends saying goodbye. Breaking a willow branch to give to a leaving friend on their departure for a long journey is a custom which can be traced back to the Han dynasty (206 BC-AD 220), and the imagery is frequently used in Chinese literature. The idea is that once the friend has arrived at their destination, they can plant the broken willow branch and it will regrow into a tree at this new place. The Chinese character for the word ‘willow tree’ is homophonous with the character liu, meaning ‘to stay’. Gifting a willow branch is therefore a gesture of asking the departing friend to stay as well as a way of showing how they will be missed and expressing good wishes for the future. This painting by Zhang Daqian (1899-1983) was a gift to his friend the late James Kedzie Penfield (1908-2004) before Mr Penfield’s return to the United States from China. Mr Penfield visited Zhang Daqian’s studio twice before leaving, but he was out both times and so they were unable to say goodbye in person. With regret and a heavy heart, Zhang Daqian painted this picture depicting himself as a scholar underneath a willow tree as a means of saying farewell and wishing his old friend all the best for the future.

張大千（1899-1983）柳畔送友圖設色紙本立軸款識：潘飛露先生兩過予大風堂不遇傾墨美國寫此以送其行，中華民國三十三年十二月蜀郡張大千寫。鈐印：張爰、三千大千。來源：潘飛露先生（1908-2004）舊藏，畢業於斯坦福大學，遂加入美國外交大使團訪華。在其工作期間結識了張大千等著名藝術家及名流。註：古有詩經云：昔我往矣，楊柳依依。明代郭登詩：年年長自送行人，折尽邊城路旁柳。在潘飛露先生回美之前，曾兩顧大風堂訪大千而不遇。張大千聞之，借古人折柳贈別寓意，做高士圖立於飛絮之下，回首遙望遠方，以此聊寄不捨之情。

James Kedzie Penfield (1908-2004)

Label to the reverse

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

16 ZHANG DAQIAN (1899-1983) SCHOLAR A Chinese scroll painting, ink and colour on paper, inscribed and dated the dinghai year (1947), signed Daqian Zhang Yuan with two artist’s seals and one collector’s seal, 75cm x 26.5cm.

£8,000-12,000 Provenance: acquired c.1990 from an English private collection.

張大千（1899-1983）高士圖設色紙本立軸款識：丁亥九月大千張爰並識於大風堂。鈐印：張爰之印、大千、太華峰頭作重九。來源：英國私人收藏，購於90年代。

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

17 GAO QIPEI (1660-1734) SHOULAO A Chinese painting, ink and colour on paper, inscribed and dated the jiachen year (1724), signed Gao Qipei, with one artist’s seal, framed and glazed, 97cm x 29.5cm.

£3,000-5,000 Provenance: from an English private collection, inherited in the 1980s.

高其佩（1660-1734）壽老像設色紙本鏡框款識：甲辰壽日，鐵嶺高其佩。鈐印：且園製墨。來源：英國私人收藏，於1980年代作為遺產繼承。

18 YANG DECHUN (1892-1965) SANDUO A Chinese painting, ink and colour on paper, dated the gengzi year (1960), signed by Yang Dechun, 92cm x 43.5cm.

£300-500 楊德春（1892-1965）三多圖設色紙本立軸款識：三多圖。庚子小陽月之吉寫，賀鏡如二表隸大人吉席之喜。少亭愚仲楊德春。鈐印：德春。

19 ANONYMOUS (19TH CENTURY) BEAUTIES IN GARDENS AND PAVILIONS A Chinese album of twelve paintings, ink and colour on silk, 30cm x 25cm. (12)

£300-500 Provenance: from an English private collection, Hampshire.

佚名（十九世紀）美人圖設色絹本十二開頁

part lot 20

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20 LI JINGHUA (REPUBLIC PERIOD) FOUR BEAUTIES IN A GARDEN

21 XIAO SHAN (REPUBLIC PERIOD) BEAUTY BENEATH BANANA LEAVES

A Chinese painting, ink and colour on paper, inscribed and signed with one artist’s seal, dedicated to Guang Run as a house-warming gift, framed and glazed, 107cm x 48.5cm.

A Chinese painting, ink and colour on paper, inscribed by Hu Pengnian, dedicated to Lin Fusheng, framed and glazed, together with a certificate of antiquity from C P Ching Fine Oriental Art, Hong Kong, 97cm x 44cm.

£300-500 Provenance: from an English private collection, purchased from G Lowell, Hong Kong, on 24th May 1990 for 8,000 Hong Kong dollars. A copy of the invoice is available. The current owner lived and worked in Hong Kong for over 20 years and acquired many Chinese artworks during that time.

£300-500 Provenance: from an English private collection. The current owner lived and worked in Hong Kong for over 20 years and acquired many Chinese artworks during that time.

李鏡華（民國）四美逍遙圖設色紙本鏡面款識：四美逍遙圖，鄺潤姻兄大人喬遷

曉山（民國）芭蕉美人設色紙本鏡面題識：二十年國歷三月三十一日

之喜，姻弟李鏡華攜男應權元敬賀。鈐印：李鏡華。

（1931年）即古曆辛未二月十三日為黼生表弟林先生三十初度，小兄子宗

來源：英國私人收藏，1990年5月24日以8000港幣購於香港羅軒古董店（附發票）。現藏家曾在香港工作二十餘年，此件拍品為其在香港期間購得。

胡鵬年恭祝。款識：曉山鈐印：胡子宗、曉山。來源：英國私人收藏，附收藏證書。現藏家曾在香港工作二十餘年，此件拍品為其在香港期間購得。

G Lowell invoice 24th May 1990

C P Ching Fine Oriental Art Certificate of Antiquity

22 WAN SHANGLIN (1739-1813) LANDSCAPE

Lot 22 title-slip

A Chinese handscroll painting, ink and colour on paper, title-slip reads Wan Wanggang fang Dong Beiyuan xiao xiang tu, dated the renxu year, inscribed and signed Wan Shanglin with two artist’s seals, 32cm x 210cm.

£300-500 萬上麟（1739-1813）山水設色紙本手卷署簽：萬輞岡仿董北苑瀟湘圖，壬戌九月武昌安成XX籖。款識：擬董北苑瀟湘圖意輞岡正萬上麟。鈐印：輞岡書畫、萬、一印漫漶不清。

23 AFTER TANG YIN SCHOLARS GATHERING A Chinese fan painting, ink on paper, inscribed and signed with one artist’s seal, 55cm across.

£1,000-2,000 唐寅（傳）東山雅集水墨紙本扇面款識：東山雅集，唐寅為雲溪秋兄畫。鈐印：唐伯虎。

24 XU JIE (19TH CENTURY) TEAPOT AND CHRYSANTHEMUM A Chinese fan painting, ink on paper, inscribed and signed by Chengan Xu Jie, together with another fan painting by Ye Yun, each framed and glazed, 53cm across. (2)

£300-500 Provenance: from an English private collection, acquired in London in the 1970s.

part lot

許杰（十九世紀）等兩件雛菊及茶壺設色紙本扇面來源：英國私人收藏，購於1970 年代。

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25 WANG XUETAO (1903-82) PIED WAGTAIL A Chinese painting, ink and colour on paper, signed Xuetao, with one artist’s seal, framed and glazed, together with a scroll painting of chickens after Zou Yigui, 82cm x 48cm. (2)

£200-300 王雪濤及鄒一桂（傳）設色紙本鏡框及立軸款識：（一）雪濤。（二）背摹宋人比翼圖粉本作於小蓬萊僢館中，小山鄒一桂。鈐印：王雪濤印、兩印漫漶不清。

26 ANONYMOUS (20TH CENTURY) BUDDHIST FIGURES ON BODHI LEAVES A Chinese album of twenty paintings, ink and colour on pressed leaves (leaves of the peepal tree), each mounted on blue paper, together with a wood box, the leaves 16cm high max. (20)

£200-300 佚名（二十世紀）菩提葉繪佛教人物設色菩提葉本二十開頁附木盒

part lot

27 YAN WEI (20TH CENTURY) LANDSCAPE An album of seven Chinese paintings, ink and colour on paper, five inscribed and each bearing one artist’s seal, together with another landscape painting by Ying Shao, 21cm x 33cm. (8)

£300-500 Provenance: from an English private collection, acquired in London in the 1970s.

閆煒及映杓（二十世紀）仿各家山水設色紙本八開冊來源：英國私人收藏，購於 1970年代。

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28 AFTER ZHAO BOJU (EARLY QING DYNASTY) LANDSCAPE A Chinese scroll painting, inscribed and signed by Wang Peng, title-slip by Zhang Yuzhao which reads Zhao Boju xian sheng qing lü shan shui shen ji, dated the gengxu year (1850), signed with four artists’ seals and one collector’s seal, 127cm x 50.5cm.

£600-1,000 Provenance: from an English private collection, acquired in Northern England in the 1990s.

趙伯駒（清早期）青山綠水圖設色絹本立軸署簽：趙伯駒先生青綠山水神跡，庚戌冬十月張裕釗署簽。題識：蒼山高處白雲浮，樓閣參差帶遠洲。千尺虬龍依絕辟，一群鸛鶴唳清秋。山翁有約憑雙屐，野客無心遡碧舟。最是霜林好風景，居然咫尺見丹邱。宜雅山人王寵。款識：千里伯駒製。鈐印：王寵之印、雅宜山人、趙千里印、伯駒、子京父印。來源：英國私人收藏，1990年代購於英格蘭北部。註：張裕釗（1823-1894）晚清官員，官授內閣中書，後入曾國藩府，被其列為曾門四弟子之一並推許為可期有成者。

29 PU RU (1896-1963) GAZING AT A WATERFALL A Chinese painting, ink and colour on paper, inscribed and signed Xinyu with four artist’s seals, framed and glazed, 100cm x 32.5cm.

£5,000-7,000 Provenance: from an English private collection. Formerly in the collection of Tsui Tsuntong (1941-2010), also known as T T Tsui, who was a famous Chinese art collector, entrepreneur and the founder of the Tsui Art Foundation. Tsui purchased this painting at Sotheby’s Hong Kong on 17th May 1990, lot 75. The current owner lived and worked in Hong Kong for over 20 years, the last two of which were spent working in T T Tsui’s group of companies. During this time he acquired many Chinese artworks, and this particular painting was given to him directly from T T Tsui. Pu Ru was a cousin of Pu Yi, the last Emperor of China. In this painting by him, the scholar stands in front of a waterfall, admiring its beauty and listening to its cascading waters, comparing the sound to music played on the qin, a traditional Chinese instrument.

溥儒（1896-1963）山澗聽泉設色紙本鏡面款識：行盡崎嶇路萬盤，滿山空翠濕衣寒。松風澗水天然調，抱得琴來不用彈。心畬。鈐印：松巢客、舊王孫、溥儒、西山真逸。來源：英國私人收藏。趙從衍舊藏（1941-2010），購於1990年5月17日香港蘇富比，編號75。註：現藏家曾在香港工作二十餘年，其中有兩年曾與趙從衍共事，此期間與趙建立了深厚的友誼。在其回英國之際，贈此畫作別。趙從衍出生於江蘇，1948年移居香港。著名中國藝術品收藏家、企業家、趙從衍基金會創始人。

Sotheby’s Hong Kong, 17th May 1990, lot 75

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30 ATTRIBUTED TO GUAN LIANG LU ZHISHEN FROM THE WATER MARGIN A Chinese painting, ink and colour on paper, inscribed and signed Guan Liang, dated the dingsi year (1978), bearing one artist’s seal, 36.5cm x 30.5cm.

£2,000-3,000 關良（傳）魯智深醉打山門設色紙本冊頁款識：文俊同志屬，丁巳關良。鈐印：關良。

31 XU CAO, CHEN DONGHU, WU XI ET. AL. (20TH CENTURY) SCHOLARLY GATHERING A small Chinese album of eleven paintings, with wood covers, ink and colour on paper, all dedicated to Qianguang, nine inscribed and signed by artists, 9cm x 15cm. (11)

£200-300 徐操、馬晉、陳東湖、吳熙、張琮等文會冊設色紙本十一開冊款識：（一）擬閻右相蕭翌賺蘭亭真跡圖，潛廣大兄正囑，甲子重九後十日，太安平國下博徐操。（二）甲子十月畫應潛廣兄屬松湖。（三）潛廣仁仁兄法正，李瑞齡。（四）恰值重陽節到時，黃華紫艷傲霜枝。籬邊幽隱含佳色，說興淵明知不知。甲子十月仿宋人法，潛廣大兄雅屬陳咸棟並題。（五）潛廣仁兄雅屬，甲子十月悟郎馬晉。（六）潛廣仁兄雅正，乙丑冬月津門劉光城。（七）潛廣大兄法鑒，乙丑小春五湖，李上達。（八）倣洪谷子筆意，甲子嘉平潛廣仁兄雅正，山陰鏡湖吳熙曾。（九）潛廣仁兄方家正之，張琮。鈐印：徐操、左車、李瑞齡、左愚、陳、東湖、馬晉、城、上達、熙曾、鏡湖，子琮。

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32 ANONYMOUS (19TH CENTURY) BIRDS AND FLOWERS Eight Chinese paintings, ink and colour on rice paper, each framed and glazed, 19cm x 28.5cm max. (8)

£800-1,200 佚名（十九世紀）花鳥圖八開冊設色紙本鏡面

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33 LIAO JIAHUI (1875-1908) FLOWERS A Chinese album of four paintings, ink and colour on paper, all inscribed, two signed Sujun, another signed Jiahui, the fourth signed Diannan nü shi, with five artist’s seals, 27cm x 21.5cm. (4)

£500-1,000

繆嘉惠（1875-1908）花卉四開頁款識：（一）寫馬琴川神韻之妙，廖素筠。（二）滇南女士寫意。（三）曾見邊天進有以法素筠擬之。（四）滇南女史繆嘉惠擬古。鈐印：繆嘉惠印（兩次）、素筠、嘉、惠。

34 HUANG BINHONG (1865-1955) LANDSCAPE OF XIXI A Chinese scroll painting, ink and colour on paper, inscribed and dated the renchen year (1952) at age 89, signed Binhong with one artist’s seal and two collectors’ seals, 88cm x 42.5cm.

£12,000-15,000 Provenance: formerly an English private collection, purchased in Berlin in the 1970s.

黃賓虹（1865-1955）西溪山水設色紙本立軸款識：西溪以蘆花著勝而幽邃，尤令人流連不忍捨去茲寫其略。壬辰賓虹，年八十又九。鈐印：黃賓虹印、希春珍藏、冰上鴻飛館。來源：英國私人舊藏，1970年代購於德國柏林。

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35 QI BAISHI (1864-1957) FRUIT AND VEGETABLES A Chinese painting, ink and colour on paper, inscribed and signed Jie Shan Yin Guan zhu zhe zhi, with one artist’s seal reading Bai Shi Weng, framed and glazed, with a frame maker’s paper label to the reverse, 92cm x 33.5cm.

£20,000-50,000 Provenance: formerly from a French deceased estate. Chinese lily bulbs, known as baihe in Chinese, are white skinless ball-shaped roots which contain starchy scale-like sections. They have a slightly perfumed smell, crunchy texture and a sweet taste. There is a homophone of baihe which has the meaning of ‘hundreds of years together’. With two little bumblebees, as in this painting, it symbolises ‘may you have a wonderful married life for hundreds of years’.

齊白石（1864-1957）百年好合設色紙本鏡框款識：借山吟館主者製。鈐印：白石翁。來源：購於法國遺產拍賣。附香港畫框店元記製造標籤。

Label to the reverse

36 FANG ZHAOLIN (1914-2006) GOLDFISH A Chinese painting, ink and colour on paper, inscribed and signed by Fang Zhaolin, dated the jihai year (1959), with three artist’s seals, framed and glazed, 47cm x 62cm.

£1,000-2,000 方召麐（1914-2006）魚之樂設色紙本鏡面款識：未曾知樂方為樂，若說忘機便有機。己亥年於香江。召麐。鈐印：召麟、梁溪方氏、志以成學以廣材。

37 ZHAO WUJI (ZAO WOUKI, 1920-2013) PAYSAGE A Chinese lithograph, aquatint heightened with white on paper, signed Wuji in Chinese and Zao 65 in pinyin, edition number 54/90, framed and glazed, the reverse with a label for The Redfern Gallery Ltd and dated 30th November 1966, 43.5cm x 51cm.

£600-800 Provenance: purchased from an English private collection.

趙無極風景石版畫紙本鏡面款識：無極ZAO，54/90。來源：購於英國私人收藏，背面附1966 年11月30日Redfern Gallery 畫廊標籤。

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38 TAY BAK KOI (SINGAPORE, 1939-2005) SINGAPORE RIVER

39 YANG MANSHENG (YONG MUNSEN, MALAYSIA, 1896-1962) PENANG BEACH

A Singaporean painting, gouache on paper, signed Bak Koi, framed and glazed, 69cm x 89cm.

Three Malaysian paintings, ink and colour on paper, all signed Munsen, two dated 1948 and the third dated 1949, each framed and glazed, 27.5cm x 38cm. (3)

£2,000-3,000

£1,000-2,000

Provenance: from a private collection, Hampshire.

Provenance: acquired by the current owner’s grandfather, Edmund Gardiner and thence by descent.

Tay Bak Koi is one of Singapore’s most renowned second generation artists. He studied at the Nanyang Academy of Fine Arts in the late 1950s under the guidance of pioneer artist Cheong Soo Pieng (1917-1983), training in the traditions of both Western and Eastern painting. Tay is best known for his romantic representations of fishing scenes, urban landscapes and stylised depictions of water buffalo and his work is considered to have made a notable impact upon the modernist oeuvre in Southeast Asia.

Yong Munsen is known as the father of modern Malaysian painting, and one of the founders of the Nanyang Academy of Fine Arts in Singapore and then Malaya. In 1922 he moved to Penang, where these paintings were produced.

楊曼生（馬來西亞1896-1962）檳城海灘設色紙本鏡面三件款識：Mun Sen 1949、Mun Sen 1948、Mun Sen 1948。來源：Edmund Gardiner收藏，之後由其孫子繼承。

鄭木奎（新加坡1939-2005）新加坡河畔設色紙本鏡面來源：英國漢普郡私人收藏。

39 35

SELECTED ITEMS

FROM AN IMPORTANT BRITISH PRIVATE COLLECTION LOTS 40-77

Lot 42 detail

40 A CHINESE BLUE AND WHITE ‘PING SHENG SAN JI’ BRUSHPOT, BITONG TRANSITIONAL C.1640 The waisted body flaring at the foot and towards the rim, the exterior painted with a man presenting three halberds in a vase to an official, the scene divided by swirling clouds and rocky cliffs, all contained within incised borders encircling the rim and foot, 18.7cm.

£6,000-8,000 Provenance: from a British private collection, purchased from Bluett Oriental Arts Ltd on 6th September 1990. A copy of the invoice is available. The image of a vase containing three halberds forms the rebus ping sheng san ji meaning ‘may you rise three ranks in quick succession’ and thus expresses the wish for an imminent promotion. Cf. R Chen, Qing Shunzhi Kangxi Chao Qinghua Ci (Qing Dynasty Shunzhi and Kangxi Blue and White Porcelain), pp.92-93, no.49 for a transitional vase decorated with a similar scene also including the ping sheng san ji motif.

明末清初青花平升三級筆筒來源：英國私人收藏，1990年9月6日購於Bluett Oriental Arts Ltd（附發票複印件）。

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

41 A CHINESE BLUE AND WHITE ‘LONGEVITY’ SLEEVE VASE TRANSITIONAL C.1640 The tall cylindrical body painted with Shoulao sitting with a deer and his attendants behind him, the God of Longevity watches a dance performance in a rocky mountain setting, an incense burner before him emits smoke which rises in the shape of a shou character, the scene contained within finely incised foliate scrolls, with a band of pendant leaves encircling the mouth rim, 45cm.

£6,000-8,000 Provenance: from a British private collection, purchased from Christie’s London on 8th November 2005, lot 15. Cf. R S Kilburn, Transitional Wares and Their Forerunners, p.35, fig.19 for a related vase in the Ashmolean Museum dated to 1641.

明末清初青花壽老故事紋棒槌瓶來源：英國私人收藏，倫敦佳士得2005年11月8 日·編號15。

42 A RARE LARGE CHINESE BLUE AND WHITE DISH SIX CHARACTER KANGXI MARK AND EARLY IN THE PERIOD 1662-1722 Painted with a lady standing in a garden wearing flowing robes, she holds a fan in one hand and a sprig of osmanthus held up towards the sun in the other, she presents the flower to a young boy, the reverse with a paper label for Marchant, 35.8cm.

£8,000-12,000 Provenance: from a British private collection, purchased from Marchant, London, on 4th December 2002. A copy of the invoice is available. The Chinese word for osmanthus is guihua which is homophonous with guizi meaning ‘your honourable son’. The image of a lady pointing osmanthus towards the sun therefore expresses the wish for a son to be a scholar-official holding a high position in court. The bamboo in the background is emblematic of the scholar’s upright character because it is a tough plant which bends in the storm but never breaks. The plum blossom is also symbolic of the moral strength required to be an official, as they are hardy plants which survive through the winter. Cf. S Marchant & Son, Exhibition of Seventeenth-Century Blue and White and Copper-red and their Predecessors, p.50, no.48 for a similar dish with this design; see also R Chen, Qing Shunzhi Kangxi Chao Qinghua Ci (Qing Dynasty Shunzhi and Kangxi Blue and White Porcelain), p.123, no.61 for a similarly painted Kangxi dish in the collection of the Palace Museum; see also M Butler and Q Wang, Seventeenth Century Jingdezhen Porcelain from the Shanghai Museum and the Butler Collections, pp.132-133, no.32 for another related example.

清康熙青花庭院教子圖盤《大清康熙年製》青花楷書款來源：英國私人收藏，2002年12月4日購於倫敦Marchant（附標籤及發票複印件）。盤撇口，口沿施一周醬釉，弧腹，雙圈足，內圈較外圈稍矮，底有青花雙圈《大清康熙年製》六字楷書款。

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

43 A LARGE CHINESE BLUE AND WHITE ‘LANDSCAPE’ VASE WANLI 1573-1620 The ovoid body painted with a continuous scene of houses and figures dispersed throughout a rocky mountainous landscape, the shoulder decorated with four cartouches containing floral sprays, the panels reserved on diaper grounds divided by ruyi motifs, with a band of lappets encircling the foot and a continuous scroll to the short waisted neck, 36.8cm.

£6,000-8,000 Provenance: from a British private collection, purchased from John Berwald Oriental Ceramics & Works of Art on 18th April 1995. A copy of the invoice is available. Cf. R Krahl, Chinese Ceramics in the Topkapi Saray Museum, vol.II, Yuan and Ming Dynasty Porcelains, p.735, no.1314 for a related piece.

明萬曆青花山水紋大罐來源：英國私人收藏，1995年4月18日購於John Berwald（附發票複印件）。

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

44 A CHINESE BLUE AND WHITE ‘DRAGON’ SLEEVE VASE SHUNZHI 1644-61 The cylindrical body flaring towards the rim, painted to the exterior with a large four-clawed dragon in pursuit of a sacred pearl amidst stylised flames, the base with a paper label for R & G McPherson Antiques, no.23352, 42.5cm.

£3,000-5,000 Provenance: from a British private collection, purchased from R & G McPherson Antiques, London, on 7th August 2012.

清順治青花龍紋花觚來源：英國私人收藏，2012年8月7日購於R&G McPherson Antiques。

45 A LARGE CHINESE WUCAI ‘BAXIAN’ BALUSTER VASE AND COVER SHUNZHI 1644-61 Decorated with the Eight Immortals in a rocky wooded landscape, they watch a figure dressed in a colourful robe performing a magic trick, his breath transforming into a dragon and phoenix, with further figures in conversation to the side, the scene divided by swirling clouds and set beneath a band of cracked-ice, with sprays of chrysanthemum and peony to the short neck, the cover painted with three boys at play, together with a wood stand, 49.5cm. (3)

£10,000-15,000 Provenance: from a British private collection, purchased from Sotheby’s Amsterdam on 18th May 2004, lot 131. A copy of the invoice is available. Cf. The Metropolitan Museum of Art, accession no.61.200.62 for a Kangxi period yen yen vase decorated with a similar scene; see also Christie’s New York, 21st September 2004, lot 271 for a Transitional baluster vase of the same scale painted with the Eight Immortals and similarly decorated with boys to the cover.

清順治五彩八仙龍鳳紋將軍罐來源：英國私人收藏，阿姆斯特丹蘇富比2004年5月18日·編號131（附發票複印件）。

another view

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

46 A RARE CHINESE IMPERIAL CINNABAR LACQUER ‘DRAGON’ CABINET QIANLONG 1736-95 The centre of the cabinet with a rectangular open compartment flanked by four drawers, each incised with octagonal floral patterns and with a metal handle shaped as tassels, the central section contained between six hinged doors, each carved with a scaly five-clawed dragon amidst billowing clouds, their handles shaped as cicadas, with two further dragon panels divided by diaper to each of the two shorter sides, the top finely worked with the same diaper pattern, with key fret borders throughout the design, 54cm x 47.7cm x 18cm.

£20,000-30,000 Provenance: from a British private collection, purchased from Adrian Joseph of Allen Management in 1984. Cf. China Guardian Auctions, 21st November 2009, lot 2122 for a very similar Qianlong cabinet; see also Classics of the Forbidden City, Imperial Furniture of Ming & Qing Dynasties, pp.348-349, no.386 for a pair of comparable pieces in the east room of the Palace of Earthly Tranquility in the Forbidden City; see also J Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, p.878, nos.2020 and 2021 for a related pair of cabinets also with dragons.

清乾隆御製剔紅雲龍紋小博古格來源：英國私人收藏，1984年購於Adrian Joseph of Allen Management。博古格立方式，通體鬆紅漆，邊緣雕迴紋。上下各三門相互紋飾對應，中間為雕乾隆時期典型正面龍，左右各雕側面龍相對，格內鬆黑漆並飾有漏窗，中間長方形亮閣左右附屜各二，屜面上雕龜背錦地。多寶閣下承卷雲足，牙條上飾朱漆錦地。乾隆皇帝將其置於炕或桌案之上，內中收藏各種賞玩小件或文房用品。此類型博古格十分罕見，相同例子可參照北京故宮博物院坤寧宮東梢間的長桌上有一對相同紋飾的博古格（故宮博物院編，《故宮經典：明清宮廷家具》，頁348，圖386）。另參見，中國嘉德國際拍賣2009年11月21日·編號2122，一件相似剔紅龍紋小博古格。

another view

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

47 A RARE CHINESE IMPERIAL CINNABAR LACQUER ‘WAN SHOU WU JIANG’ TEA BOWL FOUR CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The U-shaped body carved with the four characters wan shou wu jiang, each contained within a roundel enclosed by a band of ruyi-heads, the medallions set amidst scrolling lotus on a ground of floral diaper, with further bands of ruyi-heads bordering the foot and mouthrim, the short foot incised with key fret, with a gilt-metal liner to the interior, 12cm.

£20,000-30,000 Provenance: from a British private collection, purchased from Adrian Joseph of Allen Management in 1994. Cf. H Garner, Chinese Lacquer, p.147, pl.92 for a bowl of the same design with a cover from the collection of The Victoria and Albert Museum, museum no.FE.60-1974. Bowls with this design are believed to have been made for the Qianong Emperor’s 70th birthday. The phrase wan shou wu jiang is used as a birthday greeting and can be translated as ‘may you enjoy infinite longevity’. Similar patterns with these characters in medallions are also found on porcelain and cloisonné pieces.

清乾隆御製剔紅萬壽無疆碗《乾隆年製》篆書款來源：英國私人收藏，1994年購於Adrian Joseph of Allen Management。碗撇口，銅鎏金胎。通體雕朱漆雕折枝蓮花紋，由開光如意雲紋組成圈隔開，內刻篆書字，分別為萬、壽、無、疆。口沿雕雲頭紋一圈，圈足飾迴紋，底刻《乾隆年製》隸書款。此類碗乃為乾隆七十大壽時製，英國維多利亞及阿爾伯特博物館有一件相似紋飾的蓋碗，編號FE. 60-1974。

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

48 A RARE CHINESE TWO-COLOUR LACQUER ‘BAXIAN GUO HAI’ TRAY QIANLONG 1736-95 Formed as a large furling lotus leaf growing from a curved stem in dark green lacquer, one side carved with the Eight Immortals and their attributes in bright cinnabar lacquer, all reserved on a finely incised wave ground, 32cm.

£4,000-6,000 Provenance: from a British private collection, purchased from Roger Keverne Ltd on 15th June 1999. A copy of the invoice is available. The scene depicted shows the Eight Immortals using their magical powers to cross the sea in order to attend the birthday celebrations of the Queen Mother of the West.

清乾隆剔綠加彩八仙過海荷葉形盤來源：英國私人收藏，1999年6月15日購於Roger Keverne（附發票複印件）。盤呈荷葉形。以綠漆雕水紋錦地，捲起層層浪花。以朱漆雕八仙及槎撐於水中。姿態各異，生動傳神。

49 A SMALL CHINESE CLOISONNE CIRCULAR TRAY MID 16TH CENTURY Heavily cast, decorated to the centre with a stylised chrysanthemum motif, the design surrounded by flowerheads amidst scrolling foliage on a turquoise ground, all raised on three short feet, the gilded base incised with a visvavajra, 17.7cm, 1kg.

£5,000-8,000 Provenance: from a British private collection, purchased from Adrian Joseph of Allen Management in 1989. Cf. H Brinker and A Lutz, Chinese Cloisonné: The Pierre Uldry Collection, no.73 for a similar piece.

十六世紀中期銅胎掐絲琺瑯纏枝菊花式盤來源：英國私人收藏，1989年購於Adrian Joseph of Allen Management。

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

50 A LARGE CHINESE CLOISONNE ‘CARP’ BOWL 16TH CENTURY The well with a medallion enclosing a fish leaping from crashing waves, the design encircled by stylised lotus sprays on a white ground, decorated with the Eight Auspicious Buddhist Emblems (Bajixiang) and flowers to the exterior, with a further floral motif to the base, 24cm.

£3,000-5,000 Provenance: from a British private collection, purchased from Adrian Joseph of Allen Management in 1989.

十六世紀銅胎掐絲琺瑯鯉魚跳龍門紋碗來源：英國私人收藏，1989年購於Adrian Joseph of Allen Management。

51 A CHINESE HUANGHUALI THREE-TIERED PICNIC BOX AND COVER, TIHE 17TH/18TH CENTURY The rectangular wood box detailed with a carved lip at each of the three levels, with large ruyi motifs to the ends of the base frame, the upright handle and rounded corners reinforced with baitong mounts, 25cm x 34.5cm x 19cm. (5)

£6,000-8,000 Provenance: from a British private collection, purchased from Odile Cavendish on 10th June 1992. A copy of the invoice available. Cf. Christie’s New York, 22nd-23rd March 2012, lot 1743 for a similar piece; see also Sotheby’s New York, 20th March 2012, lot 130 for a comparable two-tiered example also with metal mounts.

十七/十八世紀黃花梨三層式提匣來源：英國私人收藏，1992年6月10日購於Odile Cavendish（附發票複印件）。

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

52 A CHINESE ZITAN BRUSHPOT, BITONG 17TH/18TH CENTURY The thick cylindrical body with a smooth polished surface, with a circular hardwood bung to the centre of the base, 14cm.

£5,000-8,000 Provenance: from a British private collection, purchased from Adrian Joseph of Allen Management in 1995.

十七/十八世紀紫檀雕素筆筒來源：英國私人收藏，1995年購於Adrian Joseph of Allen Management。

53 A CHINESE COPPER-RED GLAZED MEIPING 18TH CENTURY The ovoid body tapering and then gently flaring towards the foot, all surmounted by a short waisted neck, decorated to the exterior with a mottled deep red glaze, the base and interior glazed white, 21.5cm.

£3,000-5,000 Provenance: from a British private collection, purchased from Adrian Joseph of Allen Management in 1994. Cf. Sotheby’s New York, 11th September 2019, lot 639 for a similarly decorated meiping dated to the Qianlong period.

十八世紀紅釉梅瓶來源：英國私人收藏，1994年購於Adrian Joseph of Allen Management。

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54 A CHINESE IRON-RUST GLAZED ‘DRAGON’ VASE QIANLONG 1736-95 The squat pear-shaped body covered all over with an iridescent brown glaze, decorated in relief with two applied dragons arching their backs and clutching on to the rim as their long tails trail across the vase, the base unglazed, 22cm.

£3,000-5,000 Provenance: from a British private collection, purchased from Bonhams London on 11th July 2005, lot 237. A copy of the invoice is available.

清乾隆醬釉螭龍耳尊來源：英國私人收藏，倫敦邦瀚斯2005年7月11日·編號237（附發票複印件）。

55 A CHINESE LANGYAO INCENSE BURNER 18TH CENTURY The bombé-shaped body raised on a short foot, with a thin raised band to the shoulder, the exterior decorated with a rich crackled red flambé glaze flecked with darker speckles, the colour draining from the top leaving the rim white, 22cm dia.

£3,000-5,000 Provenance: from a British private collection, purchased from Adrian Joseph of Allen Management in 1991. Cf. Christie’s Hong Kong, 26th April 2004, lot 1074 for a related Kangxi langyao incense burner.

十八世紀郎窯紅香爐來源：英國私人收藏，1991年購於Adrian Joseph of Allen Management。

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56 A MASSIVE CHINESE IMPERIAL WHITE GLAZED ANHUA-DECORATED ‘LOTUS’ DISH SIX CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722 The deep body rising from a tapering foot to an everted rim, finely incised to the centre with large stylised lotus flowers set amidst many scrolling leafy tendrils, with the reign mark in underglaze blue to the reverse, 46.9cm.

£3,000-5,000 Provenance: formerly purchased from William Clayton Ltd, London on 15th March 1967; and then a British private collection, purchased from Christie’s South Kensington on 14th July 2006, lot 274. A copy of the Christie’s invoice is available.

清康熙白釉暗刻纏枝蓮花紋大盤《大清康熙年製》青花楷書款來源：1967年3月15日購於倫敦William Clayton Ltd，英國私人收藏，購於佳士得南肯辛頓2006年7月14日·編號274 （復發票複印件）。

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

57 A CHINESE IMPERIAL BLUE AND WHITE ‘SANXING’ BOWL SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 Decorated to the exterior with the Eight Immortals holding their attributes, they stand on pedestals formed from swirling clouds which float over wisps of mist, the design contained between simple double bands, with a medallion enclosing the Fu Lu Shou standing under a pine tree to the well, 15cm.

£8,000-12,000 Provenance: from a British private collection, purchased from Adrian Joseph of Allen Management in 1984. Cf. The Oriental Ceramic Society, Loan Exhibition of Chinese Blue and White Porcelain: 14th to 19th Centuries, 16th December 1953-23rd January 1954, no.309 for another bowl with this design from the Riesco Collection which was sold at Sotheby’s London on 23rd June 1970, lot 106; see also Christie’s Hong Kong, 30th November 2016, lot 3328 for two similar bowls.

清乾隆青花福祿壽紋撇口碗《大清乾隆年製》青花篆書款來源：英國私人收藏，1984年購於Adrian Joseph of Allen Management。

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

58 A CHINESE BLUE AND WHITE CIRCULAR BOX AND COVER KANGXI 1662-1722 The cover painted with a roundel containing archaistic vessels amongst beribboned precious objects, all surrounded by blossoming peony and chrysanthemum blooms growing amidst rockwork, the floral decoration repeated on the base, 18.5cm dia. (2)

£3,000-5,000 Provenance: from a British private collection, purchased from D & M Freedman on 23rd November 2013. A copy of the invoice is available.

清康熙青花博古圖紋蓋盒來源：英國私人收藏，2013年11月23日購於D & M Freedman（附發票複印件）。

59 A SMALL CHINESE BLUE AND WHITE STEM CUP TRANSITIONAL C.1640 The deep U-shaped body raised on a tall flared foot, decorated with a scene of three boys playing with a kite in a rocky setting above sprays of bamboo, the interior of the foot with paper labels reading ‘K R M 67’, ‘159’ and ‘401204’, 11cm.

£1,500-2,500 Provenance: formerly the collection of K R Malcolm, no.67; and then a British private collection, purchased from Bonhams London on 13th June 2002, lot 15. Cf. R S Kilburn, Transitional Wares and Their Forerunners, p.146, no.93 for a related stem cup with similar bamboo decoration and a comparable border encircling the rim.

明末清初青花嬰戲紋杯來源：K R Malcolm舊藏，英國私人收藏，倫敦邦瀚斯2002年6月13日·編號15。

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

60 A CHINESE BLUE AND WHITE ‘QILIN’ DISH SHUNZHI 1644-61 Painted with the scaly mythical beast with its front right leg raised and its head turned towards the sky, it sits in a landscape with a plantain tree and rocks in the background, the underside decorated with three precious objects, the base with a four character mark reading Zhi Lan Zhai zhi, with a paper label for Robert McPherson, London, 28.5cm.

£1,500-2,000 Provenance: from a British private collection, purchased from Stockspring Antiques, London, on 18th November 1998. A copy of the invoice is available. Cf. R Chen, Qing Shunzhi Kangxi Chao Qinghua Ci (Qing Dynasty Shunzhi and Kangxi Blue and White Porcelain), pp.44-45, no.20 for another Shunzhi dish with this design in the collection of the Palace Museum; see also Sotheby’s New York, 19th March 2019, lot 312 for another comparable piece.

清順治青花麒麟紋碟《芝蘭齋製》青花楷書款來源：英國私人收藏，1998年11月18日購於Stockspring Antiques（附發票複印件）。

61 A PAIR OF RARE CHINESE BLUE AND WHITE EROTIC SUBJECT SQUARE-SECTION VASES, FANGGU KANGXI 1662-1722 Each vase painted with scenes from The Romance of the Western Chamber to the central section, the tall flaring necks and feet decorated with flowers, rocks and butterflies, with geometric bands of fylfots encircling the mouths and footrims, each painted with a couple engaged in amorous pursuits to the base, 26cm. (2)

£8,000-12,000 Provenance: from a British private collection, purchased from D & M Freedman on 16th May 2012. A copy of the invoice is available. Cf. M Beurdeley and G Raindre, Qing Porcelain, p.67, nos.69 and 70 for a pair of related vases also with couples in coitus to the bases; see also S Marchant & Son, Exhibition of Two Hundred Years of Chinese Porcelain 1522-1722, 1998, p.82, no.65 for another similar pair.

清康熙青花春宮圖方觚一對來源：英國私人收藏，2012年5月16日購於D & M Freedman（附發票複印件）。

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62 A CHINESE BRONZE ARCHAISTIC HU-SHAPED VASE SOUTHERN SONG DYNASTY The pear-shaped body surmounted by a tall neck which flares slightly towards the rim, cast in relief with stylised birds amidst rocks and crashing waves, the neck flanked by animal mask handles and decorated with bands of dragons, ruyi-shaped clouds and other archaistic motifs reserved on a leiwen ground, all raised on a tall spread foot, 24cm, 1.1kg.

£3,000-5,000 Provenance: from a British private collection, purchased from Carter Fine Art Ltd on 19th March 1993. A copy of the invoice is available. Cf. R Kerr, Later Chinese Bronzes, pp.43-44 and 58-59, nos.31,32, 46 and 47 for a similarly decorated vase dated to 1173.

南宋銅製龍鳳紋鋪耳壺型瓶來源：英國私人收藏，1993年3月19日購於Carter Fine Art Ltd （復發票複印件）。

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

63 A CHINESE BRONZE GU-SHAPED VASE MING DYNASTY Cast with six petal-shaped facets, with a raised band to the tall slender body, all supported on a spread foot and flaring at the mouthrim, the base incised with a two character Xuande mark, 20.2cm, 743g.

£2,000-3,000 Provenance: by repute, purchased by Adrian Joseph of Allen Management in Hong Kong c.1983; and then a British private collection, purchased from Adrian Joseph in 1990. Cf. M Maucuer, Bronzes de la Chine impériale des Song aux Qing, p.139, no.90 for a related Ming vase in the Cernuschi Museum.

明銅花口花觚《宣德》款來源：1983年左右購於香港Adrian Joseph of Allen Management，

英國私人收藏，1990年購於Adrian Joseph。

64 A CHINESE BRONZE ‘DRAGON’ INCENSE BURNER MING DYNASTY The bombé-shaped body cast in relief with two dragons chasing each other through stylised ruyi-shaped clouds, with two handles formed as fantastical beast masks, all raised on a short flared foot, 19cm, 1.4kg.

£4,000-6,000 Provenance: from a British private collection, purchased from Adrian Joseph of Allen Management in 1990. Cf. P Moss & G Hawthorn, The Second Bronze Age: Later Chinese Metalwork, no.44 for a similar incense burner with comparable decoration; see also Christie’s Hong Kong, 6th April 2016, lot 3664 for another related piece.

明銅製龍紋香爐來源：英國私人收藏，1990年購於Adrian Joseph。

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

65 A CHINESE BURR ELM BOX AND COVER 18TH CENTURY The simple wood box of rectangular form, the natural grain of the wood with swirling patterns, carved with a recessed base, 7.2cm x 16cm x 11.5cm. (2)

£3,000-5,000 Provenance: from a British private collection, purchased from Adrian Joseph of Allen Management in 1995.

十八世紀癭木雕蓋盒來源：英國私人收藏，1995年購於Adrian Joseph of Allen Management。

66 A CHINESE JI CHI MU TRAVELLING WEIGHING SCALES BOX 18TH CENTURY The rectangular wood box with two drawers, the top with a small rectangular hole for the balance, with brass mounts to the corners and loop handles to the two shorter sides, the front set with a large metal locking plate, 14cm x 46cm x 21cm. (3)

£2,000-3,000 Provenance: from a British private collection, purchased from Adrian Joseph of Allen Management in 1995.

十八世紀雞翅木包銅文盒來源：英國私人收藏，1995年購於Adrian Joseph of Allen Management。

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67 A LARGE CHINESE BLUE AND WHITE ‘YINGLONG’ VASE COVER LATE MING DYNASTY The domed cover decorated with two winged five-clawed dragons amidst scrolling flowers and leaves beneath a band of lappets, surmounted by a large bulbous knop also decorated with mythical beasts, 20cm.

£1,000-2,000 Provenance: from a British private collection, purchased from John Berwald Oriental Ceramics & Works of Art on 18th April 1995. A copy of the invoice is available.

明晚期青花應龍紋蓋來源：英國私人收藏，1995年4月18日購於John Berwald 亞洲藝術品店（附發票複印件）。

68 A CHINESE BLUE AND WHITE ‘MASTER OF THE ROCKS’ DISH KANGXI 1662-1722 Painted in underglaze blue with a landscape scene contained within a simple blue band, detailed with a small dwelling by the bank of a river and with mountains in the distance, 27.5cm.

£400-600 Provenance: from a British private collection, received as a gift from Adrian Joseph of Allen Management in 1994.

清康熙青花山水紋盤來源：英國私人收藏，1994年獲贈於Adrian Joseph of Allen Management。

69 A SMALL CHINESE BLUE AND WHITE ‘FOUR SEASONS’ MUG KANGXI 1662-1722 Painted with peony, chrysanthemum, lotus and prunus, one side with an ear-shaped loop handle decorated with simple flowers, 10cm.

£500-800 Provenance: from a British private collection, purchased from Bonhams London on 13th June 2002, lot 17. Cf. The Oriental Ceramic Society, The World in Blue and White, p.30, no.73 for a similar mug.

清康熙青花四季花卉紋杯來源：英國私人收藏，邦漢斯倫敦2002年6月13日·編號17。

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

70 A LARGE CHINESE BLUE AND WHITE MUG TRANSITIONAL C.1640 The tall body gently tapering towards the mouth, painted to the exterior with a scene of two figures conversing in a rocky landscape beneath hanging willow tree branches, the design contained within bands of scrolling flowers and foliage encircling the rim and foot, with a loop handle to one side, 20cm.

£2,000-3,000 Provenance: from a British private collection, purchased from Jan van Beers in 1994.

明末清初青花山水紋杯來源：英國私人收藏，1994年購於Jan Van Beers。

71 A CHINESE FAMILLE VERTE CYLINDRICAL JAR AND COVER KANGXI 1662-1722 Decorated in enamels and gilt with a continuous scene of birds amidst magnolia, prunus and tree peony, with similar decoration to the flat cover, all enclosed within dense floral borders, 16.7cm. (2)

£2,000-3,000 Provenance: from a British private collection, purchased from D & M Freedman on 8th January 2010. A copy of the invoice is available.

清康熙五彩花鳥紋蓋罐來源：英國私人收藏，2010年1月8日購於D & M Freedman（附發票複印件）。

72 A CHINESE FAMILLE VERTE TEA CANISTER AND COVER KANGXI 1662-1722

73 A LARGE CHINESE FAMILLE VERTE DISH 19TH CENTURY

The rectangular-section body painted to the two larger facets with scenes of a lady reclining in a garden, with dwellings set amidst rocks and shrubs in the distance, the smaller sides decorated with flowers, with a further floral spray and pendant leaves to the cover, 12.4cm. (2)

Brightly painted with ladies riding on horseback as three gentlemen drink tea on a balcony above, the reverse decorated with four stylised leaves, with an artemisia leaf to the base, 38cm.

£2,000-3,000 Provenance: from a British private collection, purchased from D & M Freedman on 6th November 2011. A copy of the invoice is available.

清康熙五彩人物故事紋茶葉罐來源：英國私人收藏，2011年11月6日購於D & M Freedman（附發票複印件）。

£500-1,000 Provenance: from a British private collection, purchased from Martel Maides Auctions in 1994. Cf. W Qian, Tianwuguan Cang Ci, vol.1, pp.158-159 for a pair of Kangxi dishes decorated with the same subject.

十九世紀五彩騎馬仕女圖紋盤來源：英國私人收藏，1994年購於Martel Maides Auctions。

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

74 A CHINESE POTTERY ‘HILL’ JAR AND COVER AND A MODEL OF A WELL HEAD HAN DYNASTY

76 TWO LARGE VIETNAMESE BLUE AND WHITE DISHES 14TH/15TH CENTURY Each painted to the centre with a medallion containing a stylised spray of flowers, the designs surrounded by floral and foliate scrolls, each with lappets to the underside, 36.3cm and 37.7cm. (2)

The jar moulded with various animals including a tiger, lion and buffalo in a rocky landscape, all raised on three short feet and decorated with a green and amber glaze, the well head with tall supports tapering towards the top and terminating in dragon heads, supported on a waisted base, 27.5cm and 38.4cm. (3)

£800-1,200 Provenance: formerly the collection of Bob Biccus; and then a British private collection, purchased from Adrian Joseph of Allen Management in 1994.

£300-500 Provenance: from a British private collection, purchased from Adrian Joseph of Allen Management in 1984. The hill jar by repute purchased from King Kong Lee in 1982.

十四/十五世紀越南青花盤一組兩件來源：Bob Biccus舊藏，英國私人收藏，1994年購於Adrian Joseph of Allen Management。

漢香爐及水井配件來源：英國私人收藏，1984年購於 Adrian Joseph of Allen Management。

77 A VIETNAMESE BLUE AND WHITE DISH 15TH CENTURY

75 A SET OF FIVE CHINESE YELLOW GLAZED TEA BOWLS 19TH CENTURY

Decorated to the centre with a bird spreading its wings before stylised foliage, the scene surrounded by a floral scroll, the reverse painted with large lappets, with paper labels for the Hoi An Hoard and Robert McPherson ‘HH1’, 23.5cm.

Each decorated with an egg-yolk yellow glaze which pools and darkens at the foot, the interiors with white clouds encircling flaming pearls in green and aubergine enamels, together with a fitted Japanese box and cover, 10.7cm. (5)

£200-300 Provenance: from a British private collection, purchased from Stockspring Antiques, London, on 10th November 2001. A copy of the invoice is available.

£1,500-2,500 Provenance: from a British private collection, purchased from Jan van Beers in 2004. A copy of the invoice is available.

十五世紀越南青花盤來源：英國私人收藏，2010年11月10日購於倫敦Stockspring Antiques（附發票複印件）。

十九世紀黃地三彩碗一組五件來源：英國私人收藏，2004年購於Jan van Beers（附發票複印件）。

77 75

FINE CHINESE

WORKS OF ART LOTS 78-163

Lot 103 detail

78 λ A CHINESE RHINOCEROS HORN BRUSH REST, BISHAN 17TH/18TH CENTURY Plainly carved as a stylised mountain range with a central towering peak, the base slightly hollowed and with dark spots and speckles, 14.5cm, 215g. Please note that an export licence will only be granted for rhinoceros horn pieces should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.

£7,000-9,000 Cf. J Chapman, The Art of Rhinoceros Horn Carving in China, p.115, no.115 for a comparable brush rest from the collection of Gerard Levy, no.GL.71.

十七/十八世紀犀角雕筆山註：只有落槌價格每克超過100美金的犀角雕拍品才能申請出口證書。

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

79 λ A CHINESE RHINOCEROS HORN ARCHAISTIC ‘MYTHICAL CREATURES’ LIBATION CUP 17TH/18TH CENTURY The flaring body decorated with stylised taotie masks reserved on a leiwen ground, carved in high relief with two chilong clambering over the exterior and clutching to the rim, the handle formed as a phoenix and a two-horned dragon which gazes into the deep interior, with further geometric bands encircling the rim and short foot, 12.8cm, 171g. Please note that an export licence will only be granted for rhinoceros horn pieces should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.

£15,000-20,000 Cf. The Complete Collection of Treasures of the Palace Museum, Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, p.151, no.133 for a related cup with chilong climbing around the body.

十七/十八世紀犀角雕螭龍紋杯註：只有落槌價格每克超過100美金的犀角雕拍品才能申請出口證書。

80 λ A CHINESE RHINOCEROS HORN ‘THREE FRIENDS OF WINTER’ LIBATION CUP 17TH/EARLY 18TH CENTURY Carved to the exterior with pairs of phoenix, cranes, ducks and other birds amidst pine, prunus and bamboo, the trunks of the pine trees forming the handle, with simple petals incised to the interior, all raised on a short circular base worked as rocks, 13.6cm, 172g. Please note that an export licence will only be granted for rhinoceros horn pieces should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.

£15,000-20,000 Cf. Christie’s New York, 19th September 2007, lot 3 and 22nd March 2012, lot 1690 for two comparable pieces also carved with pairs of phoenix, cranes and other birds amidst foliage and rocks; see also J Chapman, The Art of Rhinoceros Horn Carving in China, p.187, nos.253 and 254 for two further related examples in the Chester Beatty Library, the former decorated with a pair of cranes against rocks, the latter with two phoenix.

十七/十八世紀犀角雕歲寒三友杯註：只有落槌價格每克超過100美金的犀角雕拍品才能申請出口證書。

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

81 λ A CHINESE RHINOCEROS HORN ‘CHILONG AND LINGZHI’ LIBATION CUP 17TH/EARLY 18TH CENTURY Worked in relief with two chilong confronting each other as they clamber amongst lingzhi and bamboo, one side with a fungus stem and bamboo branch forming the handle, the interior stylistically carved as a lingzhi cap, 16.6cm, 280g. Please note that an export licence will only be granted for rhinoceros horn pieces should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.

£20,000-30,000 Cf. J Chapman, The Art of Rhinoceros Horn Carving in China, p.165, no.204 for a comparable piece with chilong and lingzhi from the Gerard Levy Collection; see also Sotheby’s Hong Kong, 3rd October 2017, lots 3695 and 3698 for further examples depicting the mythical creatures amidst bamboo and lingzhi.

十七/十八世紀犀角雕如意螭龍紋杯註：只有落槌價格每克超過100美金的犀角雕拍品才能申請出口證書。

82 λ A CHINESE RHINOCEROS HORN ‘LOTUS’ LIBATION CUP 17TH CENTURY Formed as a large lotus leaf furling at the edges, the exterior decorated in high relief with lotus blossoms and leaves issuing from thick stalks which naturalistically curve to form the handle, with a single fish carved amongst the flowers, both the interior and exterior detailed with the finely rendered veins of the large leaf, 14cm, 156g. Please note that an export licence will only be granted for rhinoceros horn pieces should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.

£5,000-10,000 The lotus is a popular motif on rhinoceros horn carvings, being regarded as a symbol of scholars’ virtue and purity, as the beautiful flower grows from the mud, clean and unstained. Cf. Ming and Qing Chinese Arts from the C P Lin Collection, p.285, no.169 for a similar late Ming dynasty rhinoceros horn cup carved as a lotus leaf; see also T Fok, Connoisseurship of Rhinoceros Horn Carving in China, p.134, no.85 for another related 17th century piece and p.142, no.93 for a comparable 17th century lotus leaf-shaped cup with fish.

十七世紀犀角雕蓮枝紋杯註：只有落槌價格每克超過100美金的犀角雕拍品才能申請出口證書。

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

83 A CHINESE LACQUERED AND GILT-WOOD FIGURE OF A DIGNITARY 16TH CENTURY He stands with his feet apart and hands clasped before him, with his head turned slightly to the left, his loose robes decorated with flowerheads amidst stylised leafy tendrils, the borders carved in relief with scrolling designs, 49.5cm.

£3,000-5,000 Provenance: formerly purchased from the Traditions of Collecting Exhibition, June 1997; and then an English private collection, Wiltshire, purchased from Alistair Sampson Antiques Ltd on 18th June 1997. A copy of the invoice is available. Cf. Christie’s Paris, 12th June 2012, lot 190 for a comparable standing figure.

十六世紀木雕鎏金加彩官人像來源：1997年6月購於Traditions of Collecting，英國威爾郡私人收藏，1997年6月18日購於Alistair Sampson Antiques Ltd（附發票複印件）。

Alistair Sampson invoice 18th June 1997

84 A CHINESE BAMBOO BRUSHPOT, BITONG QING DYNASTY

85 A CHINESE ZITAN BRUSHPOT, BITONG QING DYNASTY

The cylindrical body carved and pierced with a seated scholar and his attendant beneath a pine tree in a rocky landscape, with a further attendant approaching them, the base concave, all supported on three short feet, 15cm.

The plain cylindrical body flaring slightly towards the rim, with a circular bung set in the base, all raised on three short feet, 12cm.

£2,000-3,000

清紫檀素雕筆筒

£2,000-3,000

清竹雕高士圖筆筒

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

86 A CHINESE CARVED BAMBOO INCENSE HOLDER 18TH/19TH CENTURY The cylindrical body carved in relief and pierced with scholars, attendants and ladies in a rocky landscape, with a gnarled pine tree growing from behind a boulder, the large stone signed Fan Bin, each end with a later removable wood cover, 17.8cm. (3)

£2,000-3,000 Cf. Sotheby’s Hong Kong, 8th April 2010, lot 1973 for a comparable reticulated bamboo incense holder also signed Fan Bin; see also Spink & Son Ltd, Bamboo & Wood Carvings of China and the East, p.78, no.313 for another related piece with similar decoration.

87 A RARE CHINESE TIXI LACQUER TREFOIL DISH DATED 1574 The shallow body deeply carved to the front with scrollwork, with the same design to the exterior, the patterns finely outlined in red, the base incised jiaxu Liu Rui zao meaning ‘made by Liu Rui in the jiaxu year’ corresponding to 1574, with four old paper labels to the base, 17.6cm.

£5,000-7,000 Provenance: purchased in Japan between 1922 and 1923 by the Swedish Rear Admiral Sten Ankarcrona (1861-1936) and thence by descent.

明萬曆烏面剔犀卷草紋盤銘文：甲戌劉瑞造。來源：1922-1923年期間由Sten Ankarcrona（1861-1936）購於日本。

清范邠款竹雕高士圖香筒《范邠》款

88 A CHINESE WHITE JADE RECTANGULAR-SECTION SNUFF BOTTLE 19TH CENTURY The plain body surmounted by a cylindrical neck and flanked by two lion masks holding rings in their mouths, all raised on a short tapering foot, the slightly recessed base incised with the hall mark Xing You Heng Tang, the pale stone of an even tone, 5.5cm.

£10,000-15,000 The hall Xing You Heng Tang is known to have been the residence of the Manchu official Zhai Quan, who was one of the great grandsons of the Qianlong Emperor. Zhai Quan was a famous collector of works of art during the Daoguang and early Xianfeng periods before his death in 1854. Cf. R Kleiner, Chinese Snuff Bottles in the Collection of Mary and George Bloch, p.101, no.58 for another jade snuff bottle with this hall mark which was sold at Bonhams Hong Kong on 27th May 2012, lot 131; see also Sotheby’s Hong Kong, 2nd June 2016, lot 8 and Christie’s London, 6th November 2012, lot 145 for a jade waterpot and brushpot also marked Xing You Heng Tang; see also The Complete Collection of Treasures of the Palace Museum, Yixing Ware, pp.94-95, no.70 for an Yixing teapot incised with this hall mark and p.171, no.139 and p.188, no.154 for a Daoguang vase and bowl also with this mark.

十九世紀白玉雕獸耳方形鼻煙壺《行有恆堂》楷書款註：行有恆堂是定親王愛新覺羅·載銓（1794-1854）的私人專用堂款，載銓為乾隆帝玄孫，工詩，富收藏，著有《行有恆堂集》。目前所見的《行有恆堂》款的器物最早可至嘉慶六年（1801），晚可至咸豐四年（1854）。故宮博物館有一件紫砂壺刻有“行有恆堂主人”（故宮博物館文物珍品全集，《紫砂器》，頁94-95, 編號70）。另見，香港邦瀚斯2012年5月27日編號 131一件白玉鼻煙壺同樣有行有恆堂款。

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

89 A SMALL CHINESE IMPERIAL AGATE ‘HEAVENLY DOVE’ VASE FOUR CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The stout body raised on a short flared foot and surmounted by a waisted neck, carved in relief with three doves standing tall to the exterior, with archaistic scrolls dividing the birds, the base finely incised with the four character reign mark, the stone a dark grey colour with paler areas and striations, 9.1cm.

£8,000-12,000 Cf. Compendium of Collections in the Palace Museum, Jade, vol.10, p.136, no.99 for a similar pale celadon jade item also with a four character Qianlong mark; see also Marchant, Ninety Jades for 90 Years, pp.172-173, no.89 for a comparable Jiaqing period example in spinach-green jade; see also The Complete Collection of Treasures of the Palace Museum, Jadeware (II), p.36, no.33 for a jade Tang dynasty version of this piece.

清乾隆瑪瑙雕三鳩爐《乾隆年製》篆書款註：《後漢書·禮儀志中》稱鳩為“不噎之鳥”，“欲老人不噎”。借此寓意剛直和祝年長者不得“噎病”。參見，《故宮博物院藏品大系·玉器篇十》，頁136，編號99，一件玉雕三鳩爐。

90 A RARE CHINESE SOAPSTONE ‘TOAD’ SEAL 18TH/19TH CENTURY

91 A CHINESE SOAPSTONE FIGURE OF A LUOHAN 18TH CENTURY

Carved as a toad sitting upon a square base, rendered with the details of the amphibian’s knobbly skin, with a band of interlocking ‘T’ scrolls to the edge, the underside with nine seal script characters which read chen su lie zhang, han lai shu wang, qiu, 5.5cm.

Depicted seated upon a rocky pedestal with his legs crossed, with a ruyi-sceptre resting in his left hand, his sumptuous robes incised with lotus medallions and decorated at the hem with clouds against a stylised wave ground, the stone of a pale greenish tone and with some white inclusions, the base original and of a creamy colour with pinkish inclusions, 9.1cm high overall. (2)

£600-1,000 Provenance: from an English private collection, Kent. The characters form an excerpt from the Thousand Character Classic, or Qian Zi Wen, by Zhou Xingsi. The Thousand Character Classic is a poem which has been used to teach children Chinese characters since the sixth century. The poem is comprised of one thousand characters, with each being used only once.

十八/十九世紀壽山石雕金嬋鈕方印印文：辰宿列張。寒來暑往，秋來源：英國肯特郡私人收藏。

£3,000-5,000 Provenance: from the collection of the late Hon. Mrs Clive Behrens, formerly The Hon. Evelina Rothschild. Cf. Christie’s London, 10th May 2016, lot 56 and also Christie’s Paris, 12th December 2018, lot 131 for related carvings.

十八世紀壽山石雕羅漢坐像來源：Evelina Rothschild夫人收藏。

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

92 A RARE CHINESE BAMBOO GILT AND LACQUERED SCHOLAR’S TEAPOT AND COVER YONGZHENG/QIANLONG The compressed circular body with a loop handle and spout, with gilt ruyi-heads centred by red lacquer encircling the rim, the cover decorated with two flowers set amidst stylised leafy tendrils and delicate scrollwork, the recessed base incised Jiezhai zao which can be translated as ‘made in the studio of restraint’, 12.1cm. (2)

£1,500-2,500 Cf. Christie’s Hong Kong, 2nd December 2015, lot 3139 for another bamboo root teapot and cover with this mark; see also Bonhams Hong Kong, 28th November 2011, lot 250 for a Yongzheng Yixing inkstone and lacquer box decorated with comparable gilt scrolls. The lacquer decoration on this unusual bamboo teapot is comparable to that on Japanese lacquer pieces, particularly the delicate scrollwork to the cover and band of foliage resembling karakusa scrolls. The Yongzheng Emperor is known to have greatly admired Japanese works of art and aesthetics, and he was especially fond of Japanese maki-e lacquer with gold decoration. There were a large number of Japanese maki-e pieces in the collection of the Qing court. However, the Yongzheng Emperor’s appreciation for Japanese lacquer led him not only to collect pieces made in Japan, but also to order imitation works from domestic Imperial workshops. Yongzheng is believed to have been the first Qing emperor to commission such imitation pieces, and this was to be continued by his son the Qianlong Emperor. These imitation pieces appear to have been valued as equal to rather than inferior to authentic Japanese examples. Aside from pure imitations, Yongzheng also encouraged the application of Japanese lacquerware designs on other media, including porcelain and enamel. An enamelled gilt-copper inro-style case produced in the Qing court workshops and now in the National Palace Museum collection is one example of these kind of pieces produced under the Yongzheng Emperor’s reign. For a more in-depth discussion on Japanese lacquer in 18th century China, see K Kleutghen, Imports and Imitations: The Taste for Japanese Lacquer in Eighteenth-Century China and France, Journal for Early Modern Cultural Studies, vol.17, no.2, Spring 2017, pp.175-206.

清雍正/乾隆竹雕鎏金加彩茶壺《節齋造》款

93 A CHINESE FAMILLE ROSE TABLE SCREEN REPUBLIC PERIOD Painted with a scene of two ladies gazing at swallows in flight from a lakeside pavilion, with pine and mountains in the background, the porcelain plaque mounted in a wood frame and raised on a stand carved with a bat, 40.6cm x 26.5cm overall. (2)

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

民國粉彩春意圖插屏來源：英國漢普郡私人收藏。

94 A CHINESE AMBER CEREMONIAL COURT NECKLACE, CHAOZHU QING DYNASTY Formed from four sections of twenty-seven amber beads divided by large fodou, the central fodouda carved as a gourd which suspends an oval rose quartz plaque, the plaque mounted in filigree decorated with four bats highlighted in kingfisher feathers, the upper section with three zhinian of small rose quartz beads, with four further hardstones carved as fruits mounted in filigree also with areas picked out in kingfisher feather, 116cm.

£4,000-5,000 清琥珀朝珠 95 A CHINESE IMPERIAL YELLOW-GROUND EMBROIDERED SILK CUSHION COVER 19TH CENTURY Decorated in coloured and gold thread with a large confronting dragon in pursuit of a flaming pearl, with two smaller dragons flying over crashing waves and rocks below, the mythical beasts surrounded by the Eight Auspicious Buddhist Emblems (Bajixiang), bats and clouds, all bordered by large flowerheads set amidst scrolling foliage, with stylised clouds to the reverse, 63cm x 62cm.

£8,000-12,000 Cf. The Victoria and Albert Museum, museum no.T.135-1917 for a related yellow cushion cover decorated with dragons.

十九世紀御製黃地趕珠龍紋織品

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

96 A CHINESE BEIJING BLUE GLASS VASE FOUR CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The pear-shaped body surmounted by a wide tall cylindrical neck which flares towards the rim, supported on a short flared foot, the base incised with the four character reign mark contained within a double square, the translucent glass a deep purplish-blue colour, 25.6cm.

£8,000-12,000 Cf. R Zhang, Luster of Autumn Water: Glass of the Qing Imperial Workshop, pp.140-141, no.17 for a comparable blue vase also with a four character Qianlong mark; see also C Brown & D Rabiner, The Robert H Clague Collection: Chinese Glass of the Qing Dynasty, pp.22-23, no.9 for another similar piece.

清乾隆藍料膽瓶《乾隆年製》楷書款 97 A CHINESE CINNABAR LACQUER SQUARE ‘LONGEVITY’ BOX AND COVER QING DYNASTY The cover carved in a relief with a large shou character decorated with floral diaper, the sides of the box and cover both finely incised with continuous fylfot designs, the interior and base lacquered a dark brown, 7.4cm. (2)

£1,500-2,000 清剔紅壽盒 98 A CHINESE AMBER CARVING OF SHOULAO QING DYNASTY The God of Longevity depicted seated on rocks holding a peach and a staff, with a crane at his feet and Magu behind him, all attached to a wood stand carved with pine, lingzhi and shrubs, 12.4cm.

£4,000-5,000 清琥珀雕如意壽老擺件

99 A LARGE CHINESE BRONZE ‘MYTHICAL BEAST’ INCENSE BURNER AND COVER QING DYNASTY Cast as a lion-like beast with its head turned to sinister and raised, baring its teeth, the reticulated cover decorated with formal scrolls above a band of key fret, the caparison cast in relief with lotus scrolls, the body inset with coral and turquoise-coloured beads, 33cm high, 35cm across, 2kg. (2)

£15,000-20,000 Provenance: from an Asian private collection. Cf. Sotheby’s London, ‘Water, Pine and Stone Retreat Collection’, 12th June 2003, lot 83 for a related example; see also Sotheby’s Hong Kong, 8th October 2014, lot 3357 for another comparable piece.

清銅瑞獸香薰來源：亞洲私人收藏。

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

100 A CHINESE BRONZE ‘LAOZI AND BUFFALO’ INCENSE BURNER AND COVER 17TH CENTURY The cover formed as Laozi wearing loose-fitting robes, he sits upon the back of a recumbent water buffalo holding a ruyi sceptre in his right hand, the animal depicted with its head raised and mouth agape revealing its tongue, detailed with swirling tufts of hair to its forehead, 21.8cm, 1.3kg. (2)

£2,000-3,000 Provenance: from an Asian private collection. Laozi was a semi-legendary philosopher and is regarded as the founder of Daoism. According to legend, Laozi became disillusioned with the corruptness at the Zhou dynasty court and abandoned his position there as a record keeper. He rode away on a water buffalo to the West, only to be recognised by a border official at the Hangu Pass who asked him to write down his wisdom. It is believed that what he wrote became the Daodejing, the sacred text of Daoism.

十七世紀銅老子出山薰來源：亞洲私人收藏。

101 A CHINESE BRONZE ‘WATER BUFFALO’ WATER DROPPER 17TH CENTURY Formed as a standing water buffalo with its head turned to sinister, its ribs and hair finely detailed, with apertures to its spine and open mouth, together with a Japanese wood box and cover, 14cm, 359g.

£2,000-3,000 Provenance: from an Asian private collection.

十七世紀銅水牛水滴來源：亞洲私人收藏。

102 A CHINESE CLOISONNE ‘CRANES’ INCENSE BURNER MING DYNASTY The cylindrical body decorated with four cranes in flight amidst stylised flowering branches, all against a turquoise ground, with later Qing dynasty mounts to the rim and foot, the base with a four character Jingtai mark and an old paper label, 11.6cm.

£2,500-3,500 Provenance: from an English private collection, purchased in London and given to a family member of the current owner as a wedding gift in the 1950s. Cf. H Brinker & A Lutz, Chinese Cloisonné: The Pierre Uldry Collection, pl.31 for a related item; see also Christie’s New York, 19th September 2007, lot 168 and Christie’s London, 12th December 2007, lot 155 for further comparable incense burners decorated with lotus and grape vines respectively.

明銅胎掐絲琺瑯雲鶴紋香爐《景泰年製》款來源：英國私人收藏，購於倫敦，1950年代作為結婚禮物送給現藏家。

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

103 † A LARGE CHINESE CLOISONNE CIRCULAR BASIN QIANLONG 1736-95 With shou characters above lotus blooms amongst stylised leaves to the exterior, the centre decorated with aquatic animals including crustacea, a fish, a turtle and a toad swimming through crashing waves, the creatures surrounded by precious objects, with winged horses flying over the sea to the cavetto, the base with lotus flowerheads amidst scrolling foliage, all raised on three scroll feet embellished in relief with bats, the feet perhaps later, 26.5cm.

£15,000-20,000 清乾隆銅胎掐絲琺瑯海水瑞獸紋盆

104 A CHINESE CLOISONNE ‘LOTUS’ INCENSE BURNER MING DYNASTY The bombé-shaped body decorated with continuous lotus scrolls reserved on a dark blue ground, with bands of lingzhi and further flowers encircling the rim, all raised on a short flared foot, 12cm.

£2,500-3,500 明銅胎掐絲琺瑯折枝蓮紋香爐

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

105 A RARE CHINESE ENAMEL EUROPEAN SUBJECT STEM BOWL AND COVER QIANLONG 1736-95 The exterior of the bowl decorated with three cartouches enclosing Europeans in classical dress, the cover with two panels depicting herders and their livestock, all reserved on a green ground painted with many flowers and leaves, with a dense band of various fruits encircling the foot, 13cm. (2)

£5,000-8,000 The panels on the bowl depict Vertumnus and Pomona with two dogs at their feet, Ceres, Pomona and Flora beneath a tree, and Cybele seated in her chariot pulled by two lions with a beggar woman kneeling before her with a wreath. Cf. Asian Art Day One, 19th May 2010, lot 41 for a comparable stem bowl and cover sold in these rooms; see also D S Howard and J Ayers, China for the West, vol.2, pp.636-637, no.662 for a similarly decorated enamel saucer dish with the same scene of Cybele meeting a beggar woman.

清乾隆銅胎畫琺瑯西洋人物高足蓋碗 106 No lot

107 A LARGE CHINESE SILVER FOOTED BOWL AND COVER 2ND HALF 19TH CENTURY The compressed body decorated in repoussé with six oval panels reserved on a dense ground of bamboo branches, one panel undecorated, another enclosing flowers, two with dragons, and two containing scenes of warriors in battle, the cover with six dragons amidst swirling clouds and surmounted by a carp-shaped finial, all flanked by two loop handles formed as dragons arching their backs, with gilt to the interior, the foot with two punch marks, one reading Yi Chang, 41cm, 1.9kg. (2)

£20,000-30,000 The battle scenes on this bowl are both taken from Ming dynasty pieces of literature. One scene portrays Zhou Yu and Zhang Fei from the Romance of the Three Kingdoms (Sanguo Yanyi) riding into battle, whilst the other depicts the characters Qin Qiong and Su Dingfang from Heroes of the Sui and Tang (Sui Tang Yanyi).

十九世紀銀質三國及隋唐人物故事紋蓋碗

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108 A CHINESE SILVER ‘DRAGON’ PUNCH BOWL 2ND HALF 19TH CENTURY Decorated in relief with a scaly dragon wrapping its body around the exterior of the deep bowl, the beast depicted with a fierce expression as it pursues a large flaming pearl, the design set against a chased textured ground, each of the three feet formed as a dragon-carp with its mouth agape and its curled tail supporting the bowl, the base with three punch marks reading ‘WH’ for Wang Hing & Co, ‘800’, and Kun He, 34cm, 2.8kg.

£10,000-20,000 Wang Hing & Co was established by the Lo family in Canton soon after the 1842 Treaty of Nanking. Having started as dealers in jade, the firm went on to become one of the most prolific and famous retail silversmiths of export silver during the late China trade period. Wang Hing & Co later opened premises in Shanghai and unveiled a flagship store in Hong Kong in the early 1920s which sold various luxury goods in addition to silverware.

十九世紀銀質趕珠龍紋碗

109 A CHINESE HARDWOOD RECTANGULAR ‘DRAGON’ PANEL 19TH CENTURY One side carved in relief with a dragon grasping a flaming pearl with its claws, with a smaller dragon emerging from crashing waves below, each with its tail wrapped around jagged rocks, all set against many stylised ruyi-head shaped clouds, the reverse mounted with hanging wire, 116cm x 75.7cm x 4.2cm.

£4,000-6,000 Provenance: formerly a French private collection.

十九世紀硬木雕海水雲龍紋板來源：法國私人舊藏。 110 A LARGE CHINESE MARBLE ‘DRAGON’ BOWL MING/QING DYNASTY Carved to the exterior with two sinuous dragons chasing a sacred pearl, with stylised clouds around them, the flat everted rim decorated with a geometric band, all raised on a gently tapering foot, 55cm.

£2,000-3,000 明/清大理石雕趕珠龍紋大缸

100

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111 AN EIGHTEEN CARAT GOLD SPECTACLE CASE PRESENTED BY HIS MAJESTY KING CHULALONGKORN, RAMA V, TO CAPTAIN JOHN BUSH 19TH CENTURY With a hinged cover, one side incised with an elephant and with an inscription reading ‘Presented by His Majesty the King of Siam to The Honble Captain John Bush KCWE, 25 March 1873’, together with a portrait of King Chulalongkorn and a red lacquer display tray, the case 13cm, 163g. (3)

£10,000-15,000 On 18th April 1855, the Bowring Treaty was signed between the Kingdom of Siam and the United Kingdom. The agreement liberalised foreign trade in Siam and also led to the establishment of a British Consulate in Bangkok. A few years later, Captain (later Admiral) John Bush KCWE (1819-1905) arrived in Bangkok and, due to the rapid increase in foreign shipping, was appointed as Bangkok’s Harbour Master by King Mongkut, Rama IV (1804-68). Bush held this post for thirty years and served under both King Rama IV and his son King Chulalongkorn, Rama V (1853-1910). The solid gold case was presented to Bush on 25th March 1873 by the young King Chulalongkorn, who was only nineteen. The previous year, Captain Bush had commanded three Royal Siam Navy ships during a successful trip the King made to British India, and this case was most probably a gift of appreciation and thanks. The two men remained close friends thereafter and after Bush’s death in 1905, the King himself paid for an impressive memorial which still stands in the Protestant cemetery in Charoen Krung Road, Bangkok.

十九世紀 18K金盒註：此盒為泰國國王拉瑪五世，朱拉隆功（1853-1910）送給John Bush船長的禮物。

His Majesty King Chulalongkorn, Rama V (1853-1910)

101

LIONEL DE ROTHSCHILD (1882-1942)

Lionel de Rothschild, OBE (1882-1942) was the eldest son of Leopold de Rothschild and part of the prominent Rothschild banking family of England. After the death of his father in 1917, Lionel and his brother Anthony became the managing partners of N M Rothschild & Sons bank. Aside from his involvement in the family bank, Lionel was also a Conservative politician, serving as MP for the Vale of Aylesbury from 1910 to 1923. After selling Halton House which he had inherited from his uncle Alfred de Rothschild in 1918, the following year Lionel purchased the Mitford estate at Exbury in Hampshire. Lionel had been interested in horticulture from an early age and dedicated much time and money into creating an impressive garden at Exbury. He was also responsible for the building of Exbury House on the estate in the 1920s. Lionel passed away in 1942, and the estate was inherited by his son Edmund de Rothschild (1916-2009) who devoted himself not only to the family business but also to maintaining and developing Exbury Gardens which had fallen into disrepair during the Second World War. Whilst Exbury House remains private, the gardens are open to the public and are still regarded as some of the finest in the United Kingdom today. The lots offered in this sale were in the collection of Lionel de Rothschild at Exbury House and subsequently passed by descent to Edmund. Lionel de Rothschild (1882-1942)是Leopold de Rothschild的大兒子並執掌一部分的英格蘭Rothschild家族銀行。1917年，在其父親去

世之後，Lionel及他的兄弟Anthony成為了N M Rothschild & Sons 銀行的合夥人。除此之外，他還是一個保守黨政治領袖之一並在1910至1923之間他曾擔任Vale of Aylesbury的國會議員。賣掉他從叔叔那裡繼承的Halton莊園之後的第二年，他買下了漢普郡的Mitford莊園的Exbury別墅。Lionel一直鍾情於園藝，在買下Exbury別墅之後他花費了大量的時間和金錢打造他心目中最完美的英式花園。1942年Lionel去世之後，他的兒子Edmund de Rothschild （1916-2009）繼承並致力於家族企業，且重建被二戰銷毀的Exbury花園。如今Exbury別墅沒有對外開放，但其花園是英國最著名的花園之一，每年絡繹不絕的訪客慕名而來。此次上拍的兩件拍品为Lionel de Rothschild的藏品，之后由Edmund de Rothschild继承。

102

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EXBURY HOUSE HAMPSHIRE LOTS 112 & 113

The Exbury House Estate was purchased by Lionel de Rothschild in 1919 and has remained in the family ever since. TheÂ spectacular 200 acre gardens which are open to the public have a world renowned collection of rhododendrons, azaleas, camellias and other rare shrubs and plants.

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112 A PAIR OF LARGE AND IMPOSING CHINESE LAPIS LAZULI MODELS OF ELEPHANTS QING DYNASTY Each elephant stands four-square with its large tusks highlighted in gilt, they support gilt-metal saddle blankets and zun-shaped vases inlaid with colourful stones upon their backs, the vessels contain many bronze branches of lingzhi from which bunches of hardstone fruits hang, each item surmounted by five later European sconces, all raised on elaborate gilt-bronze rectangular pedestals decorated with lotus scrolls in coral, turquoise and other jewels, overall height 57cm and 55cm. (2)

£20,000-30,000 Provenance: Lionel de Rothschild (1882-1942), Edmund de Rothschild (1916-2009), the Trustees of Exbury House. Cf. The Complete Collection of Treasures of the Palace Museum, Treasures of Imperial Court, p.32, no.25 for a comparable pair of metal-mounted lapis lazuli elephants carrying vases; see also Compendium of Collections in the Palace Museum, Enamels, 4, Cloisonné in the Qing Dynasty (1644-1911), p.55, no.25 for a related champlevé jardinière with lotus decoration similar to the base. The image of an elephant carrying a vase represents the rebus taiping youxiang which carries the sentiment of wishing for peaceful times. An elephant with a vase is a visual embodiment of this expression, as the Chinese words for vase (ping) and elephant (xiang) are homophonous with two words in the saying. Due to their association with this phrase, during the Qing dynasty live elephants carrying vases on their backs were featured in processions celebrating the emperor’s birthday. Their presence at these ceremonies was hoped to ensure long-lasting national peace and security under the reign of the ruling emperor. The elephant itself is also symbolic of peace and stability because it is a heavy animal which stands firmly with its four feet flat on the floor.

清銅鎏金嵌百寶裝飾天青石雕太平有象擺件一對來源：Lionel de Rothschild（1882-1942）舊藏，Edmund de Rothschild（1916-2009），英國漢普郡艾斯博瑞莊園。

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105

113 A LARGE CHINESE COPPER-RED ‘FIVE DRAGON’ VASE 18TH CENTURY The pear-shaped body with a tall tapering neck, decorated with scaly five-clawed dragons amidst clouds and flames, their eyes picked out in underglaze blue, all above breaking waves, the short foot painted with a continuous leaf scroll, with gilt-metal mounts to the neck and foot, the neck reduced and the base lacking, 55cm overall.

£8,000-12,000 Provenance: Lionel de Rothschild (1882-1942), Edmund de Rothschild (1916-2009), the Trustees of Exbury House. Cf. J Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol.I, p.215, no.449 for a smaller related vase, but with a single dragon.

十八世紀釉裡紅趕珠龍紋瓶來源：Lionel de Rothschild（1882-1942）舊藏，Edmund de Rothschild（1916-2009），英國漢普郡艾斯博瑞莊園。

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114 A RARE CHINESE ARCHAISTIC CELADON JADEITE ‘TWELVE SYMBOLS’ TABLET QING DYNASTY Formed as a gui sceptre and bi disc, the gui decorated with the Twelve Symbols, the bi carved in relief with many raised bosses, the stone with some russet inclusions and white mottling, together with a wood stand, 21.9cm. (2)

£8,000-12,000 Provenance: from an English private collection, Hampshire, purchased c.1960. Cf. The Complete Collection of Treasures of the Palace Museum, Jadeware (III), pp.160-161, no.129 for another jade gui decorated with the Twelve Treasures; see also Sotheby’s New York, 15th September 2015, lot 200 for another comparable piece with this design; see also J Rawson, Chinese Jade from the Neolithic to the Qing, p.92, fig.88 for a Ming dynasty jade also formed as a gui combined with a bi in the British Museum, museum no.1947,0712.495.

115 A CHINESE CELADON JADE ARCHAISTIC VASE 18TH/19TH CENTURY Of flattened form, the rim carved in relief with two stylised phoenix masks above loop handles which suspend loose rings, the central ovoid section contained within bands of raised lappets, with russet and white inclusions in the stone, together with an openwork wood stand with a paper label reading ‘8’ to the underside, 19cm. (2)

£800-1,200 Provenance: from a European private collection.

十八/十九世紀青白玉雕鳳銜環瓶來源：歐洲私人收藏。

The Twelve Symbols, or Twelve Ornaments, are comprised of the sun with the three-legged crow, the moon with the moon rabbit pounding the elixir of life, a constellation of three stars, a sacred mountain or rock, a dragon, a pheasant, sacrificial vessels, a spray of waterweed, flames, grains, an axe, and the figure fu.

清翡翠雕十二章圭璧來源：英國漢普郡私人收藏，購於1960年代。

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116 A CHINESE YELLOW JADE ‘FINGER CITRON’ PENDANT 18TH/19TH CENTURY Carved in low relief to one side with a leafy branch from which two finger citron grow, the reverse with four seal script characters reading pingan fushou meaning ‘quiet and safe’ and ‘good fortune and long life’, all contained between stylised ruyi-shaped clouds, 5.5cm.

£3,000-5,000 十八/十九世紀黃玉雕如意佛手紋牌《平安福壽》款 117 A MINIATURE CHINESE WHITE JADE CARVING OF A FOREIGNER SONG/YUAN DYNASTY The northern nomad (huren) depicted seated with his left leg raised, he is dressed in thick robes and wears a conical hat, the pale stone of an even tone, 3cm.

£4,000-5,000 116

Cf. Compendium of Collections in the Palace Museum, Jade, vol.5, p.210, no.248 for a similarly carved white jade figure of the same size depicting a child seated on a goose.

宋/元白玉雕胡人小像 118 A CHINESE PALE CELADON JADE ‘CHILONG’ BELT BUCKLE MING DYNASTY Of rectangular form, carved in relief to one side with a sinuous dragon clutching a long sprig of lingzhi between its jaws, the reverse with a hook shaped as a dragon head and a circular loop for attachment, 6.7cm.

£4,000-6,000 明青白玉雕龍銜芝紋帶扣 119 A CHINESE WHITE JADE ‘EAGLE’ PENDANT QING DYNASTY OR LATER The bird of prey carved with its wings spread and its legs tucked under its body, finely incised with details of its feathers, its head and large curved beak picked out in a russet section of the stone, with two holes for suspension, 6.7cm.

£3,000-5,000 清或更晚白玉雕鷹形佩 117

118 108

119

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120 A CHINESE PALE CELADON JADE CARVING OF A DEER QIANLONG 1736-95 The stag depicted in a recumbent pose with his legs tucked under his body, he holds a large flowering branch in his mouth, the blossoms and leaves wrapping their way over the creature’s back, the stone with some minor russet markings and white mottling, 7cm.

£3,000-5,000 Cf. Marchant, Ninety Jades for 90 Years, pp.100-101, no.52 for a similar Qianlong jade carving depicting a recumbent stag lying next to a dog.

清乾隆青白玉雕鹿銜蓮擺件

120

121 A LARGE CHINESE CELADON JADE CARVING OF A QILIN QING DYNASTY The mythical beast depicted in a recumbent pose with its head turned back, the qilin exhales smoke from its mouth which supports a book on its back, the stone with russet inclusions and striations, 17cm.

£6,000-8,000 Cf. The Complete Collection of Treasures of the Palace Museum: Jadeware III, p.114, no.94 for a related carving of a qilin carrying books on its back dated to the Qianlong period. According to legend, a qilin appeared before the pregnant mother of Confucius and disgorged a jade tablet foretelling the future eminence of her unborn son. The qilin with a book represents the wish that a son will be intellectually gifted and bring honour to his family by passing the civil service examinations with great success. Such pieces were used as ornaments for a scholar’s studio with the hope that they would bring wisdom to their owner.

清青白玉雕麒麟負書擺件 121

122 A CHINESE WHITE JADE ‘PRUNUS’ ARCHER’S RING QING DYNASTY Carved in low relief to the exterior with a crested bird perching on a flowering prunus branch, the white stone of an even tone, 3.5cm dia.

£3,000-4,000 清白玉冰梅紋扳指

122 109

123 A MASSIVE CHINESE LACQUERED AND GILT-WOOD FUJIAN-STYLE FIGURE OF GUANYIN MING DYNASTY The bodhisattva sits in dhyanasana with her hands held on her lap in dhyana mudra, she wears elegant long robes bordered in relief with scrolling floral motifs, her serene face framed by her elongated earlobes, with a large elaborate crown centred by a seated Amitabha Buddha adorning her head, decorated all over in gilt, black and red lacquer, all raised on a tall flaring pedestal, the figure 1.1m, 1.2m overall. (2)

£40,000-60,000 Provenance: from an English private collection, purchased from Susan Chen in 1999. Cf. Christie’s Hong Kong, 31st October 2000, lot 989 for a similar smaller 15th century figure; see also Christie’s London, 4th November 2008, lot 50 for a comparable large lacquered wood figure of Simhanada Avalokiteshvara; see also Christie’s Los Angeles, 20th May 1998, lot 132 for a related large painted wood sculpture of Guanyin dated to the Song dynasty.

明福建木雕描漆觀音坐像來源：英國私人收藏，1999年購於何太（陳淑貞）。觀音面相豐腴，眉目清秀，雙目微閉，法相莊嚴，給人靜穆慈祥之感。頭戴法冠，冠上有化佛，身披天衣，內著裙，雙手拇指相對其餘四指相疊，坐禪定印，結跏趺坐。這尊觀音坐像為明代福建沙縣地區木雕佛像之精品。

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124 A CHINESE GILT-BRONZE TRIPOD INCENSE BURNER QING DYNASTY

125 A CHINESE BRONZE TRIPOD INCENSE BURNER 18TH CENTURY

The compressed body surmounted by a short cylindrical neck, cast with a raised band encircling the flat everted rim, with a six character mark to the base reading jia cang zhen wan zhi bao, 15.5cm, 2kg.

The compressed circular body flaring at the rim, cast with two upright loop handles, all raised on three tapering feet, the base with four seal script characters reading qin shu qing wan, 15.5cm, 2.2kg.

£400-600

£3,000-5,000

Provenance: from an English private collection.

清銅鎏金鬲式爐《家藏珍玩之寶》篆書款來源：英國私人收藏。

112

十八世紀銅三足爐《琴書清玩》款

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

£3,000-4,000 十五世紀銅燃燈佛坐像 127 A CHINESE GILT-BRONZE FIGURE OF WHITE TARA 18TH CENTURY Cast seated in dhyanasana with one hand held in varada mudra and the other in kartari mudra, her hair and the flowing ribbons at her sides decorated with cold painting, with eyes to her forehead, palms and the soles of her feet, all raised on a double lotus pedestal, the base marked with a visvavajra, 16.8cm, 876g.

£4,000-5,000 十八世紀銅鎏金白度母坐像 128 A SMALL CHINESE GILT-BRONZE FIGURE OF MANJUSRI 18TH CENTURY

126

The bodhisattva cast seated in dhyanasana wielding a sword in one hand, his other hand is held in kartari mudra and clasps a lotus stem which supports a book, he wears a dhoti and a long flowing scarf that flutters by his sides, his crown, earrings and body jewellery set with coloured jewels, all raised on a lotus base incised with two characters, with the baseplate lacking and prayers visible to the interior, 10.1cm, 437g.

£4,000-6,000 Cf. Sotheby’s New York, 17th September 2014, lot 455 for a very similar 18th century figure of Manjusri. Manjusri represents transcendent wisdom and it is believed that his purpose on Earth is to save people from ignorance. The lotus flower supporting a scripture in his right hand symbolises the knowledge of the Buddha, whilst his sword represents the need to cut down ignorance and darkness.

十八世紀銅鎏金文殊菩薩坐像

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129 A MINIATURE TIBETAN GILT-BRONZE FIGURE OF VAISHRAVANA QING DYNASTY The God of Wealth and Guardian of the North depicted seated upon a recumbent snow lion, he holds a rat in his left hand and a tall canopy in his right, with traces of cold painting to his hair and the lion dog’s mane and tail, the base incised with a visvavajra, 4.2cm, 23g. (2)

£2,500-3,500 清銅鎏金財寶天王小像 130 A TIBETAN GILT-COPPER THRONE 18TH/19TH CENTURY With an elaborate repoussé mandorla, decorated with scrolls, apsara, mythical figures, elephants and minor deities surrounding the central niche, the rectangular base inset with turquoise and decorated with borders of key fret, lappets and formal leaves, with a pair of snow lion supports, the reverse with an inscription, 43cm, 2.2kg.

£2,000-3,000 Provenance: from an English private collection, London.

十八/十九世紀銅鎏金六拿具寶座來源：英國倫敦私人收藏。

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129

131 A TIBETAN REPOUSSE POLYCHROME AND GILT-COPPER PLAQUE DEPICTING NAGARAJA 14TH/15TH CENTURY Nagaraja (the Naga King) depicted as an anthropomorphic deity, his head framed by a canopy of three serpents, he brandishes a sword and holds a flaming chakra, an ancient Indian weapon, his expressive face framed by dark hair and surmounted by an ornate three-pronged crown, he wears a fine dhoti and sumptuous jewellery including sacred thread, the serpent deity surrounded by flames highlighted with traces of red pigment, together with a modern stand, 31cm, 441g. (2)

£7,000-9,000 Provenance: from a French private collection, acquired in the 1980s. Cf. The Albuquerque Museum, Tibet: Tradition and Change, p.118, pl.59 for a similar 14th century repoussé image of Nagaraja from the Densatil Monastery, Central Tibet, in the Zimmerman Family Collection. Naga is the Sanskrit word for ‘serpent’. In Hinduism, Buddhism and Jainism, naga are semi-divine beings which are half-human and half-snake. They can assume wholly serpentine or anthropomorphic forms and often serve as guardians and protectors to humans. As symbols of regeneration, they are believed to have the power to bring or withhold rains and to recover gems, both material and spiritual.

十四/十五世紀銅鎏金那伽龍王像來源：法國私人收藏，購於1980年代。

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132 A PAIR OF CHINESE PAINTED POTTERY FIGURES OF POLO PLAYERS TANG DYNASTY Each formed as a lady riding a galloping horse, the women depicted in dynamic poses, decorated with black, red and blue pigment, each with a modern stand, 31cm and 32.5cm. (4) Together with a copy of the Oxford Authentication Thermoluminescence Analysis Report, sample no.C110n86, dated 21st October 2010.

£5,000-6,000 唐騎馬仕女俑一對註：附2010年10月21日年份測試證書，編號C110n86。

133 A CHINESE QINGBAI EWER, COVER AND BASIN SONG DYNASTY The ewer with an ovoid body surmounted by a cylindrical neck, carved with peony blooms above a band of upright leaves, the cover with a finial shaped as a seated mythical beast, the basin formed as a flowerhead and raised on a flared foot, similarly incised with peony scrolls, 23.5cm max. (3)

£10,000-15,000 Provenance: formerly an English private collection, purchased c.1960; and then Sotheby’s London, 4th November 2009, lot 52. Cf. The Johnson Museum of Art, New York, for another example of a ewer and basin from the George and Mary Rockwell Collection.

宋青白釉壺及溫碗來源：英國私人收藏，購於1960年代。倫敦蘇富比2009年11月4日·編號52.

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134 A MASSIVE CHINESE WUCAI ‘SCHOLARS’ SCROLL BOWL EARLY 19TH CENTURY The ovoid body painted in enamels, gilt and underglaze blue with Immortals, scholars and their assistants in a landscape enjoying tea, appreciating scrolls and travelling on horseback, the shoulder with a key fret band and the rim with floral panels on a diaper ground, the top of the rim with birds, insects, fruit and flower sprays, 53.5cm.

£1,000-2,000 Provenance: formerly an English private collection, Oxfordshire.

135 A MASSIVE CHINESE BLUE AND WHITE ‘LONGEVITY’ FISH BOWL 18TH/19TH CENTURY The ovoid body painted with five continuous bands of many shou characters, the design contained between lappets and a complex border of ruyi-heads and flowers, with prunus blossoms painted to the flat everted rim, 51.3cm dia.

£2,000-3,000 十八/十九世紀青花萬壽紋卷缸

十九世紀早期五彩高士圖卷缸來源：英國牛津郡私人舊藏。

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136 A CHINESE FAMILLE ROSE ‘PARROT’ VASE REPUBLIC PERIOD The ovoid body surmounted by a short flaring neck and tapering towards the foot, finely painted with the bird perched amongst colourful chrysanthemum blooms, the rim interior and base glazed turquoise, with a six character Qianlong mark in iron-red, together with an old but undated letter to Mr and Mrs Katz about the vase from the vendor Yang, 22.5cm.

£3,000-5,000 民國粉彩花鳥紋瓶《大清乾隆年製》礬紅篆書仿款

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137

137 A PAIR OF CHINESE BLUE AND WHITE ‘DEER’ PLATES SIX CHARACTER KANGXI MARKS AND OF THE PERIOD 1662-1722 Each painted to the centre with four deer in a river landscape beneath a pine tree, with a waterfall cascading from rocky cliffs behind, the scene surrounded by cartouches enclosing bowls of peaches and pomegranates, the panels reserved on a broad band of hexagonal diaper, with fishermen in boats and mountains to the reverse, 27cm. (2)

139 A CHINESE BLUE AND WHITE ‘PEONY’ BOWL SIX CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722 The U-shaped body rising from a gently tapering foot to an everted rim, the exterior painted with interlocking sprays of stylised flowers, with further blossoms set against swirling designs encircling the foot, the base with a paper label, 17.2cm.

£2,000-2,500

£1,500-2,500

清康熙青花松鹿圖紋碟一對

Provenance: from an English private collection, West Sussex, purchased as one of a pair from Sotheby’s London on 10th December 1985, lot 234.

《大清康熙年製》青花楷書款 138 A CHINESE BLUE AND WHITE ‘INSECTS AND FLOWERS’ BOWL KANGXI 1662-1722 The deep U-shaped body rising from a slightly tapering foot to an everted rim, painted with sprays of chrysanthemum, lotus, peony, prunus and bamboo, with insects in flight amongst the many plants, the well decorated with a medallion enclosing flowers in a jardinière, with a seal mark to the base, 19.7cm.

Cf. The National Palace Museum, Porcelain of the National Palace Museum, Blue-and-White Ware of the Ch’ing Dynasty, Book 1, p.54, pl.11 for a very similar bowl.

清康熙青花折枝牡丹紋撇口碗《大清康熙年製》青花楷書款來源：英國西薩塞克郡私人收藏，倫敦蘇富比1985 年12月10日·編號234.

£2,000-3,000 清康熙青花花卉紋碗

138

139 119

140 A CHINESE BLUE GLAZED BOWL SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The deep body supported on a straight foot and terminating in a flaring rim which curves upwards slightly, the exterior coated in a deep blue glaze draining from the rim, the interior and base glazed white, with the reign mark in underglaze blue to the base, 15cm.

£1,500-2,500 清乾隆藍釉撇口碗《大清乾隆年製》青花篆書款 141 A CHINESE CELADON GLAZED VASE, DAN PING SIX CHARACTER QIANLONG MARK AND PROBABLY OF THE PERIOD The pear-shaped body rising from a short straight foot to a tall slender neck, the exterior coated in an even pale green glaze, the interior and base glazed white, with the reign mark in underglaze blue, 25.3cm.

£3,000-4,000 清乾隆（可能）粉青釉胆瓶《大清乾隆年製》青花篆書款 142 A SMALL CHINESE GARLIC-MOUTH VASE 18TH CENTURY The ovoid body raised on a short spread foot and surmounted by a tall slender neck, all coated in an olive-coloured glaze, the rim interior glazed white, with a paper label reading ‘NS 97’ to the base, 14.9cm.

£1,500-2,500 140

Provenance: formerly the collection of Norma Simmons; and then an English private collection, West Sussex, purchased from Bluett and Sons c.1986. Norma Simmons collected monochromes from 1954 to the mid 1980s and she was a personal friend of Roger and Joan Bluett.

十八世紀醬釉蒜頭瓶來源：Norma Simmons舊藏，英國西薩塞克郡私人收藏，1986年左右購於Bluett and Sons。 Norma Simmons從1954年到1980年代中期專門收集單色釉，與Roger 和 Joan Bluett是好友。

141

120

142

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143 A NEAR PAIR OF CHINESE LAVENDER-GROUND JARS SIX CHARACTER QIANLONG MARKS AND PROBABLY LATE IN THE PERIOD Each with an ovoid body decorated in low relief with five fu characters painted in underglaze blue and outlined in white, the short waisted necks encircled by continuous bands of ruyi-heads, all reserved on a lavender-blue ground which extends to the bases, the base of one with a shop label, 21.9cm and 21cm. (2)

£3,000-5,000 Cf. J Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol.II, p.508, nos.1281 and 1282 for a similar pair of jars with a celadon ground.

清乾隆（可能）藍釉福字罐一對《大清乾隆年製》青花篆書款 144 A CHINESE DOUCAI ‘MEDALLION’ JAR SIX CHARACTER DAOGUANG MARK AND PROBABLY OF THE PERIOD Decorated with eight double chrysanthemum roundels divided by lotus flowerheads and scrolling tendrils, together with a reticulated wood cover, 11cm. (2)

£2,000-3,000 清道光（可能）鬥彩折紙花卉紋罐《大清道光年製》青花篆書款

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145 A CHINESE FAMILLE VERTE ‘SIXTEEN SONS’ OVOID VASE KANGXI 1662-1722

146 A CHINESE FAMILLE VERTE BRUSHPOT, BITONG KANGXI 1662-1722

Painted in coloured enamels with a joyful scene of four concubines and sixteen boys at play in a garden, the base with a paper label for Sydney L Moss Ltd, together with a wood stand and reticulated cover, 20.6cm. (3)

The cylindrical body painted in enamels with a boy presenting a lotus to a scholar seated by a table in a garden, the reverse inscribed with a Song dynasty poem about lotus, with two seal marks, the base painted with a collection number 1128?, 14.5cm.

£1,000-2,000 Provenance: from an English private collection, Wiltshire, purchased from Sydney L Moss Ltd on 5th December 1968. A copy of the invoice is available. This subject is derived from the Shang dynasty story of Jiang Ziya, the senior military counsellor who famously appointed sixteen good generals.

清康熙五彩四妃十六子罐來源：英國威爾郡私人收藏，1968年12月5日購於Sydney L Moss Ltd （附發票複印件）。

£3,000-4,000 Cf. Christie’s Amsterdam, 21st-22nd September 2010, lot 423 for a related famille verte brushpot also decorated with a scholar and a boy in a garden.

清康熙五彩詩文筆筒銘文：接天蓮葉無窮碧，楊日荷花別樣紅，樵居。

Sydney L Moss invoice 5th December 1968

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reverse

147 A RARE CHINESE FAMILLE VERTE ‘SCHOLARS’ BOWL KANGXI/YONGZHENG The deep U-shaped body supported on a short tapering foot and rising to a flared everted rim, finely painted with two seated scholars relaxing and drinking tea by a cluster of rocks and shrubs, with an attendant standing to the side ready to assist, the reverse inscribed with a poem, with a six character Hongzhi mark to the base, 11.5cm.

£2,000-4,000 Provenance: given to the current owner in Hong Kong in 1980 by Brian McElney, founder of the Museum of East Asian Art, Bath. Cf. W Qian, Tianwuguan Cang Ci, vol.1, pp.144-145 for a related Kangxi bowl also with scholars and a Hongzhi mark.

清康熙/雍正粉彩高士詩文碗《大明弘治年製》青花楷書款來源：1980年代在香港由巴斯東亞藝術博物館創始人Brian McElney贈予現藏家。

reverse

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148 A RARE SMALL CHINESE IMPERIAL GILT-GROUND WINE CUP SIX CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722 The U-shaped body raised on a short straight foot, painted in blue enamel with four shou medallions contained between stylised scrolls, all reserved on a rich gilt ground, the interior glazed white, the base delicately painted with the reign mark in underglaze blue, 6.3cm dia.

£10,000-15,000 Provenance: formerly a Belgian private collection. Cf. The Complete Collection of Treasures of the Palace Museum: Miscellaneous Enamelled Porcelains, Plain Tricoloured Porcelains, p.306, no.256 for a very similar wine cup; see also Christie’s London, 5th November 2013, lot 458 for another comparable piece; see also Shanghai Museum, Kangxi Porcelain Wares from the Shanghai Museum Collection, pp.352-353, no.236 for a pair of Kangxi bowls also decorated with a gold glaze.

清康熙金地藍彩團壽紋酒盅《大清康熙年製》青花篆書款來源：購於比利時私人收藏。註：以金彩飾陶瓷，一般認為始於宋代。明洪武初期，景德證瓷器開始有以金彩為飾技法，並盛行於清代。此類金地藍彩始創康熙時期，為清聖祖祝壽所燒。清代康熙時期，由歐洲引進的洋彩推動了匠人對傳統古彩的革新。在金粉中參入鉛粉，調入膠水後塗抹在瓷器上，再用瑪瑙棒將其表面粘膜，以達到金釉的光亮。但以金彩為地，大面積塗抹則極為罕見，難度極大。金粉的厚度、水分及溫度都會影響金釉的呈色及光澤。如北京故宮博物院所收一件相同的清宮舊藏一件酒盅及相同紋飾金地盤，《故宮博物院文物珍品大係，雜釉彩·素三彩》，頁306，編號256及257。

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149 A CHINESE IMPERIAL IRON-RED ALTAR VESSEL QIANLONG 1736-95 The ovoid body painted with four lotus sprays between lappets and leaves, with a raised band to the tall cylindrical neck, all raised on a wide domed foot, the base concave, 22cm.

£1,000-2,000 Provenance: from an English private collection, London. Cf. A similar altar vase can be seen in a painting by Giuseppe Castiglione in The National Palace Museum, Taipei, illustrating the Qianlong Emperor beneath trees and beside a table with a number of other treasures; see Palastmuseum Peking Schätze aus der Verbotenen Stadt, Berlin, 1985, no.41, pl.24. For another example presented to Cheltenham College, England, by Yuan Shikai in 1914, and now in the Weishaupt Collection, see G Avitabile, From The Dragon’s Treasure, London, 1987, no.176, p.127. See also P Lam, Qing Imperial Porcelain, Hong Kong, 1995, no.83. Another example can be found in the British Museum, London.

清乾隆御製礬紅寶相花紋甘露瓶

The Qianlong Emperor by Giuseppe Castiglione in The National Palace Museum, Taipei

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150 A CHINESE IMPERIAL GUAN-TYPE FANGHU-SHAPED VASE SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 Of rectangular section, the pear-shaped body moulded with large peaches to the two larger facets, all covered in a pale grey-green glaze with dark crackles, the base with the reign mark in underglaze blue, together with a wood stand carved with ruyi-shaped feet, 31cm. (2)

£2,000-3,000 Provenance: from an English private collection, probably acquired in the 19th or early 20th century, and thence by descent. Cf. The Complete Collection of Treasures of the Palace Museum: Monochrome Porcelain, p.227, no.205 for a related fanghu from the Yongzheng period; see also Christie’s Paris, 12th December 2018, lot 157 for a similar Qianlong vase; see also Sotheby’s New York, 11th September 2012, lot 54 for a smaller example.

清乾隆仿官釉貫耳瓶《大清乾隆年製》青花篆書款來源：英國私人收藏，可能購於十九或二十世紀，之後由家人繼承。

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151 A CHINESE IMPERIAL BLUE AND WHITE ‘BAJIXIANG’ TRIPOD INCENSE BURNER, DING SIX CHARACTER JIAQING MARK AND OF THE PERIOD 1796-1820 The rounded body painted with the Eight Auspicious Buddhist Emblems dispersed amongst scrolling lotus, two sides set with tall upright S-shaped handles, with the reign mark and a band of key fret encircling the flat everted rim, together with a wood cover pierced with shou characters, 28cm high. (2)

£2,000-3,000 Provenance: from an English private collection, probably acquired in the 19th or early 20th century, and thence by descent. Cf. Christie’s South Kensington, 12th May 2017, lot 391 for a related famille rose example with the same design.

清嘉慶御製青花如意八吉祥紋三足鼎《大清嘉慶年製》青花篆書款來源：英國私人收藏，可能購於十九或二十世紀，之後由家人繼承。

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

152 A CHINESE RU-TYPE ARCHAISTIC VASE YONGZHENG 1723-35 The bulbous body rising from a short flared foot to a tall cylindrical neck which terminates in a wide garlic-head mouth, with two applied handles formed as stylised chilong, all covered in a pale greyish-blue glaze, the base with the remains of an old paper label, 36.5cm.

£12,000-15,000 Provenance: formerly a European private collection, acquired prior to 1990, and then sold at Christie’s South Kensington on 11th November 2015, lot 525. Cf. The British Museum, museum no.PDF,B.572 for a Yongzheng mark and period Ru-type zun vase decorated with a similar glaze; see also Asian Art I, 14th November 2017, lot 130 for another Ru-type archaistic vase from this period sold in these rooms. The glaze on this vase is an interpretation of Ru ware, which is often considered as one of the most celebrated of all wares from the Song dynasty. Whilst imitation pieces with Ru glazes were produced for the Ming Imperial Court as early as the 15th century, the reproduction of this glaze on porcelain became significantly more popular in the Qing dynasty, first under the reign of the Yongzheng Emperor and then in the Qianlong period. The Yongzheng Emperor is known to have been enamoured with antiquity and he was especially fond of Song pieces with this glaze. It is possible that the revitalisation of Ru ware glazes during the Yongzheng period was achieved by Tang Ying (1682-1756), who is often regarded as one of the greatest supervisors of the Imperial Kilns and is renowned for his outstanding imitation of early pieces.

清雍正仿汝釉螭龍耳瓶來源：歐洲私人舊藏，購於1990年代之前，南肯辛頓佳士得2015年11月11日·編號525。

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153 A CHINESE BLUE AND WHITE ‘DRAGON’ BOTTLE VASE SIX CHARACTER JIAQING MARK BUT PROBABLY LATER The ovoid body rising to a tall neck and flared rim, painted to the exterior with three five-clawed dragons contesting a sacred pearl of wisdom amidst swirling clouds and flames, the design contained between a band of ruyi-heads and crashing waves, the gently flaring foot decorated with key fret, 31cm.

154 A CHINESE IMPERIAL YELLOW-GROUND ‘DRAGON’ SAUCER DISH SIX CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722 Finely incised to the centre with two five-clawed dragons contesting a sacred pearl amidst stylised flames, one dragon picked out in green enamel, the other in aubergine, with bunches of grapes growing amongst leaves to the reverse, 13.3cm.

£2,000-3,000

£3,000-4,000

Cf. The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red, vol.3, p.157, no.143 for a similar Jiaqing mark and period vase in the Qing Court Collection; see also Sotheby’s New York, 13th September 2017, lot 22 for another related Jiaqing mark and period vase; see also Bonhams San Francisco, 16th December 2014, lot 8331 for another comparable vase.

Provenance: formerly a European private collection.

清嘉慶（可能）青花趕珠龍紋瓶《大清嘉慶年製》青花篆書款

128

Cf. The British Museum, registration no.PDF.777 for a dish of the same design on loan from the Sir Percival David Foundation of Chinese Art; see also The Wonders of the Potter’s Palette: Qing Ceramics from the Collection of the Hong Kong Museum of Art, pp.58-59, no.24 for another similar example.

清康熙黃地綠褐彩趕珠龍紋碟《大清康熙年製》楷書款來源：歐洲私人舊藏。

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

155 A CHINESE BLUE GLAZED ‘HUNDRED BATS’ BOTTLE VASE QIANLONG 1736-95 The pear-shaped body raised on a short foot and surmounted by a tall cylindrical neck, decorated in white slip with many bats in flight amidst stylised swirling clouds, the base also glazed blue and with an old paper label reading ‘760’, 49.5cm.

£10,000-15,000 Provenance: formerly in the collection of the Acevedo family, Buenos Aires. Cf. Sotheby’s New York, 19th March 2013, lot 198 for a Qianlong celadon-ground yuhuchunping similarly decorated with bats and clouds in white slip; see also Sotheby’s London, 11th May 2011, lot 74 for a blue and white Qianlong bottle vase painted with a comparable design.

清乾隆藍地堆白雲蝠膽瓶來源：Acevedo家族舊藏。

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156 A CHINESE IMPERIAL BLUE AND WHITE ‘PALACE’ BOWL SIX CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722 The U-shaped bowl rising from a gently tapering foot to an everted rim, painted to the exterior with six lotus flowerheads on a continuous scrolling branch, with a band of lappets encircling the foot, the well decorated with a medallion enclosing a single lotus bloom amidst stylised leaves, 16.2cm.

£10,000-15,000 Provenance: sold at Sotheby’s New York on 22nd March 1995, lot 283. Cf. Porcelain of the National Palace Museum, Blue and White Ware of the Ch’ing Dynasty, book 1, p.56, pl.12 for a similar bowl; see also W Qian, Tianwuguan Cang Ci, vol.1, pp.138-139 for another example; see also P Y K Lam and X Cheng, Qing Imperial Porcelain, no.19 for another related piece.

清康熙青花纏枝蓮紋宮碗《大清康熙年製》青花楷書款來源：紐約蘇富比1995年3月22日·編號283。

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157 A CHINESE BLUE AND WHITE ‘QILIN’ SAUCER DISH SIX CHARACTER WANLI MARK AND OF THE PERIOD 1573-1620 The shallow body rising from a tapering foot to a slightly flared rim, painted with a central medallion enclosing a qilin supporting a lantern decorated with banners on its back, the mythical beast flanked by two attendants, one wielding a sword and the other holding a ruyi-head, the scene surrounded by a scrolling border of eight lotus flowers, with lanterns divided by beribboned precious objects to the reverse, 20.5cm.

£5,000-6,000 Provenance: formerly an American private collection. Cf. Sotheby’s London, 6th June 1967, lot 144 for another Wanli blue and white dish with this design; see also Sotheby’s London, 12th November 2003, lot 155 for a further example.

明萬曆青花麒麟獻寶紋盤《大明萬曆年製》青花楷書款來源：美國私人舊藏。

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158 † A CHINESE IMPERIAL FLAMBE GLAZED BOTTLE VASE SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The elegant pear-shaped body surmounted by a tall slender neck and raised on a short circular foot, all covered with a vivid lavender-blue glaze with large splashes of deep magenta, the base glazed brown and finely incised with the reign mark, 34.5cm.

£50,000-70,000 Provenance: formerly a South American private collection. Cf. Sotheby’s Hong Kong, 8th April 2011, lot 3027 for a related Qianlong vase. It is believed that flambé glazes were an eighteenth century attempt to recreate Song dynasty Jun wares. Whilst it has been suggested that flambé glazes were first achieved, albeit possibly accidentally, in the late Kangxi period (1662-1722), pieces decorated with this distinctive abstract glaze were first commissioned by the Yongzheng Emperor (r.1723-35) and remained popular during the reign of the Qianlong Emperor. The two emperors’ fondness for such pieces reflects their admiration and reverence for classical Jun pieces of the Song. See R Kerr, Chinese Ceramics: Porcelain of the Qing Dynasty 1644-1911, pp.75 and 78 for a more detailed discussion on this glaze.

清乾隆窑变釉胆瓶《大清乾隆年製》篆书款来源：南美洲私人旧藏。

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133

159 A CHINESE BLUE AND WHITE BALUSTER VASE TRANSITIONAL C.1640

160 A CHINESE UNDERGLAZE BLUE AND RED ‘FISH’ JARDINIERE KANGXI 1662-1722

The exterior painted with a continuous scene depicting a king and his attendants greeting a wise old man in a rocky landscape, all below a finely incised foliate band, the short neck decorated with pendant leaves, 26cm.

The ovoid body tapering towards the foot and with a flat everted rim, painted with a mackerel, whitefish, carp and freshwater perch swimming amidst flowers and aquatic plants, with areas of detail in copper-red, 23.5cm dia.

£5,000-8,000

£1,000-2,000

Provenance: from an English private collection, West Sussex, purchased from Christie’s London on 9th July 1985, lot 10.

Provenance: from a deceased estate, Dorset.

明末清初青花求賢圖將軍罐來源：英國西薩塞克郡私人收藏，倫敦佳士得1985年7月9日·編號 10。

The Chinese names of these four fish form the rebus qingbai lianjie, which may be translated as ‘pure and incorruptible’. This expresses the wish for scholars to maintain high ethical standards and meet great success. Cf. R Chen, Qing Shunzhi Kangxi Chao Qinghua Ci (Qing Dynasty Shunzhi and Kangxi Blue and White Porcelain), p.391, no.251 for a blue and white jardinière with a similar design in the collection of the Palace Museum.

清康熙青花釉裡紅青白廉潔紋花盆來源：多塞特郡遺產。

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161 A CHINESE BLUE AND WHITE JAR, LIAN ZI GUAN TRANSITIONAL C.1640

162 A CHINESE BLUE AND WHITE ‘LANDSCAPE’ BRUSHPOT, BITONG KANGXI 1662-1722

Painted with a deer and Lan Caihe carrying a basket of flowers under a willow tree, the reverse with rocks emerging from wispy clouds, the scene contained within finely incised floral and foliate bands, with flower sprays encircling the rim, the base with a paper label for Tim Wright Artemesia Antiques, 15.8cm.

The waisted cylindrical body flaring towards the mouth, decorated with a continuous scene of figures dispersed throughout a mountainous watery landscape, with double rings to the base, 14.6cm.

£2,500-3,500

£2,000-3,000 Provenance: from a deceased estate, Dorset, purchased from Artemesia, Alresford on 21st May 1992 for £800. A copy of the invoice is available.

Provenance: from a deceased estate, Dorset, purchased from Artemesia, Alresford on 8th May 1982 for £290. A copy of the invoice is available. Cf. R S Kilburn, Transitional Wares and Their Forerunners, p.118, no.75 for a related Transitional covered jar decorated with a similar scene.

Cf. Christie’s New York, 22nd March 2007, lot 326 for a cylindrical blue and white Kangxi brushpot decorated with a similar scene of figures in a continuous river landscape.

明末清初青花藍采和人物故事紋蓮子罐來源：多塞特郡遺產，1982年5月8日購於 Artemesia，Alresford（附發票）。

清康熙青花山水紋筆筒來源：多塞特郡遺產，1992年5月21日以£800的價格購於Artemesia，Alresford（附發票）。

Artemesia invoice 8th May 1982

Artemesia invoice 21st May 1992

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163 A CHINESE IMPERIAL WUCAI ‘APRICOT BLOSSOM’ MONTH CUP SIX CHARACTER JIAQING MARK AND OF THE PERIOD 1796-1820 The deep flaring body finely painted with a blossoming apricot tree growing amidst rocks and shrubs, the reverse with a poem reading qing xiang he su yu, jia se chu qing yan, the inscription followed by a seal reading shang (‘to appreciate’), 6.7cm dia.

£4,000-6,000 Provenance: from a deceased estate, Dorset, purchased from Artemesia, Alresford on 18th December 1997 for £200. A copy of the invoice is available. Cf. The British Museum, London, registration no.PDF.815 for a complete set of twelve month cups from the Kangxi period; see also Sotheby’s Hong Kong, 4th April 2012, lot 3179 for another Jiaqing mark and period cup of the same design. Apricot blossoms are associated with the second month in the lunar calendar. As the civil service examinations were held at this time of year, apricot blossoms are regarded as the ‘flowers for passing exams’ and successful candidates were invited to a banquet held in the Imperial gardens called ‘the spring banquet in the apricot grove’. The couplet is from a poem by Tang dynasty poet Qian Qi (710-780 AD) and may be translated as ‘Its elegant fragrance blends with the scent of overnight rain, its beautiful colour stands out in the morning mist.’

清嘉慶五彩二月杏花花神詩文杯銘文：清香和宿雨，佳色出晴煙。賞。《大清嘉慶年製》青花篆書款來源：多切斯特郡遺產，1997年12月18日以£200的價格購於Artemesia， Alresford（附發票）。

136

Artemesia invoice 18th December 1997

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

137

FINE JEWELLERY WEDNESDAY 15TH JULY 2020

A very fine Art Nouveau enamel butterfly bracelet by Carreras, c.1905. Estimate Â£50,000 - 70,000* ENQUIRIES Marielle Whiting | +44 (0) 1722 424595 | mw@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

SILVER & OBJECTS OF VERTU WEDNESDAY 22ND & THURSDAY 23RD JULY 2020

A pair of 17th century silver-gilt German tazza tops with Victorian silver-gilt bases, the two detachable feet by Robert Hennell, London 1841, the tops Nürnberg, possibly by Johann Eiβler, c.1680, height 10.5cm. Provenance: formerly the collection of Lionel de Rothschild (1882-1942) and then Edmund de Rothschild (1916-2009). Estimate £2,000 - 3,000* ENQUIRIES Rupert Slingsby | +44 (0) 1722 424501 | rs@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

AUCTION INFORMATION OPENING HOURS Castle Street Salerooms Monday to Friday 9am – 5.30pm Castle Gate Offices Monday to Friday 9am – 5.30pm VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues. REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales. To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on +44 (0)1722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies. PLEASE NOTE: Registering with thesaleroom.com or through our website does not automatically register you with us.

TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office. LIVE ONLINE BIDDING Live online bidding is now available free of charge for most of our auctions via bid.woolleyandwallis.co.uk, enabling you to take part in the bidding from anywhere in the world live as it happens. BUYER’S PREMIUM The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate. The colours printed in the catalogue are not necessarily true. SALE RESULTS These will be posted on our website shortly after the sale. PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area.

BIDDING AT AUCTION See below for the different options for bidding. Please note that you may be asked to provide two forms of identification, even if you have bid with us before, in order that we are compliant with Money Laundering Regulations.

Alban Shipping +44 (0)1582 493099 info@albanshipping.co.uk www.albanshipping.co.uk

BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered.

Mailboxes +44 (0)1962 622133 mbewinchester@btconnect.com www.mbe.co.uk/winchester

COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids.

Kimdan Ltd +44 (0)7973 389436 andy@kimdan.co.uk

Pack & Send +44 (0)1635 887237 newbury@packsend.co.uk www.packsend.co.uk/newbury Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.

PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €10,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present. Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard

CITES REGULATIONS Please note that lots marked λ may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/ ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

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

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

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

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

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

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

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

FIREARMS Lots marked Ƒ in the catalogue, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/ purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally authorised to acquire the lot that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but are not allowed to take physical possession of it. The auctioneers will reoffer the lot on behalf of the buyer in a future auction; or may accept instructions to dispose of it by some other legal means, at their discretion.

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

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

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

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

包裝和運送：威立士拍賣行不提供包裝和運送的服務。以下是在本公司周邊的運送公司及其聯繫方式： Alban Shipping 01582 493 099 info@albanshipping.co.uk www.albanshipping.co.uk Mailboxes 01962 622133 mbewinchester@btconnect.com www.mbe.co.uk/winchester Pack & Send 01635 887237 newbury@packsend.co.uk www.packsend.co.uk/newbury 若拍品已轉交運輸公司，任何丟失及損壞威立士將不承擔一切責任 **注：本須知如有任何詮釋上的問題，一概以英文版本爲準。

藝術品拍賣和股價協會（SOFAA）、英國皇家註冊測量師協會（RICS）

拍賣規則

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

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

拍賣條例

保留價：（a）

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

（b）

保留價確定之後不能被改動。

（c）

保留價被確定以後，您不能自己進行競投。

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

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

（b）

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

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

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

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

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

如果需要請提供我們您的身份證明

ii)

以英鎊為貨幣形式付款

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

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

對您的違約進行法律訴訟程式。

ii)

撤回您從本公司競投的所有成交拍品

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

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

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

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

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

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

1. DEFINITIONS In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents; (e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2.

(h) The singular includes the plural and vice versa as appropriate. 2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS

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

4. THE PURCHASE PRICE

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

5. VALUE ADDED TAX

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

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

Immediately a lot is sold you will: give to us, if requested, proof of identity, and pay to us the total amount due in pounds sterling Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. (c) In line with new legislation we reserve the right to investigate and identify the source of any funds received by us. The completion of the sale of a Lot will be postponed or cancelled at our discretion if further time is needed for investigation, or if you are in breach of your warranties as a buyer, or if we consider the sale to be unlawful or in any way cause liabilities or be detrimental to either Woolley and Wallis or the Seller. 7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY

All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur

liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale. 10. COMMISSION BIDS

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

11. WARRANTY OF TITLE AND AVAILABILITY

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

12. AGENCY

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

13. TERMS OF SALE

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

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

concession only; in all other respects these Conditions shall be construed as having full force and effect. 21. English law applies to the interpretation of these Conditions. 22. Prior written consent must be sought by the buyer or any other party for the use of any images, illustrations and written materials produced by or for Woolley & Wallis relating to a lot or sale, including the contents of a catalogue. Copyright for any of the aforementioned will remain the property of Woolley & Wallis, subject to the provisions of the Copyright, Designs and Patents Act 1988. Woolley & Wallis and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights to it. PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS

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

Glossary

(a)

(b) (c) (d) (e) (f) (g) (h) (i)

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

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

(j) (k)

15. FORGERIES

BOOKS AUCTIONS

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

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

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

GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. 20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular

If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing. This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return.

Lots marked with a ‡ symbol are potentially subject to the levy

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

By email – privacyofficer@woolleyandwallis.co.uk

•

By telephone – +44 (0)1722 424599

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

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

•

From third parties such as:

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

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

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

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

CONSENT

HOW LONG YOUR INFORMATION IS KEPT

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

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

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

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

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

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

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AMESBURY & MARLBOROUGH

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VALUATIONS

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CASTLE RD A345

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

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PROBATE VALUATIONS We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.

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A354 DORCHESTER WEYMOUTH & BLANDFORD

Woolley and Wallis valuations are accepted by all leading insurance companies.

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales. Contact Amanda Lawrence +44 (0)1722 424509 | valuations@woolleyandwallis.co.uk FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available at our Castle Street salerooms. Please telephone the relevant specialist or call our office on +44 (0)1722 424500. DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

MARLBOROUGH & SWINDON

Old Sarum Park

WOOLLEY & WALLIS Castle Gate WOOLLEY & WALLIS Salisbury Salerooms

WOOLLEY & WALLIS

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A345 Castle Rd

SALISBURY AMESBURY

A36

Clifford Street, Mayfair

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

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Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

Old Sarum

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

Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No.02998482 VAT No: 631 9832 29

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

ABSENTEE BID FORM

FINE CHINESE PAINTINGS

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

& WORKS OF ART WEDNESDAY 1ST JULY 2020 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Business printed in the catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. BUYER’S PREMIUM Each lot is subject to a buyer’s premium of 25% plus VAT at 20% Billing Name (please print) �� Address �� ___________________________ Postcode �� Daytime Telephone �� Email �� All accounts must be settled within 21 days. ID may be required even if you have bid with us before. Signature ��

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: +44 (0)1722 424500 Fax: +44 (0)1722 424508

Brief Description of lot

Price excluding buyer’s premium & VAT

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

拍品編號（按數字順序）

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

地址：

郵編：

聯繫電話：

簽名：

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

Salisbury Salerooms (威立士拍賣行), 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: +44 (0)1722 424500 Fax: +44 (0)1722 424508

簡要的拍品描述

競拍價格（請除去VAT 增值稅和買家保險價）

AUCTION CALENDAR JULY 15th Jewellery 22nd & 23rd Silver & Objects of Vertu

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR NOVEMBER 2020 AUCTION

AUGUST 11th

Furniture, Works of Art & Clocks

26th

Modern British & 20th Century Art Including the Estate of Dame Elisabeth Frink and Lin Jammet

SEPTEMBER 8th Old Masters, British & European Paintings 22nd

Tribal Art & Antiquities

Dates may be subject to change

+44 (0)1722 424500 enquiries@woolleyandwallis.co.uk 51-61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk *Price includes buyer’s premium

The Grand View of Chao Mountain by Zhang Daqian (1899-1983), SOLD FOR £2.64MILLION*