Woolley & Wallis Auctioneers by Park Communications

FINE ASIAN ART

TUESDAY 12TH NOVEMBER 2024

Fonthill House c.1890

By kind permission of Lord Margadale and the trustees of the Fonthill Estate

ASIAN ART SPECIALISTS & CONTACTS FOR THIS AUCTION

John Axford MRICS

Head of Asian Art +44 (0)1722 424506 jea@woolleys.live

Jeremy Morgan Asian Art +44 (0)7812 601098 jm@woolleys.live

Alexandra Aguilar

Japanese & Asian Art +44 (0)1722 424583 aa@woolleys.live

For general enquiries and condition reports, please email the department administrators:

Michelle Yu Sale Administrator Olivia Jones Sale Administrator

Email: asianart@woolleys.live Telephone: +44 (0)1722 424571 +44 (0)1722 424591

Photography

Nelson Chui

Instagram: @woolleyandwallisasianart @woolleyandwallissalerooms

Facebook: @woolleyandwallis

X: @woolleywallis

Pinterest: Woolley and Wallis

Freya Yuan-Richards

Chinese Paintings & Asian Art +44 (0)1722 424589 fyr@woolleys.live

Front Cover: Lots 21, 22, 23

Back Cover: Lot 38

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

FINE ASIAN ART

亞洲藝術精品

TUESDAY 12TH NOVEMBER 2024

10.00aM

The sale to be conducted at our Castle Street Salerooms, SP1 3SU

預展將於Old Sarum展廳舉行 (如圖) ，拍賣將於公司總部Castle Street舉行。

VIEWING

Viewing in London (highlights) 17 Clifford Street, 2nd Floor W1S 3RQ

Saturday 2nd November 11.00am – 4.00pm

Sunday 3rd November 11.00am – 4.00pm

Monday 4th November 11.00am – 4.00pm

Viewing at our Old Sarum Galleries

Unit 1B Castle Gate Business Park, Old Sarum, Salisbury SP4 6QX

Friday 8th November 10.00am – 5.00pm

Saturday 9th November 10.00am – 1.00pm

Monday 11th November 10.00am – 4.00pm

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.

本公司提供免費網上即時競投，請在11月11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。

Online bidders may 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.

LIVE ONLINE BIDDING - FREE OF CHARGE bid.woolleyandwallis.co.uk

Please register by 12 noon on Monday 11th November.

SPECIALIST DEPARTMENTS

Please dial +44 (0)1722 followed by the number listed below

ASIAN ART

John Axford MRICS 424506

Alexandra Aguilar 424583

Freya Yuan-Richards 424589

Jeremy Morgan +44 (0)7812 601098

Michelle Yu 424571

Olivia Jones 424591

Nelson Chui 424591

20TH CENTURY DESIGN

Michael Jeffery 424505

Zoe Smith 446955

AFRICAN & OCEANIC ART | ANTIQUITIES

Will Hobbs 339752

Georgina Way 446980

JEWELLERY

Marielle Whiting FGa 424595

Jonathan Edwards FGaa (Consultant) 424504

Megan Corbett

Sarah Lancaster

BRITISH AND CONTINENTAL CERAMICS & GLASS

Clare Durham 424507

Hollie Morrison 446964

CHINESE PAINTINGS & CALLIGRAPHY

Freya Yuan-Richards 424589

Michelle Yu 424571

FURNITURE, WORKS OF ART & CLOCKS

Mark Yuan-Richards 411854

Neil Grenyer MRICS 446974

Jim Gale 339161

Sarah Stone 339161

Victoria Elwell 339161

JAPANESE ART

Alexandra Aguilar 424583

Olivia Jones 424591

MEDALS & COINS, ARMS & ARMOUR

Ned Cowell 341469

Georgina Way 446980

PAINTINGS

Victor Fauvelle 446961

Ed Beer 446962

Victoria Sturgeon 446970

Heidi Easton 446970

SILVER

Rupert Slingsby 446956

Archie Swann 446959

Jacob Carpenter 446957

VALUATIONS FOR INSURANCE & PROBATE

Jeremy Lamond MRICS FRSa 424502

Neil Grenyer MRICS 446972

Frances Woodhams

Hannah Farthing (Trainee valuer)

CLIENT SERVICES

Ruth Pike (Client Services Manager) 424500

Sarah Bennie

Julie Langstaff

Gemma Pointer

Riin Rohtla-Szeverenyi

MARKETING

Chloe Davie 446951

ACCOUNTS

Ania Antkowiak 424565

BOARD OF DIRECTORS

John Axford MRICS

Chairman

Natalie Milsted FCCa

Managing Director

ASSOCIATE DIRECTORS

Alexandra Aguilar

Ed Beer

Ned Cowell

Clare Durham

Victor Fauvelle

Will Hobbs

Michael Jeffery

Jeremy Lamond MRICS FRSa

Rupert Slingsby

Marielle Whiting FGa

Freya Yuan-Richards

Mark Yuan-Richards

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 Monday 11th November. If you are not successful you will be refunded (without interest) within seven working days.

ONLINE BIDDERS MAY 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：

競拍者需憑本人護照領取競投號牌，並需預繳保證金£5000。

請閣下務必妥善保管拍賣號牌，請勿借予他人使用。

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11月11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

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。

Collection of lots by appointment only

Please contact the department to arrange collection of lots.

提前預約提取拍品

提取拍品前，請先聯絡亞洲藝術部或客戶服務部預約安排提取拍品。

VAT

Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand-carried exports.

In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided.

增值稅退稅

注：由於英國稅務海關總署（HMRC）已撤銷零售出口法案（Retail Export Scheme），本公司將無法提供手持出口增值稅退稅文件（C88）機場退稅單。

若您慾退增值稅，您的拍品必須由貨運公司運送，並且必須由運輸公司提供有效的出口文件。

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-

FROM THE COLLECTION OF THE 9TH MARQUIS OF WATERFORD

LOTS 1-12

Curraghmore, the seat of the Marquises of Waterford, has been the ancestral home of the de la Poer family for over 800 years, after their arrival in Ireland in 1167.

Curraghmore, literally translating from the Irish An Currach Mór ‘The Great Bog’, has evolved greatly over these eight centuries. However, the core of the current house remains the late medieval tower-house, believed to have been built by Richard Power (d. 1483), the sheriff of Waterford, notorious for attacking the city and inhabitants within his own jurisdiction.

In 1778 James Wyatt, considered one of the finest neo-classical architects of the time, was instructed to redesign the house by the second Earl of Tyrone, George de la Poer Beresford (1735-1800), later created the first Marquis of Waterford in 1789.

In the 1830s the third Marquis of Waterford, Henry de la Poer (1811-59), known as the ‘Mad Marquis’, proposed transforming the entire house into a massive Gothic castle. Although his plan did not come to fruition, the third Marquis embarked on other extravagant adventures. In 1837 after an evening of merriment, he and his friends quite literally ‘painted the town red’ at Melton Mowbray leading to the alleged origin of the phrase. However, since Wyatt’s redevelopment of Curraghmore, there have been relatively few alterations to the house.

愛爾蘭第九代沃特福德侯爵的收藏自1167年de la Poer家族抵達愛爾蘭後，Curraghmore莊園一直是沃特福德侯爵的家族府邸，至今祖宅已有 800多年的歷史。Curraghmore這個名字源自愛爾蘭語「An Currach Mór」，意為遼闊的沼澤。在這八個世紀裡，這棟古老奢華的莊園記錄着它悠久的歷史。然而，如今該宅邸建築群仍是由當時沃特福德郡長Richard Power (1483年逝）所建的中世紀塔樓為中心。據說，Richard Power曾因濫用權力對付沃特福德市的居民因而惡名昭彰。 1778年，著名的新古典主義建築師James Wyatt應愛爾蘭第二代蒂龍伯爵George de la Poer Beresford (1735-1800) 的要求重新設計了莊園。George de la Poer Beresford於1789年被封為首代沃特福德侯爵。

到了1830年代，第三代沃特福德侯爵Henry de la Poer (1811-59) 大膽提議想將整個府邸改造成一座龐大的哥德式城堡。儘管這項計畫未能實現，Henry侯爵卻因其他的冒險故事而聞名於世。 1837年，在一次狂歡夜後，他和朋友們在英格蘭Melton Mowbray把城鎮塗成紅色，據傳這便是英俚語的paint the town red（形容眾人盡情狂歡）的起源。

自建築師Wyatt在十八世紀修繕改建Curraghmore莊園後，莊園外觀就再沒有經歷重大改變。

FROM THE COLLECTION OF THE 9TH MARQUIS OF WATERFORD

LOTS 1-12

CURRAGHMORE, COUNTY WATERFORD, IRELAND

1 A FINE CHINESE BLUE AND WHITE ‘A DEER AND A CRANES’ YEN YEN VASE KANGXI 1662-1722

Boldly painted in shades of intense underglaze cobalt blue, depicting a pair of cranes in flight above a doe turning to look at a spotty deer by a riverbank, amidst rockwork and gnarled pine trees, the trumpet neck similarly decorated, divided by a wispy cloud border, the base with a double circle, 46.5cm.

£20,000-30,000

Provenance: from the collection of the 9th Marquis of Waterford, Henry Nicholas de la Poer (b.1958) of Curraghmore, County Waterford.

Cf. The Smithsonian National Museum of Asian Art, Washington, accession no.F1986.4a-b, and the Gardiner Museum of Chinese Art, accession no. G99.10.3, illustrated in Cobalt Treasures: The Bell Collection of Chinese Blue and White Porcelain, Toronto, 2003, p.62, for related yen yen vases. See also Bonhams London, 3rd November 2022, lot 152 for a similar example.

The highly auspicious pairing of deer and cranes signifies wishes for immortality. Deer are seen as the symbol of longevity and the only animal capable of searching for the sacred lingzhi mushroom. Cranes were regarded as vehicles for Shoulao, the Eight Immortals and Daoist legends such as Laozi and Xiwangmu, who are often depicted travelling to the Kunlun Mountains riding cranes and dragons. In conjunction with deer, lu and cranes, he, they create the rebus of liu he tong chun, ‘the entire universe is enjoying Spring’ symbolizing immortality.

清康熙青花鶴鹿同春鳳尾尊來源：愛爾蘭沃特福德克拉莫爾第九代沃特福德侯爵Henry Nicholas de la Poer (1958年生) 的收藏。

2 A PAIR OF CHINESE BLUE AND WHITE ‘WENWU SHUANGQUAN’ GU-SHAPED VASES TRANSITIONAL PERIOD C.1640

Each decorated with two continuous narrative scenes separated by anhua bands above a border of plantain leaves, one painted with a scene of a lady greeting a military official on a riverbank surrounded by craggy rocks, while his groom and servants bearing banners wait beneath a nearby willow tree, the lower section with a seated scholar and his attendant at leisure; the other vase depicts a scene of a scholar offering an osmanthus spray to two kneeling figures, above a scene of two boys at play in a garden, 40.2cm and 41.5cm. (2)

£20,000-30,000

Provenance: from the collection of the 9th Marquis of Waterford, Henry Nicholas de la Poer (b.1958) of Curraghmore, County Waterford.

Cf. Transitional Wares and Their Forerunners, an exhibition presented by the Oriental Ceramic Society of Hong Kong and the Urban Council, Hong Kong, no.79 and 82, for two brushpots illustrating closely related scenes to the former vase; see also Sotheby’s Hong Kong, 30th November 2021, lot 404, for a related sleeve vase depicting a similar scene to the latter vase.

明末清初青花文武雙全花觚一對來源：愛爾蘭沃特福德克拉莫爾第九代沃特福德侯爵Henry Nicholas de la Poer (1958年生) 的收藏。

A PAIR OF CHINESE POWDER-BLUE GROUND ROULEAU VASES

KANGXI 1662-1722

Each painted with various shaped panels, one depicting ladies and boys enjoying their daily life, the others featuring watery landscape scenes and precious objects, the waisted necks with three further pomegranate-shaped cartouches containing seasonal flowers, all reserved on bright blue grounds, the bases with double circles, 52.5cm. (2)

£4,000-6,000

Provenance: from the collection of the 9th Marquis of Waterford, Henry Nicholas de la Poer (b.1958) of Curraghmore, County Waterford.

Cf. CJA Jörg in Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam, fig.152, p.142 and 143 for a related pair of blue and white rouleau vases, decorated with panels reserved on a powder-blue ground.

清康熙灑藍地開光山水人物博古圖瓶一對來源：愛爾蘭沃特福德克拉莫爾第九代沃特福德侯爵Henry Nicholas de la Poer (1958年生) 的收藏。

A PAIR OF CHINESE BLUE AND WHITE GU-SHAPED ‘YUANYANG TAO’ VASES

KANGXI 1662-1722

Each painted with continuous scenes divided into three registers by chevron borders, the tall flaring necks are painted with court ladies performing a dance and playing musical instruments for a noble lady, the central bulbous sections and lower registers decorated with ladies in leisurely pursuits within garden settings, each base has an artemisia leaf within a double circle border, 43cm and 42.2cm. (2)

£10,000-20,000

Provenance: from the collection of the 9th Marquis of Waterford, Henry Nicholas de la Poer (b.1958) of Curraghmore, County Waterford.

Cf. Sotheby’s London, 9th November 2011, lot 183, for a related five-piece garniture including a pair of gu-shaped vases with identical scenes. The story of Yuanyang Tao is a romantic folk story about love and transformation, emphasizing that love can overcome any obstacle.

清康熙青花鴛鴦絛人物故事圖花觚一對

來源：愛爾蘭沃特福德克拉莫爾第九代沃特福德侯爵Henry Nicholas de la Poer (1958年生) 的收藏。

5 A PAIR OF CHINESE BLUE AND WHITE ‘WENWU SHUANGQUAN’ SLEEVE VASES

TRANSITIONAL PERIOD C.1640

The cylindrical bodies rising to waisted necks with slightly everted rims decorated with borders of plantain leaves, one painted with a warrior and three attendants approaching a scholar in a rocky landscape, the scholar gestures with his left hand towards the sun behind him, the other painted with a narrative scene depicting an official offering an osmanthus spray to a kneeling couple, surrounded by a troop of attendants bearing a parasol and polearms, both with wispy clouds to the reverse, the necks and feet finely incised with anhua bands, 45.8cm. (2)

£25,000-35,000

Provenance: from the collection of the 9th Marquis of Waterford, Henry Nicholas de la Poer (b.1958) of Curraghmore, County Waterford.

Cf. Bonhams London, 2nd November 2020, lot 247 for a related Transitional sleeve vase depicting a similar scene to the former vase, see also Sotheby’s Hong Kong, 30th November 2021, lot 404 for another related sleeve vase.

The scene depicted on one vase illustrating a scholar gesturing to the sun alludes to a rebus, the rising sun suggests a rise in prosperity. The phrase ‘pointing at the sun’ (zhi ri) is a pun on ‘day by day’, suggesting the blessing zhiri gaosheng (may you day by day rise in rank). During the turbulent decline of the Ming Dynasty, many intellectuals sought refuge and opportunity within the bureaucratic system, viewing it as a pathway to influence, stability, and prestige. The allure of bureaucratic advancement remained strong, offering a sense of purpose and the potential for upward mobility. For a discussion about the motif of official appointments on seventeenth century porcelain, see JB Curtis, Chinese Porcelains of the Seventeenth Century: Landscapes, Scholars’ Motifs and Narratives, p.144. Depicted on the other vase, the fragrant flower guihua, osmanthus, which blooms during the eighth lunar month, coincides with the Mid-Autumn Festival. It is also a homophone for nobility. The scene on this vase relates to the cherished custom of zhegui, which literally means picking an osmanthus branch. The phrase originates from a legend of a magnificent osmanthus tree flourishing in the Lunar Palace and it signifies an official’s blooming career and symbolizes the heartfelt wish for gaining noble status and success in the Imperial exams.

明末清初青花指日高陞折桂高中圖筒瓶一對

來源：愛爾蘭沃特福德克拉莫爾第九代沃特福德侯爵Henry Nicholas de la Poer (1958年生) 的收藏。

6 A MASSIVE PAIR OF CHINESE FAMILLE VERTE MODELS OF BUDDHIST LIONS KANGXI 1662-1722

Each lion modelled with its head turned to the side, the faces with bulging eyes and wide grinning expressions revealing red-enamelled tongues, the foreheads decorated with the character wang, each body glazed in green with yellow-enamelled curls and aubergine-enamelled manes and tails, the female protectively grasps at her clambering pup below, both seated on rectangular-section plinths painted with panels of watery landscapes reserved against diaper grounds, 46.2cm max. (2)

£15,000-25,000

Provenance: from the collection of the 9th Marquis of Waterford, Henry Nicholas de la Poer (b.1958) of Curraghmore, County Waterford.

Cf. RL Hobson, Catalogue of the Leonard Gow Collection of Chinese Porcelain, vol.1, plate LXIII for a related pair of Buddhist lions.

Since at least the 3rd century AD, pairs of lions made of stone or bronze have flanked entrances to palaces and temples to ward off evil spirits. In the Forbidden City, Beijing, there are seven pairs of guardian lions still standing today, including a bronze pair at the Gate of Supreme Harmony (Taihe dian). The male lion usually has his paw resting on a brocade ball to symbolise power, while the female has a playful cub under her paw to represent prosperity. Ceramic lions are often inscribed with the Chinese character wang (king) on their foreheads as a sign of their strength, as seen on the present lot. During the Kangxi period, the popularity of Buddhist lion figures reached its zenith both domestically and, perhaps even more so, in Europe, where they were sometimes referred to as ‘Fo (Buddhist) dogs’. Fine pairs of Buddhist lions, such as those offered here, can be found in important museums and private collections worldwide. For two closely related pairs see the Staatliche Kunstsammlungen Dresden, accession nos. PO 3634 and PO 3635, and PO 8955 and PO 8956, the former pair illustrated in Eva Ströber, La maladie de porcelaine: East Asian Porcelain from the Collection of Augustus the Strong, pl.23. Refer also to the The Royal Household Collection of Drottningholm Palace, Sweden for two further similar pairs of Buddhist lion figures, included in Jan Wirgin, K’ang-Hsi Porcelain, Selected Objects from Swedish Collections, pl.46-7, one of which was collected by Queen Hedvig Eleonora (1636-1715).

清康熙五彩瑞獅一對

來源：愛爾蘭沃特福德克拉莫爾第九代沃特福德侯爵Henry Nicholas de la Poer (1958年生) 的收藏。

The Library, Curraghmore, c.1900

7 A SMALL CHINESE WHITE JADE MODEL OF A BACTRIAN CAMEL QING DYNASTY

Well-carved in the round as a recumbent camel with its legs tucked neatly under its body and the rounded head with pricked-back ears, together with a wood stand carved with lingzhi and orchid leaves, 6.5cm. (2)

£1,500-2,000

Provenance: from the collection of the 9th Marquis of Waterford, Henry Nicholas de la Poer (b.1958) of Curraghmore, County Waterford.

Cf. The National Palace Museum, Taipei, accession no. 00309 7N000000000 for a closely related camel dated to the Ming dynasty.

清白玉卧駱駝把件

來源：愛爾蘭沃特福德克拉莫爾第九代沃特福德侯爵Henry Nicholas de la Poer (1958年生) 的收藏。

THREE LARGE CHINESE FAMILLE VERTE DISHES KANGXI 1662-1722

Comprising: a pair of dishes decorated with flowers and foliage including chrysanthemum and cherry blossom, each with a lozenge mark; the other dish with a central medallion of a qilin gazing at the sun amidst swirling clouds and encircled by five cartouches depicting alternate scenes of mythical animals, divided by four sinuous chilong and interspersed flowerheads on a green ground, the base with an artemisia mark, 38.5cm max. (3)

£2,000-3,000

Provenance: from the collection of the 9th Marquis of Waterford, Henry Nicholas de la Poer (b.1958) of Curraghmore, County Waterford.

清康熙五彩花卉及瑞獸紋花口大盤一組三件

來源：愛爾蘭沃特福德克拉莫爾第九代沃特福德侯爵Henry Nicholas de la Poer (1958年生) 的收藏。

9 A CHINESE FAMILLE VERTE BALUSTER VASE AND COVER KANGXI 1662-1722

The body painted with petal-shaped panels containing various blossoming flowers including peony, chrysanthemum, magnolia and lotus, pheasants, magpies, and precious objects, all below a diaper border, and a band of floral sprays, the domed cover decorated with gnarled cherry blossom branches and a fan-shaped cartouche with leafy flowers, surmounted by a lotus bud finial, 53cm overall. (2)

£8,000-12,000

Provenance: from the collection of the 9th Marquis of Waterford, Henry Nicholas de la Poer (b.1958) of Curraghmore, County Waterford.

清康熙五彩開光花鳥博古圖蓋罐

來源：愛爾蘭沃特福德克拉莫爾第九代沃特福德侯爵Henry Nicholas de la Poer (1958年生) 的收藏。

A RARE PAIR OF CHINESE BLUE AND WHITE ‘G’ MARKED ‘LADIES’ BOTTLE VASES KANGXI 1662-1722

Each of hexagonal section, painted with six cartouches reserved against a cracked-ice ground, depicting ladies at leisure in fenced gardens, antiques and scholars with their attendants holding qins, the necks decorated with bands of lappets and ruyi-heads, all raised on high splayed feet, each with a ‘G’ mark to the base, 20.1cm. (2)

£3,000-5,000

Provenance: from the collection of the 9th Marquis of Waterford, Henry Nicholas de la Poer (b.1958) of Curraghmore, County Waterford. Cf. Sotheby’s New York, Cross-Currents in America: The Wolf Family Collection, 21st April 2023, lot 750 for an almost identical pair of Kangxi hexagonal ‘ladies’ vases with ‘G’ marks. See also the Lady Lever Art Gallery, Liverpool, collection no. LL 6450-51-52 for other related examples. Although ‘G’ marks have not been identified with any particular person, it has been suggested that the mark was used to distinguish pieces made for a specific European trader, or perhaps for a member of the Dutch East India Company. Porcelain with this mark is usually of a high standardised quality, reinforcing the view that ‘G’ marks may suggest these items were custom made for an individual. Christian Jörg in his work, Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam: The Ming and Qing Dynasties, supports this theory citing the example of so-called Japanese ‘apothecary bottles’ which also make use of a set of initials encircled on the body. See also RL Hobson, The Later Ceramic Wares of China, London, p.143 for a further discussion of these marks.

清康熙青花開光仕女博古圖六棱瓶一對來源：愛爾蘭沃特福德克拉莫爾第九代沃特福德侯爵Henry Nicholas de la Poer (1958年生) 的收藏。

A MASSIVE PAIR OF CHINESE BLUE AND WHITE ‘LOTUS’ CYLINDRICAL VASES

19TH CENTURY

Each painted with interspersed flowerheads amidst dense leafy scrolling tendrils, set between a ruyi-head borders and lappets, the flared rims decorated with fruiting sprays of finger citrons, peaches and pomegranates, 61.4cm and 61cm. (2)

£1,500-2,500

Provenance: from the collection of the 9th Marquis of Waterford, Henry Nicholas de la Poer (b.1958) of Curraghmore, County Waterford.

十九世紀青花纏枝花卉紋筒瓶一對來源：愛爾蘭沃特福德克拉莫爾第九代沃特福德侯爵Henry Nicholas de la Poer (1958年生) 的收藏。

12 A CHINESE BLUE AND WHITE DOUBLE-GOURD VASE

KANGXI 1662-1722

Painted with alternating scenes within moulded lotus petal cartouches to the upper and lower registers, including elegant ladies engaged in leisurely pursuits and playing musical instruments, watery landscape scenes and flowering sprays issuing from jardinières, the two bulbous sections divided by a chevron border, the neck with a band of flowers, the base with an artemisia leaf mark, 38.6cm.

£2,000-3,000

Provenance: from the collection of the 9th Marquis of Waterford, Henry Nicholas de la Poer (b.1958) of Curraghmore, County Waterford.

清康熙青花開光山水人物仕女圖葫蘆瓶來源：愛爾蘭沃特福德克拉莫爾第九代沃特福德侯爵Henry Nicholas de la Poer (1958年生) 的收藏。

FROM THE COLLECTION OF HINTON DANIELL STEWART (1835-1926)

LOTS 13-20

Hinton Daniell Stewart (centre) with his family

A CHINESE SPINACH-GREEN JADE INCENSE BOX AND COVER QIANLONG 1736-95

The quatrelobed body raised on a short waisted foot, decorated with low-relief borders of stylised lotus, the domed cover centred with a cartouche carved in low relief with a flowering peony, the stone of mottled tone with scattered dark inclusions and occasional lighter natural veins, together with a reticulated wood stand, 9cm. (3)

£800-1,200

Provenance: Hinton Daniell Stewart (1835-1926) of Strathgarry, Perthshire, founder of the firm of Stewart Thompson and Sons (Manchester Cotton Merchants), and thence by descent.

清乾隆碧玉海棠式花卉紋蓋盒來源：英國蘇格蘭佩斯郡斯特拉斯加里， Hinton Daniell

Stewart（1835-1926）收藏，Hinton是曼徹斯特棉業公司Stewart Thompson的創始人，之後由其後人繼承。

14 A CHINESE PALE CELADON JADE INCENSE BOX AND COVER QIANLONG 1736-95

Of rectangular form with rounded corners, the cover carved in low relief with an archaistic design within a rope twist band, raised on a short straight foot, the base with a paper label for the Victor Rienaecker Collection, 6.2cm. (2)

£1,500-2,500

Provenance: Hinton Daniell Stewart (1835-1926) of Strathgarry, Perthshire, founder of the firm of Stewart Thompson and Sons (Manchester Cotton Merchants), and thence by descent.

Victor Rienaecker (1887-1957) was a client of London dealers Bluett’s from 1934-55. The major part of his collection consisted of Chinese ceramics from the Song, Ming and Qing dynasties and also carvings in jade, ivory, horn, soapstone and amber. For further details see R Davids & D Jellinek, Provenance, p.373.

清乾隆青白玉夔龍紋蓋盒來源：英國蘇格蘭佩斯郡斯特拉斯加里， Hinton Daniell

Stewart（1835-1926）收藏，Hinton是曼徹斯特棉業公司Stewart Thompson的創始人，之後由其後人繼承。

A LARGE CHINESE WHITE JADE SHALLOW BOWL

QIANLONG 1736-95

The rounded sides rising to a gently flared rim above a short straight foot, the translucent stone of an even colour with a few natural veins, 22cm.

£2,000-3,000

Provenance: Hinton Daniell Stewart (1835-1926) of Strathgarry, Perthshire, founder of the firm of Stewart Thompson and Sons (Manchester Cotton Merchants), and thence by descent.

For a similar 18th-century pale celadon shallow bowl, see M Knight, H Lee and T Bartholomew, Later Chinese Jades from the Asian Art Museum of San Francisco, p.125, no.109.

清乾隆白玉素身撇口盤來源：英國蘇格蘭佩斯郡斯特拉斯加里， Hinton Daniell

Stewart（1835-1926）收藏，Hinton是曼徹斯特棉業公司Stewart Thompson的創始人，之後由其後人繼承。

A MUGHAL CELADON JADE ‘LEAF’ DISH 17TH/18TH CENTURY

The thinly carved dish of kidney shape, with a curved stem, the shallow sides subtly divided into fluted lobes and rising to a foliate rim, the translucent pale green stone with darker specks and small areas of light beige, 18.5cm.

£2,000-3,000

Provenance: Hinton Daniell Stewart (1835-1926) of Strathgarry, Perthshire, founder of the firm of Stewart Thompson and Sons (Manchester Cotton Merchants), and thence by descent.

Cf. National Palace Museum, Exquisite Beauty - Islamic Jades, p.132, no.161 for a closely related leaf-shaped dish.

十七/十八世紀青白玉痕都斯坦單耳葉式盤來源：英國蘇格蘭佩斯郡斯特拉斯加里， Hinton Daniell Stewart（1835-1926）收藏，Hinton是曼徹斯特棉業公司Stewart Thompson的創始人，之後由其後人繼承。

A RARE CHINESE IMPERIAL CLOISONNE AND CHAMPLEVE ENAMEL ‘BIRTHDAY’ BOWL QIANLONG 1736-95

The heavily-cast body with rounded sides rising to a gently everted rim above a short straight foot, decorated with four blue-ground medallions each enclosing the characters wan shou wu jiang (long life without end) in gilt seal script, reserved against a turquoise ground with trailing formal lotus between a band of lappets above the foot and a kui-dragon border below the rim, the interior and the foot gilt, the base with a four-character zi sun yong bao (treasured forever by sons and grandsons) mark within a square double-line border, 1kg, 16.8cm.

£10,000-20,000

Provenance: Hinton Daniell Stewart (1835-1926) of Strathgarry, Perthshire, founder of the firm of Stewart Thompson and Sons (Manchester Cotton Merchants), and thence by descent.

A series of bowls with this decorative scheme, centred on the characters wan shou wu jiang in zuanshu script, were commissioned in the 45th year of the Qianlong reign (1780) to celebrate the 70th birthday of the Emperor, according to Qing court records. The decoration is rich in auspicious features appropriate for an Imperial birthday service that go beyond the characters themselves. The scrolling lotus branches, for instance, reference the wish for a long continuation of the Imperial lineage. The mark on the base, an archaistic reference to those found on early Western Zhou bronzes, is also imbued with the notion of longevity. The character bao (treasure) is particularly rich semantically, incorporating pictorial references to the Imperial throne as well as the notion of wealth, with its up-turned arc at the base of the character recalling the shape of old Chinese gold currency. It is understood that the Qianlong Emperor was personally involved in the design of this service, and would have directly overseen the decoration and inscriptions chosen for these objects. Examples can be seen today in the Staatliche Museum, Berlin, accession no.OAS1959-226, in the Minneapolis Institute of Arts, accession nos.41.53.1A-F, in the Clague collection, illustrated in C Brown, Chinese Cloisonné: The Clague Collection, pp.122-23, pl.56, and in the Palace Museum, Beijing, illustrated in Classics of the Forbidden City: Enamels in the Collection of the Palace Museum, p.197, no.181. An example of a contemporary carved lacquer storage box complete with pieces from this service is also held in the Palace Museum, Beijing, illustrated in Classics of the Forbidden City: The Imperial Packing Art of the Qing Dynasty, p.156-157.

清乾隆御製銅胎掐絲琺瑯鏨刻萬壽無彊纏枝蓮紋盤《大清乾隆年製》楷書刻款來源：英國蘇格蘭佩斯郡斯特拉斯加里， Hinton Daniell Stewart（1835-1926）收藏，Hinton是曼徹斯特棉業公司Stewart Thompson的創始人，之後由其後人繼承。

A CHINESE BLUE AND WHITE ‘HUNDRED ANTIQUES’ TEAPOT AND COVER KANGXI 1662-1722

The drum-shaped body decorated with two panels of precious objects between two bands of small drum-nail bosses, the spout and side-handle painted with scrolling clouds, the flat cover decorated with a band of scrolling ruyi-heads and crosses around a finial shaped as a small Buddhist lion, 18.4cm. (2)

£600-1,000

Provenance: Hinton Daniell Stewart (1835-1926) of Strathgarry, Perthshire, founder of the firm of Stewart Thompson and Sons (Manchester Cotton Merchants), and thence by descent.

清康熙青花博古圖茶壺

來源：英國蘇格蘭佩斯郡斯特拉斯加里， Hinton Daniell Stewart（1835-1926）收藏，Hinton是曼徹斯特棉業公司

Stewart Thompson的創始人，之後由其後人繼承。

19 A CHINESE FAMILLE VERTE EWER AND COVER KANGXI 1662-1722

The body of shaped rectangular form below a bail handle, decorated to the sides with alternating panels of flower baskets and flowering stems, the shoulder decorated with a cell diaper centred with two floral roundels, the domed cover with floral panels below a blue-glazed knop, together with a wood stand, 18.2cm. (3)

£1,000-2,000

Provenance: Hinton Daniell Stewart (1835-1926) of Strathgarry, Perthshire, founder of the firm of Stewart Thompson and Sons (Manchester Cotton Merchants), and thence by descent.

清康熙五彩花卉紋提樑壺

來源：英國蘇格蘭佩斯郡斯特拉斯加里， Hinton Daniell

Stewart（1835-1926）收藏，Hinton是曼徹斯特棉業公司

Stewart Thompson的創始人，之後由其後人繼承。

A CHINESE GOLD-SPLASHED BRONZE TWO-HANDLED ‘CHILONG’ BOWL 17TH CENTURY

Raised on a straight foot to a flared rim, flanked by a pair of sinuous chilong with bifurcated tails forming the loop handles, the exterior with a brown patina decorated with irregular gold splashes, the base with a six-character Xuande mark within a recessed rectangle, 1.14kg, 21.5cm.

£3,000-5,000

Provenance: Hinton Daniell Stewart (1835-1926) of Strathgarry, Perthshire, founder of the firm of Stewart Thompson and Sons (Manchester Cotton Merchants), and thence by descent.

The origin of gold-splashed decorations on Chinese bronzes remains uncertain. G Tsang and H Moss, in their book Arts from the Scholar’s Studio, p.184, suggest that this decorative technique may have gained popularity due to the influence of Xuande bronzes from the Ming dynasty, where the gold splashes resulted from the vessel’s uneven surface patination.

十七世紀灑金銅雙螭龍耳碗來源：英國蘇格蘭佩斯郡斯特拉斯加里， Hinton Daniell Stewart（1835-1926）收藏，Hinton是曼徹斯特棉業公司

Stewart Thompson的創始人，之後由其後人繼承。

THREE FONTHILL TREASURES

LOTS 21, 22 & 23

The Pavilion, renamed Fonthill House, c.1890, by kind permission of Lord Margadale and the trustees of the Fonthill Estate

ALFRED MORRISON (1821-97)

LOTS 21-23

Alfred Morrison (1821-97) was the second son of the millionaire textile merchant James Morrison (1789-1857), who is thought to have been the richest commoner in nineteenth-century England and was known as the ‘Napoleon of Shopkeepers’. Alfred grew up in considerable luxury between his family’s London town house in Harley Street and their country estates at Fonthill, Wiltshire and Basildon, Berkshire. He attended Edinburgh and Cambridge universities and travelled regularly to the continent, also spending three years in North America for business on behalf of his father’s bank. His father gifted Morrison the Fonthill estate in 1848 and he inherited £750,000 of stocks and shares. Here he lived with his wife, Mabel, in the remaining sections of William Beckford’s father’s house Fonthill Splendens, and between 1846-1848 the house was enlarged by architect David Brandon who raised it by one storey and added an Italianate tower.

Morrison devoted much of his inheritance to amassing a collection of artworks, which included one of the most significant Western collections of Chinese ceramics in modern history. Originally, he displayed his Chinese works of art in a room at Fonthill reminiscent of the Crystal Palace. Later with these treasures in mind, Morrison commissioned the internationally renowned architect Owen Jones (designer of the interiors of the Crystal Palace) in the early 1860s to remodel the interior of Fonthill. Jones added three top-lit galleries in 1880 to house Morrison’s growing collection of paintings, sculpture, Chinese art, medals and manuscripts. One of the grandest of these rooms was ‘in Cinque-cento style’, lined with elaborate ebony and ivory cabinets. Further pieces were displayed at Morrison’s town house in London at 16 Carlton House Terrace, where Owen Jones also designed the interior.

In 1896 Morrison lent eight pieces of his Chinese collection to the Burlington Fine Arts Exhibition of Coloured Chinese Porcelain. Some of Morrison’s Fonthill Heirlooms have previously been sold at auction at Christie’s. According to Caroline Dakers, author of ‘A Genius for Money: Business, Art and the Morrisons’, some other items from the Morrison collection may have been sold by Mabel Morrison between c.1898-c.1920. However, the three Fonthill treasures offered here have remained within the family since they were acquired by Alfred Morrison.

Alfred Morrison（1821-97）是紡織品大亨James Morrison（1789-1857）的次子。James被認為是十九世紀英國首富，財產僅次英國皇室貴胄，曾被譽為「商店界拿破崙」。年幼的Alfred居於奢華的家族私邸，常在倫敦哈雷街的大宅、威爾特郡的放山居及伯克郡巴斯爾登莊園之間穿梭往返。他曾就讀於愛丁堡大學和劍橋大學，並經常赴歐陸各國遊歷，亦曾為父親打理家族銀行業務在北美工作三年。1848年，父親James將放山居莊園及當時價值75萬英鎊的股票和股份贈予Alfred。他與妻子Mabel開始居住在由英國富豪及政治家William Beckford父親所建的放山居故園。其後蘇格蘭建築師David Brandon於1846年至48年間，將這座大宅擴建了一層，並加建了一座義大利式塔樓。繼承可觀的遺產後，Alfred開始大量投資藝術品的收藏，成就了現代歷史上一個最重要的中國陶瓷的西方收藏。他最初模仿水晶宮華麗的陳設啟發，在放山居宅邸展示這些中國藝術品珍藏。後來他特意聘請負責水晶宮室內設計的知名建築師Owen Jones為這些藝術瑰寶打造巧究精緻的陳列室。在1860年代初期，Jones重新設計大宅的內部。1880年再增設三個天窗採光的陳列空間，用作安置不斷增加的繪畫雕塑、中國藝術品、勳章和手稿的收藏。富麗堂皇的大廳飾有工藝精湛的黑檀木和象牙櫥櫃，體現了十六世紀文藝復興時期風格。還有部分珍藏在位於倫敦西敏區卡爾頓臺十六號的府邸內，內部設計同樣出自Owen Jones之手。

1896年，Alfred嚴選了八件中國收藏品於倫敦伯靈頓美術俱樂部的中國彩瓷展覽中展出。放山居珍藏曾三次委託在佳士得舉辦專場拍賣，據《金錢天才：商業、藝術與Morrison家族》一書的作者

Caroline Dakers稱，Alfred的一些其他藏品可能在1898年至1920年間由妻子Mabel出售。然而，此次拍賣的三件放山居珍寶，自Alfred Morrison收藏後，一直受其家族保存並留存至今。

Alfred Morrison Esquire Placido Zuloago (1834-1910)

AN EXTREMELY RARE CHINESE IMPERIAL CLOISONNE ENAMEL AND GILT-BRONZE DOUBLE-GOURD VASE, HULUPING

QIANLONG 1736-95

Decorated all over with a dense design of large and smaller lotus flowerheads growing from undulating leafy stems with tendrils and further flower buds, and with strings of berries in turquoise, red, pink and yellow, on a dark blue ground. The neck with pale green pendant leaves and the base with a band of lappets, mounted on a short champlevé base adapted as a light fitting for electricity, the flared rim and cloisons gilded, 3.4kg, 42.5cm.

£20,000-30,000

Provenance: the collection of Alfred Morrison (1821-97), Fonthill House, Wiltshire, Fonthill Heirlooms no.251 (label now lacking), and then John Granville Morrison (1906-96), 1st Baron Margadale of Islay and thence by direct descent to the present owner. Cf. for a closely related ‘lotus’ vase of this size and colour, but with coiling chi-dragon appliqués, see The Compendium of Collections in the Palace Museum, vol.3, p.196, no.161.

The double gourd, hulu, is an important auspicious symbol in Chinese culture with many meanings. Due to its abundance of seeds, the bottle gourd is a symbol of fertility believed to bring hundreds of sons, hulu baizi. In ancient times many cultures developed the practice of manipulating the shape of growing gourds by tying them with string. These double gourds, once dried, were used to hold food, liquids or medicines and thus the shape became closely associated with wishes for abundance, good luck and good health. The double gourd is also associated with Immortals. It is the attribute of Li Tie Guai, one of the Eight Daoist Immortals.

清乾隆御製銅胎掐絲琺瑯纏枝寶相花紋葫蘆瓶來源：由Alfred Morrison（1821-97）收藏，英國威爾特郡放山居莊園，放山居家傳收藏編號251（標籤已失），隨後由John Granville Morrison（1906-96），第一代馬加代爾男爵繼承，之後由其後人繼承。

The Inventory of Heirlooms, Fonthill House, 1900

The Palace Museum, Beijing Gu 117435

A LARGE CHINESE IMPERIAL CLOISONNE ENAMEL AND GILT-BRONZE MEIPING QIANLONG 1736-95

The body decorated with four turquoise-ground quatrefoil panels, each depicting a small butterfly above flowering peony growing from blue, black and white rocks, set against a diaper ground comprising cobalt blue honeycomb cells enclosing yellow florets, the shoulder with eight ruyi-head shaped panels containing lotus below a band of blue key fret, flowers and small pendent lappets, the lower section with green and red stiff leaves above further lappets, the foot, rim, base and wire cloisons gilded, 3.8kg, 37.2cm.

£50,000-80,000

Provenance: the collection of Alfred Morrison (1821-97), Fonthill House, Wiltshire, Fonthill Heirlooms no.253 (label now lacking), and then John Granville Morrison (1906-96), 1st Baron Margadale of Islay and thence by direct descent to the present owner.

Cf. The Compendium of Collections in the Palace Museum: Enamels 3, p.131, no.96 for another turquoise-ground meiping dated to the mid-Qing dynasty.

清乾隆御製銅胎掐絲琺瑯開光花卉紋梅瓶

來源：由Alfred Morrison（1821-97）收藏，英國威爾特郡放山居莊園，放山居家傳收藏編號 253（標籤已失），隨後由John Granville Morrison（1906-96），第一代馬加代爾男爵繼承，之後由其後人繼承。

The Inventory of Heirlooms, Fonthill House, 1900

A RARE AND LARGE CHINESE IMPERIAL CLOISONNE ENAMEL AND GILT-BRONZE SQUARE STAND

YONGZHENG 1723-35

The sides decorated with red and blue taotie masks amongst pink and white lotus flowerheads and scrolling leaves on a black ground, detailed with yellow and white highlights, the top similarly decorated, with a central recessed circle enclosed by bands of turquoise, blue and green, 5kg, 22.5cm square x 11.8cm.

£20,000-30,000

Provenance: the collection of Alfred Morrison (1821-97), Fonthill House, Wiltshire, Fonthill Heirlooms no.252 (label now lacking), and then John Granville Morrison (1906-96), 1st Baron Margadale of Islay and thence by direct descent to the present owner.

An almost identical stand from a French collection was sold together with the matching gui and cover at Christie’s Hong Kong, 30th May 2006, lot 1288. See also The Compendium of Collections in the Palace Museum, vol.3, p.230, no.195 for another related stand of a similar size.

清雍正銅胎掐絲琺瑯饕餮紋方型底座

來源：由Alfred Morrison（1821-97）收藏，英國威爾特郡放山居莊園，放山居家傳收藏編號 252（標籤已失），隨後由John Granville Morrison（1906-96），第一代馬加代爾男爵繼承，之後由其後人繼承。

The Inventory of Heirlooms, Fonthill House, 1900

A CHINESE CLOISONNE ENAMEL MALLET-SHAPED VASE LATE MING DYNASTY

The body and neck enamelled in polychrome with flowers, fruits, birds and butterflies on a turquoise ground, the undecorated base with a square four-character Jingtai seal mark, 1.3kg, 22.7cm high, 14.5cm wide.

£8,000-12,000

Provenance: from the collection of Adolphe Stoclet, (1871-1949).

Published: Georges A Salles and Daisy Lion-Goldschmidt, Adolphe Stoclet Collection (part I), Brussels, 1956, pp.432-433.

Cf. H Brinker and A Lutz, Chinese Cloisonné, the Pierre Uldry Collection, p.137, pl.137. and Sotheby’s, Paris, 18th December 2012, lot 4 for closely related vases of this type.

明晚期銅胎掐絲琺瑯瓜瓞綿綿紙槌瓶《景泰年製》篆書款

來源：Adolphe Stoclet (斯托克萊1871-1949）收藏。

出版：Georges A Salles 及 Daisy Lion-Goldschmidt, Adolphe Stoclet Collection (第一部分), 比利時布

魯塞爾, 1956年, 頁 432-433。

Georges A Salles and Daisy Lion-Goldschmidt, Adolphe Stoclet Collection (part 1), Brussels, 1956

25 A RARE INSCRIBED CHINESE CLOISONNE ENAMEL VASE, ZUN QIANLONG 1736-95

The compressed circular body with a flared rim and foot, decorated with four taotie masks amongst formal square scrolls between bands of lappets on a turquoise ground, the interior and rims gilded, the base with a nine-character inscription reading gu she bao shi zhi zi zi sun sun bao yong (Bao of Gushe made this for his sons and grandsons to use and treasure), 4.1kg, 26.9cm.

£3,000-5,000

Provenance: from the collection of Vera Marguerite Bacon (1883-1970) and her husband Arthur Thomas Hodgson (1878-1931), of the Kings Royal Rifle Corps, of Smallwood Manor, Uttoxeter and thence by descent.

Cf. Sotheby’s New York, 23rd March 2022, lot 278 for a Qianlong cloisonné enamel jue bearing the same inscription.

清乾隆銅胎掐絲琺瑯饕餮紋尊《古歙鮑氏製子子孫孫寶用》款

來源：Vera Maguerite Bacon及Arthur Thomas Hodgson 伉儷的收藏，英國中部尤托克西特斯莫爾伍德莊園的國王皇家步槍隊，其後由後人繼承。

26 A CHINESE BRONZE INCENSE BURNER 17TH/18TH CENTURY

The U-shaped body with lion-mask handles and cast in relief with cicada pendent lappets, the base with a Xuande mark, 1.2kg, 16.5cm across.

£1,500-2,500

Provenance: from an English private collection, London.

十七/十八世紀銅蟬紋獸耳圈足爐

《大明宣德年製》仿款來源: 英國倫敦私人收藏。

A MASSIVE CHINESE BRONZE ‘CHILONG’ TRIPOD INCENSE BURNER MING DYNASTY

The compressed body with two applied chilong rising from the shoulder and forming the loop handles, with two further chilong clambering on each side, all supported on three cabriole legs, the base cast with the mark, Da Ming Xuande wu nian jian du gong bu guan chen Wu Bangzuo zao, which can be translated as ‘in the year of Xuande of the Great Ming dynasty, supervised by Wu Bangzuo from, the Ministry of Works’, 16kg, 59cm.

£8,000-12,000

Provenance: from an English private collection, Shropshire.

明銅螭龍紋沖天耳三足爐

《大明宣德五年監督工部官臣吳邦佐造》仿款來源：英國什羅普郡私人收藏。

FROM THE COLLECTION OF MAJOR HENRY F STANLEY MC (1911-1997)

LOTS 28-33, 613, 641 & 665

Major Stanley, formerly of the Grenadier Guards, was recruited from the Royal Automobile Club in London in 1957 to head and form the Hong Kong Tourist Association, retiring from his role as executive director in 1971. He was widely known as the ‘Father of Hong Kong Tourism’.

Henry F Stanley少校(1911-1997) 的收藏

Stanley少校，曾擔任英國近衛擲彈兵，並憑藉其英勇表現獲軍功十字勳章，1957 年於倫敦皇家汽車俱樂部工作，其後成立香港旅遊協會及領導發展香港旅遊業，於 1971 年辭去旅遊協會執行董事職務，是廣為人知的香港旅遊業之父。

A RARE CHINESE SILVER-INLAID BRONZE BIRD-SHAPED FINIAL, DINGSHI

EASTERN ZHOU DYNASTY/WARRING STATE

Hollow cast as a recumbent bird with its head turned backwards, gracefully holding a sphere on its back, the facial features, plumage, long tail and feet detailed in silver and silver wire inlay, the surface with greyish-green encrustation, together with a wood stand, 11.5cm. (2)

£3,000-5,000

Provenance: from the collection of Major Henry F Stanley MC (1911-97).

Cf. Christie’s New York, 16th March 2017, lot 871, and Bonhams New York, 16th March 2015, lot 2001, for two related bird-form bronze finials of this type.

東周或戰國時代銅錯銀鳥形頂鈕

來源：Henry F Stanley少校 (1911-97) 的收藏。

29 A RARE CHINESE GOLD AND SILVER-INLAID BRONZE DUCK-SHAPED POURING VESSEL, ZUN

SONG-MING DYNASTY

Modelled in the form of a waterfowl standing on webbed feet with its head facing forward and wings tucked into the sides, its back bearing a vase with a flared rim. The face, neck and wings decorated with archaistic spiral and scroll designs, the tail detailed with naturalistic feathers, the surface with minor green encrustations, together with a wood stand and a fitted box, 213g, 9cm. (2)

£2,000-3,000

Provenance: from the collection of Major Henry F Stanley MC (1911-97).

Cf. R Kerr, Later Chinese Bronzes, p.17, pl.4, for a pouring vessel of a similar shape dated to the Song dynasty; see also The Metropolitan Museum of Art, no.14.58.183, for a related duck-shaped vessel dated 15th/16th century.

宋至明銅錯金銀鳧尊

來源：Henry F Stanley少校 (1911-97) 的收藏。

Major Henry Stanley

A CHINESE MOTTLED GREY JADE POURING VESSEL AND A SMALL CUP MING DYNASTY

The rectangular body of the pouring vessel, gong, carved with a wide band of archaistic bosses divided by vertical flanges, below an incised chilong border, set with a mythical beast loop handle; the U-shaped body of the cup similarly decorated with bands of studs, the ring handle incised with a stylised flowerhead, together with two wood stands, 11.8cm and 9.2cm. (4)

£1,500-2,500

Provenance: from the collection of Major Henry F Stanley MC (1911-97).

明灰玉乳釘紋觥及單耳杯一組兩件

來源：Henry F Stanley少校 (1911-97) 的收藏。

A CHINESE PALE CELADON JADE BRUSHWASHER 17TH CENTURY

The oval vessel hollowed as a large fruit with intertwining leafy branches which form the base and handle bearing small lychees, one side with a small chilong clambering up and resting its head on the rim, the pale greenish-white stone with areas of darker markings, with a wood stand, 13.5cm. (2)

£2,000-3,000

Provenance: from the collection of Major Henry F Stanley MC (1911-1997). 十七世紀青白玉荔枝螭龍紋洗

來源：Henry F Stanley少校 (1911-97) 的收藏。

A CHINESE PALE CELADON JADE ‘CHILONG’ CUP MING DYNASTY

The deep rounded sides raised on a gently splayed foot, carved in high relief on either side with a pair of beasts grasping the rim to form the two handles, the greyish-green stone with light russet streaked inclusions and a few darker flecks, together with a wood stand, 14.3cm. (2)

£3,000-4,000

Provenance: from the collection of Major Henry F Stanley MC (1911-97).

明青白玉雙螭龍耳杯

來源：Henry F Stanley少校 (1911-97) 的收藏。

part lot illustrated

A CHINESE BLACK-GROUND EMBROIDERED SILK ‘DRAGONS’ PANEL 18TH CENTURY

Worked in couched gold threads with two pairs of confronting five-clawed dragons coiled around flaming pearls amidst colourful ruyi-shaped clouds and stylised flames, the reverse lined with mustard yellow silk, 74cm x 46cm.

£3,000-5,000

Provenance: from the collection of Major Henry F Stanley MC (1911-97).

十八世紀黑地刺繡五爪趕珠龍紋錦

來源：Henry F Stanley少校 (1911-97) 的收藏。Stanley少校于1957年從倫敦皇家汽車俱樂部受聘，之後被派往香港擔任香港旅遊協會會長及組織人，並於1971年卸任執行董事一職。他被人尊稱為香港旅遊業之父。

SONG XINGQIAO (QING DYNASTY)

LANDSCAPES, FIGURES AND A STILL LIFE

A Chinese album of twelve leaves, with embroidered silk covers, ink and colour on silk, two dated and signed by Song Xingqiao, each with an artist’s seal; seven anonymous; three with an artist’s seal which reads Jingdu Qian Feng He, with an antique shop inventory paper label, 27.3cm x 25.3cm. (12)

£500-800

宋星樵 (清) 山水設色絹本十二開冊附文物商店標籤並備註編號。

VARIOUS ARTISTS (19TH CENTURY)

LANDSCAPES AND FIGURES

A Chinese album of eight leaves, with embroidered silk covers, ink and colour on silk, six inscribed with signatures of Li Tang, Liu Songnian, Guan Daosheng, Yang Shixian, Xia Gui, seven artists’ seals, seventeen collectors’ seals and one antique shop label with a stock number and inscribed Song Yuan shanshui ge jia ce, 24cm x 17cm. (8)

£1,000-1,500

李唐、劉松年、管道升、楊士賢、夏珪等（傳）

文會冊設色絹本八開冊附文物商店標籤並備註編號。

ANONYMOUS (MING DYNASTY)

ROCK AND BAMBOO

A Chinese hanging scroll painting, ink on paper, with one artist’s seal which reads Lin Shuang An and an illegible seal mark, 133cm x 67cm.

£2,000-3,000

Provenance: from an English private collection, acquired in a New York auction c.1985.

佚名（明）墨竹坡石圖水墨紙本立軸鈐印：凌霜盦，一印漫漶不清

來源：英國私人收藏，1985年購於紐約一拍賣行。

ANONYMOUS (MING/QING DYNASTY)

A WHITE WHIPPET

A Chinese painting depicting a recumbent white whippet amidst bamboo and lily sprays, ink and colour on silk, inscribed with four lines of calligraphy, dated to the dinghai year, four collectors’ seals, two from Xiang Yuanbian, which read, Xiang Zijing jia zhencang and Xiang Molin jian cang zhang; the other two from Song Huizong, which read zheng he and yu fu bao hui, framed and glazed, 126cm x 66cm.

OFFERED WITHOUT RESERVE. 本拍品不設底價。

£1,000-2,000

Provenance: from The Robin and Rupert Hambro Collection.

佚名 (明/清) 獵犬設色絹本鏡框

題識：唐人所畫犬獸圖，喜其畫法工巧神采奕華，當時白犬過庭之意，描寫殆畫機暇，仿佛牝牡之外可也。丁亥御筆。

鈐印：政和、御府寶繪

藏印：項子京家珍藏、項墨林鑒藏章

來源：Robin及Rupert Hambro收藏。

JU MING (ZHU MING) 1938-2023

TAICHI SERIES – SINGLE WHIP

JU MING (ZHU MING), 1938-2023 TAICHI SERIES - SINGLE WHIP

A large bronze sculpture, signed in Chinese, numbered 16/20 (incised to the reverse), edition 16/20, 65kg, 73cm wide x 47.3cm high x 40cm deep.

£150,000-250,000

Provenance: from the collection of Lady Linda Wong Davies, purchased from Johnson Chang at Hanart TZ Gallery in late 1980s by her former husband.

Lady Linda Wong Davies has been called the ‘Queen of Chinese cultural diplomacy’. Born in Singapore and raised in Malaysia, she is the Founder and Chairman of the ground-breaking KT Wong Foundation, which she established in memory of her late father, Dato Wong Kee Tat, the renowned Chinese-Malaysian businessman and philanthropist. The Foundation was launched in 2007 to ‘bring contemporary China to the British public’ and more broadly serving as a bridge between the arts and cultural industries in China and the West. Early successes of the Foundation include the Gold Medal winning Chelsea Garden created by Shao Fan, and the staging of its pioneering production of Handel’s Semele, directed by Chinese artist Zhang Huan. It was the first time a baroque Opera had been staged in China. In the 1980s she married and lived in Hong Kong whereby her former husband and she became involved with Hongkong Land. It was through Hongkong Land’s commission of the Ju Ming sculpture Single Whip Dip from the Taichi series in Exchange Square, that the present lot came to be part of Lady Davies’s impressive collection of contemporary art.

太極系列—單鞭下勢

銅雕

款識：朱銘 16/20 (刻於背面下方)

來源：黄鈴玳爵士夫人的收藏，由她的前夫於1980年代末購自漢雅軒(Hanart TZ Gallery) 藝術總監張頌仁先生。

黄鈴玳爵士夫人 (Lady Linda Wong Davies) 一直被譽為「中華文化的外交女王」。她出生於新加坡並在馬來西亞長大，黄鈴玳是拿督黃紀達基金會的創辨人兼主席。慈善信託基金會於2007年成立，其目的是為了紀念她的父親，馬來西亞著名的華人慈善家及企業家黃紀達。基金會在「將當代中國帶入英國公眾視野」及作為中國與西方藝術與文化產業之間的橋樑，這兩點上作出了巨大貢獻。基金會早期廣受讚譽的成就包括，委託藝術家邵帆操刀設計的花園作品參加英國切爾西的皇家花卉展，並獲得金獎殊榮；主辦製作並邀請了中國行為藝術家張洹執導，由十八世紀音樂家韓德爾創作的歌劇《塞墨勒》，成為首次在中國公演的巴洛克歌劇。

在1980年代，黄鈴玳婚後移居香港生活，她及前夫與香港置地集團有過很多合作。這次上拍的朱銘的《太極系列—單鞭下勢》經典雕塑 (拍品編號38)，來自黄鈴玳爵士夫人的珍貴收藏。購入這件藏品的緣分源於當時另一座朱銘的同一系列大型作品《單鞭下勢》由置地集團旗下購入（現今依然屹立香港中環交易廣場富臨閣）。

JU MING (ZHU MING) 1938-2023

Ju Ming (Zhu Ming) was born in Taiwan, where at the age of fifteen he began his training as a woodcarver and was apprenticed under Master Chin-Chuan Lee, the Buddhist statuary craftsman, working on restorations of the Mazu temple. He won several awards and prizes working in the traditional Taiwanese folk-art style at the Taiwan Provincial Art Exhibitions in 1966 and 1967.

In 1968 he began studying under the tutelage of Taiwan’s most eminent Modernist sculptor Yuyu Yang. He began working on large-scale works and exploring new materials such as copper, iron, stone, stainless steel, sponge, and ceramic. In 1976 he inaugurated his first solo exhibition at the National Museum of History in Taipei, Taiwan, which was very successful.

Often referred to as the ‘Father of Modern Sculpture in Taiwan’, he is best known for his Taichi series, inspired by the physical and mental practice of the martial art that he took up under the advice of his mentor Yuyu Yang. In 1977 the Tokyo Central Art Museum in Japan hosted Ju Ming’s first international exhibition, followed by a series of landmark institutional and gallery shows at venues such as the Hong Kong Arts Centre, the Taipei Fine Arts Museum, the Max Hutchinson Gallery and the Phyllis Kind Gallery in New York, as well as London’s South Bank Centre and the Yorkshire Sculpture Park. The artist’s work is permanently on view at the Ju Ming Museum in Taiwan, which opened in 1999.

朱銘出生於台灣苗栗，十五歲時毅然拜慈惠宮媽祖廟的佛像雕刻師李金川為師，成為木雕學徒。後來在修復寺廟中學習傳統台灣雕刻及繪畫工藝。

1966至67年在多次的台灣省藝術展覽中贏得多個傳統民俗藝術的獎項，展開其個人雕刻藝術生涯。

1968年，朱銘拜入台灣現代主義雕塑界大師楊英風門下，逐步掌握了藝術美學的概念，開始創作大型抽象作品，大膽嘗試運用多元的素材例如銅、鐵、石、不鏽鋼、海綿和陶土，確立自我風格。在楊英風的支持下，1976年朱銘於國立歷史博物館舉行了他的首次個展覽，並成為當時十大傑出年輕藝術家之一。

貴為國寶級現代的雕塑大師，鄉土運動中代表性人物，朱銘以《太極系列》作品聞名國際。1970年代初，重視靈性創作理念的楊英風老師建議朱銘學習太極拳鍛鍊身體，以拳法探索及體悟東方文化氣韻流轉的深意，其後發展出日後知名的《太極系列》。1977年，日本東京中央美術館為朱銘舉辦了的首次國際展覽，《太極系列》作品首次在國外展出便一鳴驚人，贏得當地的高度評價。隨後相繼於香港藝術中心、台北市立美術館、Max Hutchinson和Phyllis Kind藝廊舉辦了一系列展覽，奠定了他在國際藝壇的位置。1987年，朱銘在新北市金山區西勢湖處籌備美術館園區的規劃設計與施工，1999年，傾注朱銘一生積蓄和12年漫長的辛勞，朱銘美術館正式開幕成為他最大的一件作品，並為其作品建設了一個好歸宿。

朱銘一生創作不懈，放眼全球在香港、新加坡、日本、南韓、英國、法國、盧森堡、比利時、瑞士、美國及加拿大等地的城市公共空間，都有朱銘作品的蹤跡。〈太極系列—單鞭下勢〉(拍品編號38)，這件作品之另一銅像版本自80年代便屹立香港交易廣場，寓意營商剛柔並濟，看似退守，凝聚乘勢前擊的無形力量蓄勢待發。

The use of the image is authorised by the Nonprofit Organisation Juming Culture and Education Foundation

Ju Ming (centre) with Nigel Rich, Chief Executive of Hongkong Land (second from left) installing Taichi series - Single Whip Dip in Exchange Square, Hong Kong, 1986

Single Whip Dip was commissioned by Hongkong Land in 1986 under the directorship of Lady Linda Wong Davies’ former husband, the purchaser of the present lot

λ A CHINESE RHINOCEROS HORN LIBATION CUP

17TH/18TH CENTURY

The U-shaped body smoothly carved with a short straight foot rising to a flared rim, the streaked fibrous material is of a pale golden honey tone darkening to a deep brown at the base, 101g, 8.9cm wide.

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.

£4,000-6,000

Provenance: by repute formerly from the collection of Percy D. Krolik (1902-70).

Cf. T Fok, Connoisseurship of Rhinoceros Horn Carving in China, 1999, p.110; see also, Christie’s Hong Kong, 30th May 2012, lot 4155, for a similar plain rhinoceros horn cup.

十七/十八世紀犀角雕素身撇口杯

來源： Percy D Krolik 的舊藏 (傳)。

注：若閣下需辦出口證書，落槌價須超過每克100美金。

40 A CHINESE HUANGHUALI RECTANGULAR BOX

17TH/18TH CENTURY

Of solid, attractively grained huanghuali, the rectangular box with a hinged lid, baitong ruyi-form edgings, bail handles, a round lock plate and cloud-form hasp, 41cm x 24cm x 19cm.

£3,000-5,000

十七/十八世紀黃花梨鑲白銅長方形小箱

λ A LARGE CHINESE FULL TIP ‘IMMORTALS PARADISE’ RHINOCEROS HORN CARVING 19TH CENTURY

Densely carved in high relief and pierced the full length of the horn from the tip to the rim, with the Eight Immortals and the Queen Mother of the West riding a phoenix flanked by cranes, with deer, monkeys and further figures on rocky ledges amongst wutong and willow trees; the hardwood stand carved with lingzhi and pine growing from rocks with two small figures to the base, the horn 3.8kg, 62cm, 79cm overall. (2)

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.

£15,000-25,000

Provenance: from The Gerard Arnhold Collection and thence by descent, purchased from Roger Keverne at Spink & Son Ltd prior to 1992.

Cf. Sotheby’s London, 5th November 2008, lot 3 for a similar 19th century example also carved with a similar scene. See also Bonhams, London, 14th May 2005, lot 252 for another related 19th century example.

十九世紀犀角雕蓬萊仙境圖杯來源：Gerard Arnhold 收藏，之後由其後人繼承，約1992年前從當時

在Spink and Son Ltd任職亞洲藝術部主管的 Roger Keverne購入。

注：若閣下需辦出口證書，落槌價須超過每克100美金。

42 A CHINESE HUALI BRUSHPOT, BITONG 18TH/19TH CENTURY

Of simple cylindrical form, smoothly carved with straight sides, the base with a circular central plug, the wood of an attractive golden dark tone, together with two calligraphy brushes, 16cm (the brushpot). (3)

£800-1,200

十八/十九世紀黃花梨筆筒及毛筆一組三件

43 A RARE CHINESE BAMBOO ‘BUDDHIST LION’ INCENSE BURNER 17TH CENTURY

The mythical beast seated on its haunches with a reticulated brocade ball in its front paw and a puppy on its back, its bushy tail raised and its head turned back, the bulging eyes inlaid with shell and horn bringing to life the fierce expression on its face, the underside of the belly secured by a pin and opening to reveal a hollow interior, 24.2cm. (2)

£3,000-5,000

Cf. L Tam, Chinese Bamboo Carving, Part I, pp.342-351, nos.104-108, for comparable bamboo carvings of Buddhist lions with similar stylistic features, including the inlaid eyes. These examples however, are carved in the round, while the present lot has been creatively worked as an incense burner. Its removable belly acts as a cover to its hollow body, in which incense can be placed, to waft out of the beast’s gaping fangs and flared nostrils. This construction sets the present lot apart as a rarity, related to the example sold at Christie’s Hong Kong, 1st June 2011, lot 3864.

十七世紀竹雕瑞獅戲球香薰

44 A PAIR OF CHINESE STONE FIGURES OF GUARDIAN LIONS

TANG DYNASTY OR PERHAPS LATER

The beasts powerfully carved, depicted seated on their haunches each with one of their hind legs raised, one turning its head to dexter, the other to sinister, both with broad, muscular chests and tightly curled manes, their faces with bulging eyes and mouths wide open revealing fangs, each supported on a square pedestal, the stones of a brownish-grey tone with white striations, 43cm. (2)

£20,000-30,000

Provenance: formerly an English private collection, Westcliff-on-Sea, Essex.

Cf. The Minneapolis Institute of Art, The Ruth Ann Dayton Chinese Room Endowment Fund, accession no. 2008.23.1 for a closely related pair of limestone lions. While the Han dynasty tradition of placing pairs of lions at tomb sites had largely fallen out of practice during the Northern Qi period, it was revived under the Tang. The lion is not indigenous to China, but with the importation of Buddhism from India along the Silk Road, Chinese artisans adopted the Indian practice of using the lion to symbolize the Buddha Sakyamuni. In addition, the inherent power and strength of the lion led to it being featured as a symbolic protector of the Buddhist sacred law and pairs of guardian lions were used to flank entrances to cave temples, Buddhist altars, and thrones as well as tomb doorways. Large stone lions can be seen at the Imperial Tang tombs; for instance, a similarly rendered standing lion with protruding ribs from Emperor Taizong’s tomb is now housed in the Shaanxi Provincial Museum in Xi’an. In pre-Tang China most sculpted lions were highly stylised, static, housecat-like characterisations of the ‘king of beasts’. Court records show however that in 635 AD the Chinese emperor was presented a real lion as a tribute gift from Samarkand. Direct observation of an actual lion by artists dramatically changed their sculptural representations to the more realistic, animated, and powerful creatures as depicted here.

唐或更晚石雕坐獅一對來源：英國埃塞克斯郡濱海韋斯特克里夫私人舊藏。

A PAIR OF SMALL CREAMY-WHITE JADE AND ZITAN TABLE SCREENS

18TH CENTURY

The oval jade plaques carved with three gourds amidst trailing vines and butterflies, each mounted within a zitan frame carved with openwork scrolls on a conforming reticulated base, one with a paper label for ‘Spink & Son Ltd Est.1666’, the plaques 10.5cm, overall 21.5cm. (4)

£2,000-3,000

Provenance: from an English private collection, Sussex. 十八世紀紫檀嵌白玉瓜蝶紋插屏來源：英國薩克塞斯郡私人收藏（附標籤）。

A GOLD FILIGREE-MOUNTED BLUE GLASS ROSEWATER SPRINKLER, GULABPASH FOR THE OTTOMAN MARKET, 18TH CENTURY

The body raised on a splayed foot, surmounted by a double-gourd shaped knop with a slender tapering neck, enclosed by gold filigree with intricate foliate designs, 411g overall, 24.4cm.

£3,500-4,500

From the early 17th century long-necked bottles for sprinkling rosewater were crafted from gold, silver, and glass. These bottles originated in Persia and became highly popular in India, where they were used in court rituals, especially to welcome guests. The floral designs on these bottles reflect the influence of European botanical prints that were circulating during that period.

十八世紀藍料套金纍絲甘露瓶

A CHINESE FAMILLE ROSE ‘ZHONG KUI’ TABLE SCREEN LATE QING DYNASTY/REPUBLIC PERIOD

Set with a porcelain plaque painted with the fierce-looking Daoist demon-queller besides a squatting figure beneath a bat in flight, mounted within a hardwood frame decorated with scrolls, 31.2cm x 21.5cm (the plaque), 66cm x 43.5cm overall. (2)

£2,000-3,000

清晚期/民國硬木嵌粉彩鍾馗馴鬼圖瓷板插屏

A GEORGE III ANGLO-CHINESE PADOUK SETTEE

C.1780

The shaped toprail above solid vasiform splats, with shepherd’s crook arms and a cane seat above a plain apron, on cabriole legs carved with shells and terminating in pad feet joined by stretchers, 106cm high x 160cm x 70cm.

£3,000-5,000

Provenance: formerly Martyn Gregory Gallery, London.

Cf. David S Howard, A Tale of Three Cities, p.173, no. 225 for a related four seat red lacquered settee dated c.1720.

清喬治三世風格花梨木靠背獸足長椅 (約1780年)

來源：英國倫敦Martyn Gregory 藝廊舊藏。

λ A CHINESE HONGMU ‘OFFICIAL’S HAT’ ARMCHAIR, GUANMAOYI

19TH CENTURY

The arched crestrail supported by an S-shaped splat, the rectangular seat frame enclosing a woven mat, supported on circular legs and joined by a curved apron above stepped stretchers and a foot rest, 119cm high x 59cm x 44.5cm deep.

£800-1,200

十九世紀紅木官帽椅

50 λ A RARE CHINESE HUANGHUALI CORNER-LEG WAISTED STAND, PERHAPS AN INCENSE STAND LATE MING DYNASTY

The top with a mitre, mortise and tenon frame construction with a flush, tongue-and-grooved single board floating panel supported by two dovetailed stretchers underneath. The recessed waist and the apron made of one piece is mitred to the leg which in turn is double lock mortise and tenoned to the top and end in elegantly drawn hoof feet. The top and legs joined by giant’s arm braces (bawangcheng) underneath, 73.5cm x 67cm x 33.4cm.

£15,000-25,000

Provenance: property from the estate of Mr David Pike dec’d, London, purchased from Grace Wu Bruce Co Ltd, 10th November 1993, a copy of the original invoice is available.

Cf. G Ecke, Chinese Domestic Furniture, 1978, pl.6, for a similar square incense stand with base stretchers; Christie’s Hong Kong, 30th May 2024, lot 2915, for a slightly taller example.

This stand, with its simple and classic proportions, exemplifies the ideal aesthetic of its time. Stands of this type are characteristic of classic Ming furniture design. They were typically used to display rock sculptures, penzai (bonsai), flower vases, or incense burners, and were occasionally placed outdoors for worship.

‘Bawangcheng’ also known as the giant’s arm braces, were crafted by artisans to reinforce the table legs, ensuring they could support the weight of the tabletop. The term references the legendary 3rd century BC hero Xiang Yu, who is said to have supported the heavens with his arm.

明晚期黃花梨束腰馬蹄足霸王棖香几

來源: 英國倫敦已故David Pike 先生私人收藏，1993年11月10日購於香港嘉木堂 (附發票複印件)。

Grace Wu Bruce invoice 10th November 1993

λ AN EXCEPTIONAL

CHINESE BLACK AND GOLD LACQUER SECRETAIRE CABINET CANTON C.1840

The upper section with a swan neck pediment with carved and gilded rosettes, decorated with two four-clawed dragons. Below the pediment, the two-door cabinet is inset with two mirror glass ancestor portrait paintings of a male and female figure, the man wearing a blue surcoat with stylised dragon roundels and a kesi robe, the woman holding a ruyi-sceptre and wearing a red coat decorated with gold dragons amidst clouds, a kesi robe, a veil and an unusual Western-style scarf. The two doors opening to reveal painted landscape scenes depicting figures within pavilions, the interior with a shelf above two camphor long drawers.

The lower section with a deep secretaire drawer decorated with further figures playing weiqi and musical instruments within pavilions, above two short drawers. The interior of the secretaire with a central mirrored door flanked by pigeonholes and numerous drawers. The two long drawers below with cast brass pull handles of rosette design and decorated with further figural scenes. The writing surface, the back of the long drawers and one short drawer with ink Chinese characters which read ‘Earth left’, ‘Earth right’, ‘Bottom’ and ‘Earth’ respectively. The writing surface also with an ink inscription to the right-hand side. The sides painted with further figures in landscapes surrounded by four-clawed dragons and the top-section mounted with stop-bail handles. The whole supported on four carved and gilded paw feet. All of the drawer locks appear to be of Chinese manufacture. 213.4cm high x 55.9cm deep (lower section); 36.8cm deep (upper section) x 122cm wide.

£30,000-50,000

* This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. KYGJPYC1 in relation to the small nine turned knobs to the inner drawers.

This cabinet shows close affinities with two black and gilt bonheur du jour, one in the collection of the Rhode Island Historical Society, accession no. 1962.3.8, illustrated by C Crossman, The Decorative Arts of The China Trade, plate 150, where he ascribes it a c.1825 date. The other example is from the collection of His Majesty, The King on loan to the Royal Pavilion, Brighton, illustrated by P Conner, The China Trade, 1600 – 1860, pl.171 where he ascribes it a 1825–1850. The decoration on the inside of the doors of the Brighton Pavilion cabinet compares well with the inside decoration of the doors of the example offered here. The Rhode Island Historical Society bonheur du jour is raised on pineapple feet which Crossman argues predate the paw feet in Chinese furniture made for export to the American market.

For another comparable see the games box on a stand from the Nordiska Museet illustrated by Jan Wirgin in Fran Kina till Europa, pl. 293 which exhibits the same paw feet and dragon decoration to the curved edge of the box, and which is ascribed a c.1840-1860 date.

Courtesy of the Rhode Island Historical Society

THORNHILL (1950-2018)

LOTS 52, 53 & 54

My brother Robert Thornhill was a connoisseur and teacher of Fine Art. He developed a keen interest in Burmese art, acquiring considerable knowledge of Burmese artists, their styles and influences, sharing with others his knowledge of this milieu. His home in Bangkok exhibited, with delight, many acquisitions he collected over several years on visits to Yangon’s art dealers in the early 2000s.

Christine Thornhill 2019

52 U SAN WIN (1905-81) VIEW OF PAGAN

A Burmese painting, oil on board, signed and dated ‘60, framed 21.8cm x 39.1cm.

£1,500-2,500

Provenance: from the collection of Robert Thornhill (d.2018).

Cf. Sotheby’s Hong Kong, 5th October 2019, lot 320 for another work by this artist.

53 U THEIN HAN (1910-86)

STILL LIFE WITH BIRDS

A Burmese painting, watercolour on paper, signed, framed and glazed, 19.5cm x 24.5cm.

£500-800

Provenance: from the collection of Robert Thornhill (d.2018), believed to have been acquired from U Tin Win, Beikthano Gallery, Scotts Market, Rangoon c.2007.

Cf. Andrew Ranard, Burmese Painting, A Linear and Lateral History, p.159, for a further work by this artist.

Φ SIR GERALD FESTUS KELLY RHA PRA (1879-1972)

NEAC THUT I AT THE DANCING HALL IN THE PALACE AT PHNOM PENH

Oil on board, signed, inscribed and dated 23rd February 1937 verso, framed, 30cm x 41cm.

£1,500-2,500

Provenance: from the collection of Robert Thornhill (d.2018) acquired from Adams, Dublin, 30th May 2007, lot 60, a copy of the invoice is available.

55 A SMALL TIBETAN GILT-BRONZE FIGURE OF BUDDHA

16TH/17TH CENTURY

Seated in dhyanasana on a lotus throne, with his right hand in bhumisparsa mudra, dressed in a draped sanghati, his hair in tight curls rising to a ushnisha, 375g, 11cm.

£1,000-2,000

Provenance: from an English private collection, London, acquired prior to 2000, by repute purchased Phillips London, 18th March 1982.

十六/十七世紀銅鎏金釋迦牟尼佛坐像來源：英國倫敦私人收藏，於1982年3月18日購於倫敦富藝斯（傳）。

56 A LADAKH GILT-BRONZE FIGURE OF SHADAKSHARI AVALOKITESVARA 15TH/16TH CENTURY

Seated in dhyanasana on a lotus throne, his primary hands folded before the chest in namaskara mudra, his upper hands in shuni mudra, dressed in a tight dhoti, adorned with elaborate jewellery and a foliate tiara, the base plate with a visvavajra, 1.1kg, 25cm.

£800-1,200

Provenance: from an English private collection, London, acquired prior to 2000, by repute acquired in London on 7th November 1972.

Cf. Sotheby’s New York, 21st September, 1995, lot 160 for a related bronze figure.

十五/十六世紀拉達克銅鎏金四臂觀音像來源：英國倫敦私人收藏，於1972年11月7日購於倫敦（傳）。

57 A TIBETAN GILT-COPPER FIGURE OF BUDDHA 16TH/17TH CENTURY

Seated in dhyanasana on a plinth, with his right hand in bhumisparsa mudra, dressed in a sanghati with floral borders, his hair in tight curls rising to a ushnisha, 877g, 18cm.

£1,500-2,500

Provenance: from an English private collection, London, acquired prior to 2000, and thence by descent.

十六/十七世紀銅鎏金釋迦牟尼佛坐像來源：英國倫敦私人收藏，購於2000年前，之後由其後人繼承。

58 A NEPALESE PARCEL-GILT AND SILVER-INLAID COPPER FIGURE OF PADMAPANI 16TH CENTURY

The Lord of Infinite Compassion seated in virasana on a lotus base, his right hand stretched downwards in varada mudra, his left hand in shuni mudra holding a lotus stem, dressed in a sanghati inlaid with silver and incised with foliate scrolls, his hair held in place with a three-leaf crown incorporating a small figure of Buddha, all framed by a flaming mandorla set behind him, the base plate finely incised with a visvavajra, 2.1kg, 24.3cm.

£4,000-6,000

Provenance: from an English private collection, acquired prior to 2000, by repute acquired from Christie’s London 12th April 1988, and thence by descent. 十六世紀尼泊爾銅局部鎏金錯銀蓮華手觀音坐像

來源：英國倫敦私人收藏，1988年4月12

日購於倫敦佳士得(傳)，之後由其後人繼承。

59 A CHINESE GILT-BRONZE FIGURE OF AMITAYUS 19TH CENTURY

The deity seated in dhyanasana on a double-lotus pedestal with his hands held in dhyana mudra, with a tranquil expression and downcast eyes, wearing elaborate beaded jewellery and headdress, the baseplate with a double vajra, 365g, 11cm.

£1,000-2,000

Provenance: from a European private collection, acquired in London during the 1990s.

十九世紀銅鎏金無量壽佛坐像

來源：歐洲私人收藏，購於1990年代。

60 A TIBETAN GILT-BRONZE FIGURE OF KUBERA 18TH/19TH CENTURY

Seated in lalitasana upon a Buddhist lion with his right hand in karana mudra, his left hand holding a nakula on his lap, adorned with beaded necklaces and an elaborate tiara, the base with a visvavajra, 620g, 11.8cm.

£3,000-5,000

十八/十九世紀銅鎏金財寶天王俱毗羅像

61 A CHINESE GILT-BRONZE FIGURE OF LONGNÜ LATE MING DYNASTY

The acolyte of Guanyin depicted standing with her hands draped with a cloth and holding an offering dish containing a flaming pearl, dressed in robes with voluminous sleeves with floral borders, with a wood stand, 975g, 19.6cm. (2)

£2,000-3,000

明晚期銅鎏金龍女立像

62 A GOOD CHINESE SOAPSTONE FIGURE OF VAJRAPUTRA

EARLY 18TH CENTURY

The luohan carved sitting with his left knee raised holding a Buddhist lion, which clambers up his knee to pull playfully on one of his pendulous earrings, his face with a humorous expression and well-delineated features, his loose flowing robes open at the chest and incised with two cranes, ruyi-shaped clouds and with floral borders to the hems, all with traces of polychromy and gilding, on a black soapstone quatrefoil base incised with diaper and foliate scrolls, with a paper label for John Sparks Ltd, 11.8cm.

£8,000-12,000

Provenance: purchased from John Sparks Ltd, London, 10th June 1970, a copy of the receipt is available. Vajraputra, literally translating to ‘man of cats’, is known as xiaoshi luohan or the laughing lion luohan, and represents playfulness and freedom from inhibition He is one of the eighteen luohans, the original disciples of Buddha, who followed the Noble Eightfold Path to attain the four stages of enlightenment and reach the state of Nirvana. They were commanded to await the coming of the future Buddha, Maitreya, acting as guardians of the Buddhist faith. According to legend, prior to converting to Buddhism Vajraputra was a lion hunter. However, after attaining enlightenment he was approached by a playful lion who recognised that he was no longer a threat and showed gratitude for his reformation. As such, he is often depicted together with a Buddhist lion demonstrated in the example offered here. For a similar eighteenth-century soapstone figure of Vajraputra with a Buddhist lion, see Bonhams New Bond Street, 12 May 2016, Lot 115.

十八世紀早期壽山石獅吼羅漢像來源：1970年6月10日購於倫敦 John Sparks 古董店（附發票複印件）。

John Sparks invoice 10th June 1970

63 A CHINESE BRONZE ARCHAIC TRIPOD RITUAL FOOD VESSEL AND COVER, DING HAN DYNASTY

The circular body raised on three cabriole legs and flanked by a pair of upright loop side-handles, decorated with kui-dragon friezes above a band of lappets and centred with a rope twist, the domed cover with three small rope-twist ring handles and further kui-dragon friezes with a yin-yang type symbol to the centre, the surface a deep olive brown with large areas of malachite encrustation, 1kg, 14.8cm. (2)

£3,000-5,000

Provenance: from the collection of Dame Marie Tempest (1864-1942), and thence by descent. Dame Marie Tempest (née Marie Susan Etherington) was an English actress sometimes referred to as ‘the Queen of her profession’. Tempest’s career spanned over five decades, making her stage debut in 1885 in the operetta Boccaccio at the Comedy Theatre. The title role in Dorothy (1887), running for 931 performances, established her career and reputation. In 1914 she undertook an eight-year worldwide tour, visiting America, Canada, Australia, New Zealand, South Africa, India, Singapore, Japan, the Philippines and China, where she may have acquired this piece. In 1935 she celebrated her golden jubilee with a performance attended by George V and Queen Mary, and two years later, she was made a Dame of the Order of the British Empire (DBE).

漢青銅仿古夔龍紋雙耳三足蓋鼎

來源：英國Marie Tempest 女爵士 (1864-1942) 的收藏，之後由其後人繼承。Tempest 女爵士 (別名 Marie Susan Etherington) 是一位英國著名女演員及女高音，她的職業生涯跨越了半世紀。

Dame Marie Tempest (1864-1942)

A FINE AND RARE CHINESE TWO-COLOUR JADE CARVING OF A BOY AND LOTUS GROUP

QIANLONG 1736-95

The boy finely carved in white jade kneeling on a large lotus seed pod, holding an armillary sphere or bowl from which a coin rises supported by swirling clouds, the coin is incised with a yin-yang symbol and shows a touch of brown skin to the top, the large and two smaller lotus leaves are carved from brown jade which contrasts both the boy and white stem to the underside of the lotus seed pod, with a wood stand, 16.5cm. (2)

£30,000-50,000

Provenance: property of a Lady, purchased from John Sparks, 19th January 1955, a copy of the invoice is available.

It is possible that the item offered here depicts Nezha, a Chinese deity of protection, also known as the ‘Marshal of the Central Altar’ and the ‘Third Lotus Prince’. Nezha is often depicted as a young boy standing or sitting on a lotus leaf, with a golden bracelet (known as the Qiankun Circle or Universe Ring), and holding a sphere or a hoop-like weapon. His birth was miraculous, with his mother Lady Yin carrying him for three and half years after which time Nezha emerged as a ball of flesh. One of the most famous stories about Nezha recounts his battle with the Dragon King. After accidentally killing the third son of the Dragon King of the East Sea, Nezha sacrifices himself to protect his family from the Dragon King’s wrath. However, he is later resurrected by the Daoist Immortal Taiyi Zhenren using lotus flowers which have become a symbol of his rebirth.

清乾隆青灰玉巧色玉雕蓮托哪吒擺件

來源：女士收藏，1955 年1月19日購於從 John Sparks（附發票複印件）。

John Sparks invoice 19th January 1955

65 A GOOD CHINESE PALE CELADON JADE PEACH-SHAPED BRUSHWASHER QIANLONG 1736-95

Finely carved with loose ring side handles surmounted by bats which peer over the rim, the rounded body carved with a wide archaistic band of taotie masks, raised on four tapering feet, the pale celadon stone with darker striations and russet inclusions, together with a cruciform wood stand, 18cm. (2) £15,000-25,000

Provenance: property of a Lady, purchased from Mallett and Son Ltd, 22nd July 1952, a copy of the invoice is available.

Jade peach and bat washers are rare. Peaches are usually associated with longevity, representing the wish for a long life. For bats, the Chinese character itself shares a similar sound as the words for ‘fortune’ and ‘prosperity’, which often related to the blessing for having a joyful and wealthy life. One washer in the Palace Museum, Beijing, of a related form is illustrated in the Compendium of Collections in the Palace Museum, vol.10, no.193. See also Christie’s London, 11th November 2003, lot 54 for another similar example. A further jade washer carved in a peach shape along with two bats is in the Alan and Simone Hartman collection, illustrated in Chinese Jades from the Collection of Alan and Simone Hartman, pl.107. 清乾隆青白玉饕餮紋雙蝠耳銜活環桃形洗

來源：女士收藏，1952 年7月22日購於從 Mallett and Son Ltd（附發票複印件）。

Mallett & Son invoice 22nd July 1952

A FINE CHINESE RETICULATED PALE GREENISH-WHITE AND SPINACH-GREEN JADE ‘IMMORTALS’ INCENSE HOLDER

QIANLONG 1736-95

The cylindrical body intricately carved and pierced with a continuous scene of Immortals amongst pine and wutong in a mountainous landscape beside a pavilion, the ends applied with a spinach-green jade base and cover heightened in gilt, carved with bands of key fret, the cover with a central shou character encircled by five bats, 24cm. (2)

£25,000-35,000

Provenance: from an English private collection, Shropshire, acquired in the 1970s.

Cf. The Compendium of Collections in the Palace Museum, Jade, vol.8, p.239, no.198, p.242, no.201 and p.243, no.202 for comparable pairs of incense holders in pale celadon jade; also fefer to The Complete Collection of Treasures of the Palace Museum, Jadeware (III), pp.46-49, nos.36-38 for single cylindrical perfumiers with similar decoration; see also R Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, p.118, no.98 for a related example; see also Asian Art I, 17th November 2010, lot 335 for a comparable incense holder with spinach-green jade fittings previously sold in these rooms.

This type of incense holder is also known as a perfumier. The incense is placed inside the perfumier and the smoke emerges through the holes. Perfumiers were popular in the Ming and Qing dynasties, when they were usually made of carved bamboo. They were sought after by the literati class who liked to place them on their desks. Incense holders made of more expensive materials such as jade were usually created for the Imperial Palace.

清乾隆青白玉鏤雕仙人庭園娛遊圖香筒來源：英國什羅普郡私人收藏，購於 1970 年代。

Another view

67 A LARGE CHINESE PALE CREAMY CELADON JADE ‘PERSIMMON, LILY AND LINGZHI’ BRUSHWASHER 17TH/EARLY 18TH CENTURY

The vessel carved and pierced in deep relief to form a large five-petalled lily bloom borne from a leafy gnarled branch which issues a further lily bud, intertwined with fruiting branches of persimmon and three lingzhi which form the base, 27cm.

£20,000-30,000

Provenance: from an English private collection, Shropshire, acquired in the 1970s. Cf. TT Bartholomew, Hidden Meanings in Chinese Art, p.261 for a discussion of the use of persimmon, lily and lingzhi to form the rebus baishi ruyi (may one hundred things be as you wish). See the Victoria and Albert Museum, accession no.1529&A-1882, illustrated by Ming Wilson in Chinese Jades, p.55, pl.56, for a related 18th century vase of a comparable size. Refer also to Spink & Son Ltd, An Exhibition of Fine Jade, p.14, no.47 for a smaller related 17th century example.

十七/十八世紀早期青白玉百事如意紋洗來源：英國什羅普郡私人收藏，購於 1970 年代。

† A CHINESE CELADON JADE CARVING OF A RECUMBENT BUFFALO

18TH CENTURY

Naturalistically carved depicting the animal resting with its legs tucked under the body, the head turned to the right, with curved horns, the tail sweeping over its haunches, the green stone with white inclusions and a mottled brown skin on the underside, with a fitted wood stand carved with pine, bamboo leaves and lingzhi, 18.5cm. (2)

£8,000-12,000

The water buffalo is the traditional symbol of Spring, strength and tranquillity. Its bucolic aspect evokes the simple and true life in the countryside, and as the reputed mount of the philosopher Laozi, the buffalo has strong Daoist connotations. An important animal in all rice cultivation societies, we find buffaloes depicted in art dating back thousands of years. The Chinese practice of lining the shores of lakes and rivers with bronze buffaloes dates from the Tang dynasty. It is based on the belief that Da Yu, the legendary emperor who is credited with founding the Xia dynasty, (circa 2100 – 1600 BC) and controlled China’s floodwaters, used to place iron buffaloes beside each of his projects. The most famous is the bronze example overlooking Lake Kunming in Beijing’s Summer Palace, which was cast and then personally dedicated by the Emperor Qianlong in 1755.

十八世紀碧玉卧牛擺件

A CHINESE PALE CELADON JADE FIGURE OF MAGU QING DYNASTY OR LATER

The elegant Daoist Goddess holding a leafy branch of peaches over her right shoulder, dressed in voluminous robes with downcast eyes and her hair arranged in a high chignon, accompanied by a deer, 10.8cm.

£2,000-3,000

清或更晚青白玉麻姑獻壽立像

A CHINESE JADEITE CARVING OF A MYTHICAL BEAST QING DYNASTY

The recumbent horned creature with its head turned back and a sprig of lingzhi in its mouth growing around its body, with well-detailed facial features, spine and hair, the green stone with areas of apple green and russet inclusions, 7.5cm.

£1,500-2,500

清翠玉瑞獸銜靈芝把件

A

PRIVATE COLLECTION OF JADE CARVINGS FROM SOUTH YORKSHIRE

LOTS 71-86

A LARGE CHINESE CELADON AND RUSSET JADE ‘DRAGON’ FINIAL 17TH CENTURY

Carved in relief with a single dragon rising from cloud scrolls, the interior hollowed as a cylinder, raised on a silk stand, with a paper label for ‘Ashkenazie & Co Collection’, 7.5cm. (2)

£2,500-3,500

Provenance: from an English private collection, purchased from CG Knapton Ltd, 20th March 2017, a copy of the invoice is available.

Cf. Marchant, Chinese Jades from Han to Qing, 2005, p.31, no.22 for a related cloud and dragon finial.

十七世紀青褐玉雲龍紋爐頂

來源：英國私人收藏，2017年3月20日購於倫敦 CG Knapton Ltd（附發票複印件）。

A CHINESE SPINACH-GREEN JADE BELT BUCKLE

QIANLONG 1736-95

Carved in relief to one side with gourd vines, one half of the buckle terminating in a dragon-head hook, the other with an oval aperture, each with a circular panel for attachment, the mottled green stone with dark specks, 10.6cm. (2)

£1,500-2,500

Provenance: from an English private collection, purchased from Robert Kleiner on 20th March 2002, a copy of the invoice is available.

清乾隆碧玉花果龍紋帶鉤

來源：英國私人收藏，於2002年3月20日購於倫敦Robert Kleiner（附發票複印件）。

A CHINESE CELADON AND RUSSET JADE CARVING OF TWO RAMS MING DYNASTY

Depicting a recumbent ram accompanied by a lamb clambering on his back, holding a lingzhi sprig in his mouth, the yellowish-green stone with russet skin and minor dark brown markings, 7.3cm.

£1,000-2,000

Provenance: from an English private collection, purchased from CG Knapton Ltd. in March 2014, a copy of the invoice is available.

明青白玉雙羊銜靈芝把件

來源：英國私人收藏，2014年3月購於倫敦CG Knapton Ltd.（附發票複印件）。

74 A CHINESE BLACK JADE CARVING OF A HORSE MING DYNASTY

The recumbent horse looking over its back, finely incised with hair on its mane and tail, the dark stone with areas of beige and grey, 7cm.

£1,500-2,500

Provenance: from an English private collection; purchased from Knapton Rasti Asian Art Ltd. on 9th February 2006, a copy of the invoice is available.

明黑玉卧馬把件

來源：英國私人收藏，2006年2月9日購於倫敦Knapton Rasti Asian Art Ltd.（附發票複印件）。

A CHINESE CELADON AND RUSSET JADE CARVING OF A MYTHICAL BEAST

MING DYNASTY

The single-horned beast depicted in a crouched position, with its head turned to dexter, its mane and bushy tail incised with fine hairs, the pale green stone with reddish brown and paler inclusions, 4.2cm.

£1,500-2,500

Provenance: from an English private collection, by repute purchased from Robert Kleiner in the 1990s.

明青白玉瑞獸把件

來源：英國私人收藏，於1990年代購於倫敦Robert Kleiner（傳）。

A CHINESE MOTTLED CELADON AND BLACK JADE CARVING OF A BUDDHIST LION

QING DYNASTY

The mythical beast depicted reclining, its face worked with bulging eyes and bared teeth, its mane and bushy tail incised with fine hairs, the dark stone with pale green and brown patches, 7cm.

£1,000-2,000

Provenance: from an English private collection, by repute purchased from CG Knapton Ltd.

清青褐玉卧獅把件

來源：英國私人收藏，購於倫敦CG Knapton Ltd.（傳）。

A CHINESE CELADON AND BROWN JADE CARVING OF A BUDDHIST LION

QING DYNASTY

The beast depicted lying down with its front paws holding a bead, its head turned to the right, the stone with brown striations and areas of black, 5.8cm.

£1,000-2,000

Provenance: from an English private collection; purchased from the London trade between the 1990s and 2000s.

清褐玉瑞獅把件

來源：英國私人收藏，於1990至2000年代購於倫敦古董商。

A CHINESE CELADON JADE CARVING OF A HORSE QING DYNASTY

The recumbent animal facing forward with its legs neatly tucked under the body, its mane and tail finely incised, the pale stone with opaque and paler inclusions, 7.4cm.

£500-800

Provenance: from an English private collection; purchased from the London trade between the 1990s and 2000s.

清青白玉卧馬把件

來源：英國私人收藏，於1990至2000年代購於倫敦古董商。

A CHINESE CREAMY WHITE AND GREY JADE CARVING OF A RECUMBENT GOAT 17TH CENTURY

The bearded animal sits with his head turned to dexter, and his legs folded beneath the body, the opaque stone with grey inclusions and russet veins, 6cm.

£2,000-3,000

Provenance: formerly from a German private collection, purchased in Berlin from Ernest Fritzsche; later an English private collection, purchased from Knapton Rasti Asian Art Ltd. on 4th November 2011, a copy of the invoice is available.

十七世紀灰白玉卧羊把件

來源：德國私人舊藏，購於柏林Ernest Fritzsche，其後成為英國私人收藏，2011年11月4日購於倫敦Knapton Rasti Asian Art Ltd.（附發票複印件）。

80 A CHINESE CELADON AND RUSSET JADE CARVING OF A BIXIE PROBABLY SONG/YUAN DYNASTY

The recumbent mythical creature finely carved with her head turned over her left shoulder, and her tail extending from a ridged spine and swished over her left haunch, 5cm.

£2,000-3,000

Provenance: from an English private collection; purchased from the London trade from the 1990s to 2000s.

宋/元 (可能) 青白玉辟邪把件

來源：英國私人收藏，於1990至2000年代購於倫敦古董商。

A CHINESE WHITE JADE CARVING OF A BUDDHIST LION QING DYNASTY

The beast depicted playing with a ball between his paws, with ribbons held in his mouth, the spine, mane, bushy tail and facial features finely detailed, the stone of an even pale tone with minor brown markings, 4.8cm.

£800-1,200

Provenance: from an English private collection; purchased from the London trade between the 1990s and 2000s.

清白玉瑞獅戲球把件來源：英國私人收藏，於1990至2000年代購於倫敦古董商。

82 A CHINESE WHITE AND RUSSET JADE CARVING OF TWO BUDDHIST LION CUBS QING DYNASTY

The animals recline together gazing back at each other, with finely incised hair to their manes and curled tails, the pale stone with areas of opaque russet and brown inclusions, 4.8cm.

£800-1,200

Provenance: from an English private collection; purchased from the London trade between the 1990s and 2000s.

清白玉帶皮雙獅佩來源：英國私人收藏，於1990至2000年代購於倫敦古董商。

83 A CHINESE PALE CELADON JADE ‘TWIN CATS’ GROUP QING DYNASTY

Carved as a cat and a kitten resting on a large banana leaf fan, the stone of an even pale tone, 5cm.

£500-1,000

Provenance: from an English private collection; by repute purchased from Robert Kleiner between the 1990s and 2000s.

清青白玉雙貓戲逐佩來源：英國私人收藏，於1990至2000年代購於倫敦Robert Kleiner （傳）。

A CHINESE PALE CELADON JADE CARVING OF A MYTHICAL BEAST AND BIRD QING DYNASTY

Carved and pierced as a horned beast resting beside a small bird, the beast holds a large lingzhi spray in its mouth, detailed with raised eyebrows above bulging eyes, a finely incised mane and a ridged spine terminating with a bushy tail, the translucent stone of an even pale tone, 7.7cm.

£800-1,200

Provenance: from an English private collection, by repute purchased from Robert Kleiner between the 1990s and 2000s.

清白玉瑞獅銜靈芝把件

來源：英國私人收藏，於1990至2000年代購於倫敦Robert Kleiner （傳）。

A CHINESE YELLOWISH AND BROWN JADE CARVING OF A DUCK MING DYNASTY

Carved sitting with its head turned back over its body holding a sprig of millet in its beak, the stone of creamy light brown colour with dark brown markings and veins, 5.7cm.

£1,000-2,000

Provenance: from an English private collection, purchased from CG Knapton Ltd., on 14th November 2017, a copy of the invoice is available.

明黃褐玉寶鴨銜穗把件

來源：英國私人收藏，2017年11月14日購於倫敦CG Knapton Ltd. （附發票複印件）。

86 A CHINESE CELADON JADE ‘CHILONG’ BI DISC QING DYNASTY

One side carved in relief with a sinuous dragon clambering around the central aperture facing a smaller dragon, the reverse incised with stylised scrolls, the pale green stone with russet specks and markings, 8.3cm.

£800-1,200

Provenance: from an English private collection, purchased from CG Knapton Ltd. on 18th October 2013, a copy of the invoice is available.

清青白玉雙螭龍紋壁來源：英國私人收藏，2013年10月18日購於倫敦CG Knapton Ltd. （附發票複印件）。

87 A GOOD CHINESE BLANC DE CHINE FIGURE OF GUANYIN 17TH CENTURY

The Goddess sitting wearing a voluminous robe from which her right foot protrudes, the robe opening at the neck to reveal a beaded lotus flower necklace, her right hand resting on her raised right knee, the left holding a scroll and supported on a beast-mask fronted arm rest, her head turned slightly to the left with a serene expression and an urna mark, her chignon held in place by a ruyi-form hair pin, the reverse with an impressed seal mark reading bo ji yu ren, 24cm.

£4,000-6,000

Provenance: from a large European private collection of Dehua porcelain acquired from PJ Donnelly by the vendor’s father who was a friend, and thence by descent. PJ Donnelly was a major collector of Blanc de Chine and published his important work Blanc de Chine: the porcelain of Têhua in Fukien in 1969, which was the most exhaustive study of the subject at the time.

Cf. John Ayers, Blanc de Chine: Divine Images in Porcelain, p.83 for a similar 17th century example. The characters bo ji yu ren can be translated as ‘virtue extends to all, even fishermen’. Guanyin, the Goddess of Mercy, has long been attributed as the protector of fishermen and is often shown holding a basket of fish. In Chinese culture it is said that fishermen would pray to her to ensure safe voyages across the South China Sea. This attribution originates from a folk legend describing how Guanyin, incarnated as a beautiful fisherwoman, converted an entire village of unruly fishermen to Buddhism. She promised that she would marry anyone in the village who could recite three Buddhist Sutras. Eventually a man named Ma Lang succeeded in memorising all the sutras, but on the night of their wedding the beautiful woman died. After much time had passed the villagers returned to the grave to move the body, here they found that her bones were linked with gold chains signalling her divinity.

十七世紀德化白瓷觀音坐像

《博及漁人》款

來源：歐洲德化瓷器私人收藏，由藏家父親從好友PJ Donnelly 購得，之後由其後人繼承。PJ Donnelly是德化白瓷的重要的收藏

家，並於1969年出版了他的重要著作《中國白瓷：福建德化的瓷器》，是當時對德化白瓷最詳盡的學術研究。

A GOOD CHINESE BLANC DE CHINE FIGURE OF GUANYIN 17TH CENTURY

The Goddess sitting with her right knee raised exposing her right foot, wearing long flowing robes which enfold her hands and open at the neck to reveal a ruyi-head necklace, her hair neatly arranged beneath a cowl, her face with a serene expression and an urna mark on her forehead, 20.5cm.

£4,000-6,000

Cf. Marchant, Blanc de Chine, p.12, no.3 for a closely related figure of Guanyin dated 1610-1640 but with an impressed seal mark for He Chaozong Yin. Another similar figure is illustrated by John Ayers in Blanc de Chine, Divine Images in Porcelain, p.83, no.34.

The Chinese word Guan means ‘to see’ and Yin means ‘sound’, so together the two words translate to ‘she who always sees and pays attention to listening’. 十七世紀德化白瓷觀音坐像來源：歐洲德化瓷器私人收藏，由藏家父親從好友PJ Donnelly 購得，之後由其後人繼承。PJ Donnelly是德化白瓷的重要的收藏家，並於1969年出版了他的重要著作《中國白瓷：福建德化的瓷器》，是當時對德化白瓷最詳盡的學術研究。

89 A CHINESE BLANC DE CHINE ‘WENCHANG’ FIGURE GROUP 17TH CENTURY

Wenchang, the Daoist God of Literature, wearing flowing scholar’s robes and an official’s hat from which two ribbons issue, flanked by his acolytes Kuixing, the God of Four Stars, and Zhuyi, the distributor of examination results, standing above Baite, Wenchang’s recumbent horse, tacked with a bridle and saddle and accompanied by two attendants, all on a two-tiered rockwork base, 19cm.

£2,000-3,000

Provenance: from a large European private collection of Dehua porcelain acquired from PJ Donnelly by the vendor’s father who was a friend, and thence by descent.

十七世紀德化白瓷文昌帝君坐像

來源：歐洲德化瓷器私人收藏，由藏家父親從好友PJ Donnelly 購得，之後由其後人繼承。

90 A CHINESE BLANC DE CHINE FIGURE OF GUANYIN 18TH/19TH CENTURY

The Goddess seated on a rockwork base with three scrolls, wearing a voluminous robe from which her left foot protrudes, the robe opening at the neck to reveal a beaded necklace, her right hand resting on her raised right knee, her head turned slightly to the left with a serene expression and an urna mark, her chignon held in place by a ruyi-form hair pin with two knotted locks flowing over her shoulders, the reverse impressed with two seal marks reading He Chaozhong, one in a double gourd, the other within a square, 14cm.

£1,000-2,000

Provenance: from a large European private collection of Dehua porcelain acquired from PJ Donnelly by the vendor’s father who was a friend, and thence by descent.

十八/十九世紀德化白瓷觀音坐像《何朝宗》款

來源：歐洲德化瓷器私人收藏，由藏家父親從好友PJ Donnelly 購得，之後由其後人繼承。

91 A SMALL CHINESE RU-TYPE DISH PROBABLY QING DYNASTY

The shallow rounded sides raised on a short straight foot, covered overall with an unctuous milky-blue glaze, together with a wood stand, 11.4cm. (2)

£500-1,000

清(可能) 仿汝釉小盤

A CHINESE LONGQUAN CELADON DISH MING DYNASTY

With a barbed rim, moulded with flowers to the centre encircled by a band of flutes, 32cm.

£1,000-2,000

Provenance: purchased by the owner’s grandfather, Magnus Ernest Lennie (1873-1912) at Sotheby’s, c.1914-20.

明龍泉青釉花卉紋菱口折沿盤

來源：Magnus Ernest Lennie (1873-1912) 收藏，在大約1914-20年購於蘇富比。

A CHINESE JUN YAO U-SHAPED BOWL SONG DYNASTY OR LATER

The deep-sided body rising from a short straight foot, the surface covered with a pale blue glaze stopping short of the foot, 11.3cm.

£1,000-2,000

宋或更晚鈞窰天藍釉墩式碗

A CHINESE LONGQUAN CELADON DISH MING DYNASTY

Moulded with flowers to the centre encircled by a band of flutes, 36.5cm. (2)

£2,000-3,000

Provenance: purchased by the owner’s grandfather, Magnus Ernest Lennie (1873-1912) at Sotheby’s, c.1914-20.

明龍泉青釉花卉紋折沿盤

來源：Magnus Ernest Lennie (1873-1912) 收藏，在大約1914-20年購於蘇富比。

95 A CHINESE COPPER-RED GLAZED BOWL SIX-CHARACTER YONGZHENG MARK AND OF THE PERIOD 1723-35

With rounded sides resting on a countersunk foot, the exterior applied with a rich glaze, 9.6cm.

£2,000-3,000

Provenance: from an English private collection, London acquired prior to 2000, by repute acquired from H R Cooper 1st February 1978.

清雍正紅釉碗

《大清雍正年製》楷書款來源：英國倫敦私人收藏，1978年2月1日購於H R Cooper（傳）。

96 A LARGE CHINESE FLAMBE-GLAZED TRIPOD INCENSE BURNER 18TH CENTURY

With carved beast mask and paw feet, the compressed rounded body with an everted rim, the even glaze imitating Jun yao, 24.5cm.

£2,000-3,000

十八世紀窰變釉三獸足爐

AN UNUSUAL CHINESE COPPER-RED GLAZED ‘FRUITS’ BOWL

SIX-CHARACTER XUANDE MARK BUT POSSIBLY KANGXI

The rounded sides finely incised with fruiting sprays of peach, grapes, crab apple, pomegranate, persimmon and loquat, reserved in white against a copper-red ground, with a band of lappets above the short straight foot, the interior also decorated with a copper-red glaze draining from the rim, 26.6cm.

£3,000-5,000

Provenance: previously an English private collection, Shropshire.

The distinctive decoration on the present lot, with its variety of auspicious fruit, was a popular composition during the Xuande reign. Elegant floral motifs were particularly popular, characterised by a sophisticated stylisation of natural forms analysed in detail by Regina Krahl in her two articles ‘Plant Motifs of Chinese Porcelain’, Orientations: Chinese Ceramics 1982-1998, pp.138-165.

清康熙(可能) 霽紅留白暗刻花果紋碗

《大明宣德年製》仿款來源：英國什羅普郡私人舊藏。

98 A CHINESE DING-TYPE FOLIATE DISH SONG-JIN DYNASTY

Thinly potted with a flat base and shallow flared sides neatly divided into twelve petal-lobes, decorated overall with a clear glaze of a pale ivory tone, 17.6cm.

£2,000-3,000

Cf. M Tsai, Decorated Porcelains of Dingzhou: White Ding Wares from the Collection of the National Palace Museum, no.II-72, for a related Ding foliate dish incised with plantain, rocks and insects, dated Northern Song/Jin dynasty; see also Sotheby’s Hong Kong, 25th May 2022, lot 339 for a closely related Ding-type twelve-lobed dish; S Pierson, Qingbai Ware: Chinese Porcelain of the Song and Yuan Dynasties, A Barnes, ‘Catalogue Entries’, p.78, no.31, for another Qingbai glazed dish of this design.

宋至金白釉花口盤

99 A CHINESE IMPERIAL YELLOW-GLAZED BOWL SIX-CHARACTER JIAJING MARK AND OF THE PERIOD 1522-66

The body with deep rounded sides rising from a circular foot to a flared rim, covered inside and out with a rich yellow glaze, the base covered with a clear glaze, 12.3cm.

£2,000-3,000

Cf. Christie’s London, The ET Hall Collection of Chinese Monochrome Porcelains, 7th June 2004, lot 281 for a closely related but slightly smaller Jiajing mark and period yellow-glazed cup.

The rich yellow hue, seen on the bowl offered here, was a colour reserved for wares for the Imperial court. This yellow hue was produced at the Imperial kilns in Jingdezhen throughout the Ming dynasty, and was achieved by adding ferric oxide to the lead silicate base, making this glaze a direct descendant of the yellow lead glazes of the Tang dynasty. Light-coloured glazes depended on the highest level of purity of the clay and great skill from the potter, as the combination of such minimalist form and glaze in pieces like this meant that the slightest irregularity would result in their rejection.

明嘉靖御製黃釉撇口碗《大明嘉靖年製》楷書款

100

A PAIR OF CHINESE BLUE AND WHITE ‘EIGHT IMMORTALS’ BOWLS

SIX-CHARACTER GUANGXU MARKS AND OF THE PERIOD 1875-1908

With rounded sides rising from short gently tapering feet, the exteriors painted with the Ba Xian with their attributes, riding on various creatures and plants, the interiors decorated with central medallions enclosing Shoulao standing beside spotted deer beneath swirling clouds, 22.2cm. (2)

£10,000-15,000

The decoration on the present lot is derived from Kangxi period examples and later became particularly popular in the 19th century, as discussed in Christiaan JA Jörg, Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam: The Ming and Qing Dynasties, pp.132-133, nos.138-139. The scene portrays the legend of ‘The Eight Immortals Crossing the Sea,’ in which each Immortal uses their unique abilities to cross an ocean on their way to the Gathering of the Peaches of Immortality. This story inspired the Chinese proverb ‘Ba Xian guohai, gexian shentong’ symbolizing the idea that success requires everyone to contribute their part. A related Daoguang marked puce-enamelled and blue and white ‘Eight Immortals’ bowl, was sold at Sotheby’s Hong Kong, 5 April 2017, lot 3706.

清光緒青花八仙人物故事圖碗一對《大清光緒年製》楷書款

101

A CHINESE BLUE AND WHITE YEN YEN VASE KANGXI 1662-1722

The body and neck painted with a continuous watery landscape with scholars on the shoreline and fishermen on sampans, 45.8cm.

£3,000-5,000

Provenance: from an English private collection, acquired in the 1930s.

清康熙青花山水人物圖鳳尾尊

來源：英國私人收藏，購於1930 年代。

102

A CHINESE BLUE AND WHITE ‘PEONY AND PRUNUS’ ROULEAU VASE KANGXI 1662-1722

The body decorated with flowering peony and prunus issuing from holey rockwork below two birds in flight, the shoulder with a geometric border below a band of scrolling ruyi-heads to the neck and further scrolls to the rim, 47cm.

£2,000-3,000

Provenance: from an English private collection, acquired in the 1930s.

清康熙青花花卉紋棒槌瓶

來源：英國私人收藏，購於1930 年代。

103

A CHINESE BLUE AND WHITE BOTTLE VASE TRANSITIONAL PERIOD C.1640

The globular body decorated with a figural scene depicting an official with his five attendants receiving a gift from a eunuch with a further two attendants, all raised on a short straight foot, 35.2cm.

£2,000-4,000

Provenance: an English private collection, London, acquired before 1940.

明末清初青花人物故事圖瓶

來源: 英國私人收藏，購於1940年前。

104

AN UNUSUAL CHINESE FAMILLE ROSE PORCELAIN MODEL OF A GROTTO QIANLONG 1736-95

Formed as a hillside populated with pavilions and a pagoda amidst pine and other vegetation, with a small frog clambering up the side beneath the buildings, the biscuit finished with lilac, purple, turquoise, yellow, green and black enamels, 34.5cm.

£3,000-5,000

Provenance: from an English private collection, purchased in Hexham, Northumberland in the 1960s.

清乾隆粉彩仙山樓閣山子來源：英國私人收藏， 1960年代購於諾森伯蘭郡赫克瑟姆。

105

A NEAR PAIR OF LARGE CHINESE BLUE AND WHITE JARS

WANLI 1573-1620

Of ovoid form, each decorated with shaped panels enclosing flowers and rocks, reserved on a diaper ground with strapwork and floral roundels, 36.5cm. (2)

£3,000-5,000

Provenance: from an English private collection, Hertfordshire.

Cf. R Krahl and J Ayers, Chinese Ceramics in the Topkapi Saray Museum, vol. 2, p.778, no.1493 for another jar of this design.

明萬曆青花開光花卉紋罐一組兩件

來源: 英國赫特福德郡私人收藏。

106

A CHINESE BLUE AND WHITE OGEE-FORM ‘DRAGON’ BOWL SIX-CHARACTER JIAQING MARK AND OF THE PERIOD 1796-1820

The exterior painted with two scaly five-clawed dragons amidst flames and cloud scrolls between double line borders, the interior with a third dragon to the well, 17.2cm.

£3,000-5,000

清嘉慶青花趕珠龍紋束腰碗

《大清嘉慶年製》青花篆書款

107

A PAIR OF CHINESE BLUE AND WHITE MEDALLION BOWLS SIX-CHARACTER JIAQING MARKS AND OF THE PERIOD 1796-1820

Each decorated with five large leafy medallions above borders of serrated lappets, 15.3cm. (2)

£5,000-8,000

清嘉慶青花圑花紋馬蹄式碗一對

《大清嘉慶年製》篆書款

108

A SMALL CHINESE FLAMBE-GLAZED MEIPING 18TH CENTURY

The heavily potted body decorated with a rich red glaze with violet, lavender and magenta streaks, the base unglazed, 19.5cm.

£1,000-1,500

十八世紀窰變釉梅瓶

109

A MASSIVE CHINESE FAMILLE ROSE POWDER-BLUE GROUND AND GILT-DECORATED SCROLL POT JIAQING 1796-1820

Brightly painted with four quatrefoil panels enclosing bouquets of peony, chrysanthemum, hydrangea and cherry blossom, alternating with mountainous landscape scenes with figures in a pavilion and on a bridge, all reserved on a deep blue ground embellished with diaper pattern and lotus flowerheads in gilt, 44.5cm.

£3,000-5,000

Provenance: from an English private collection, Sussex.

Cf. W G Gulland, Chinese Porcelain, vol.1, pp.166 & 167, no.279 for a related example.

清嘉慶藍地描金粉彩開光山水人物花卉紋卷缸

來源：英國蘇塞克斯郡私人收藏。

Another view

110 A RARE CHINESE PALE CAFE-AU-LAIT OGEE-SHAPED BOWL SIX-CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95

The circular waisted bowl raised on a short straight foot, the exterior decorated with an even pale brown glaze complementing the white-glazed interior, the base also white with an underglaze-blue reign mark in zhuanshu script, 15.5cm.

£10,000-15,000

Provenance: formerly with Marchant, London; purchased from D & M Freedman, London, 17th February 2010, a copy of the invoice is available.

The type of glaze known as café-au-lait, or ‘milky coffee’, is technically complex to achieve and was only mastered in the Yongzheng period (1723-35). It involves the use of iron oxide in the glaze, a pigment that can yield an extraordinary variety of tones including black, green, red and yellow, depending on its concentration and the conditions in the kiln, particularly the reduction atmosphere regulating the oxidisation process during firing. The taste for the simplicity of these single-tone glazes has a long-standing history in Chinese ceramic production dating back to the Song period. It became particularly popular during the early Qing dynasty, especially during the reigns of the Emperors Yongzheng and Qianlong. The sophisticated court taste of the time valued it for the apparent simplicity of its appearance belying the virtuosity required in its production. The use of a café-au-lait glaze on ogee-shaped bowls is scarce, making the present lot a rarity. There is closely related pair from the Percival David Foundation in the British Museum, London, accession nos.PDF,A.572 and PDF,A.573. Another pair is in the Christina Loke Balsara Collection, illustrated in L Legeza’s article ‘The Grace of Eighteenth Century Chingtechen Monochromes’ in Arts of Asia, November-December 1979, pp.95-6, nos.14 and 15. A further pair and a single bowl from the Zhuyuetang Collection are illustrated in Shimmering Colours: Monochromes of the Yuan to Qing Periods, The Zhuyuetang Collection, nos.152 and 151.

清乾隆米黃釉束腰碗

《大清乾隆年製》篆書款來源：倫敦馬錢特古董店舊藏，其後於2010年2月17日購於倫敦D & M Freedman 古董店（附發票複印件）。

D & M Freedman invoice 17th February 2010

A FINE AND RARE CHINESE IMPERIAL COPPER-RED GLAZED BOWL

SIX-CHARACTER XIANFENG MARK AND OF THE PERIOD 1851-61

The slightly everted bowl raised on a gently tapering foot, covered to the exterior in a bright copper-red glaze contrasting with the white-glazed interior, the base also white with an underglaze-blue reign mark in kaishu script, together with a wood stand, 15.5cm. (2)

£8,000-12,000

Provenance: formerly the collection of Derek Bolton (of the London Stamp Exchange Limited); and then with Marchant, London; purchased from D & M Freedman, London, 1st May 2008, a copy of the invoice is available.

Imperial wares with Xianfeng reign marks are rare. The Imperial kiln was burned down in the 5th year of the reign (1855) and not rebuilt until the Tongzhi period. For several years the kilns were flooded and no production took place. For an almost identical bowl, see Sotheby’s Hong Kong, Marchant – Fifty Qing Imperial Porcelains, 10th July 2020, lot 3147 from the collection of Tang Shaoyi (1862-1938), the first Prime Minister of the Republic of China. Another was included in the exhibition Imperial Porcelain of Late Qing from the Kwan Collection, The Chinese University of Hong Kong, cat. no.89; additionally a similar example was exhibited in The Wonders of the Potter’s Palette: Qing Ceramics from the Collection of the Hong Kong Museum of Art, cat. no.109.

清咸豐御製霽紅釉碗

《大清咸豐年製》楷書款來源： Derek Bolton先生（倫敦郵票交易公司）舊藏；其後由倫敦馬錢特古董店購入；之後於2008 年 5 月 1 日購於倫敦D & M Freedman 古董店（附發票複印件）。

D & M Freedman invoice 1st May 2008

FROM THE COLLECTION OF MARK & ELIZABETH HARDING, SOUTH AFRICA

LOTS 112-121

112

A GOOD CHINESE LONGQUAN CELADON ‘PEONY’ DISH

LATE YUAN DYNASTY

With deep sides and a grooved rim, the centre decorated with an impressed design of a leafy peony spray, enclosed by a band of combed radial strokes, the cavetto freely carved with a wide band of scrolls, the base with an unglazed ring in burnt orange, 35.5cm.

£1,000-2,000

Provenance: from the Mark and Elizabeth Harding Collection, South Africa; purchased from Gallery Medici, South Africa on 14th November 1984, a copy of the invoice is available.

Cf. R Krahl and J Ayers, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol.1, p.265, nos.103 and 105 for two closely related examples of this design.

元晚期龍泉青釉牡丹紋折沿大盤

來源：南非Mark及Elizabeth Harding 收藏，1984年11月14日購於南非 Medici 藝廊 (附發票複印件)。

Gallery Medici invoice 14th November 1984

A NEAR PAIR OF CHINESE LANGYAO SLENDER BALUSTER VASES

KANGXI 1662-1722

With waisted necks and high shouldered bodies, each decorated with a rich red glaze crackled to the necks, draining from the rims, one with a paper label for Spink & Son Ltd, 39.8cm and 40.1cm. (2)

£5,000-8,000

Provenance: from the Mark and Elizabeth Harding Collection, South Africa, purchased from Spink & Son Ltd. Cf. The Complete Collection of Treasures of the Palace Museum: Monochrome Porcelain, Vol. 37, p.18, no.15 for a closely related example; see also Christie’s Paris, 10th December 2014, lot 321 for another similar vase.

清康熙郎窯紅觀音瓶一組兩件

來源：南非Mark及Elizabeth Harding 收藏，購於倫敦Spink & Son。

114

A CHINESE COPPER RED-GLAZED DISH KANGXI 1662-1722

With shallow rounded sides, the interior and exterior covered with a soft crushed-strawberry tone below a white rim, the base with a six-character Xuande mark, 16.7cm.

£1,000-2,000

Provenance: formerly the Montagu-Meyer family collection, later the Mark and Elizabeth Harding Collection, South Africa, purchased from David Porter Antiques, South Africa, 26th August 1991, a copy of invoice is available.

清康熙霽紅釉盤

《大明宣德年製》仿款

來源：Montagu-Meyer家族舊藏，南非Mark及Elizabeth Harding收

藏，1991年8月24日購於南非 David Porter古董店 (附發票複印件)。

David Porter Antiques invoice 26th August 1991

115 AN UNUSUAL JIANGYOU-GLAZED DOUBLE-GOURD WINE BOTTLE

PROBABLY EARLY 18TH CENTURY

The squat gourd-shaped body with a slightly flared cylindrical neck, the base unglazed, 15cm.

£300-500

Provenance: formerly from the Jardine Collection, later the Mark and Elizabeth Harding Collection, South Africa, purchased from David M Heller, South Africa, 16th October 1999, where it is dated as Kangxi, c.1700, a copy of the invoice is available.

Cf. For a closely related vessel, see the brown glazed double-gourd wine vessel in the collection of the Beitou Hot Spring Museum in Beitou, Taiwan.

十八世紀早期(可能) 醬釉葫蘆瓶

來源：Jardine 舊藏，南非Mark及Elizabeth Harding 收藏，1999年10月 16日購於南非藝術顧問David M Heller (附發票複印件)，當時斷代為約 1700，康熙年製。

David M Heller invoice 16th October 1999

116

A CHINESE FLAMBE-GLAZED BOTTLE VASE

QING DYNASTY

The globular body with a slightly tapering neck, covered with copper-red glaze lavender streaks, the base brown, 39cm.

£1,000-2,000

Provenance: from the Mark and Elizabeth Harding Collection, South Africa; purchased from Gallery Medici, South Africa, 4th February 1983, a copy of the receipt is available.

清窰變釉長頸瓶

來源：南非Mark及Elizabeth Harding 收藏，1983年2月4日購自南非

Medici 藝廊 (附發票複印件)。

Gallery Medici invoice 4th February 1983

117 A CHINESE COPPER-RED GLAZED LOBED GARLIC-MOUTH BOTTLE VASE

18TH CENTURY

The compressed globular body divided into six lobes, rising from a gently spreading foot to a slender neck and bulbous mouth, the rich red glaze thins to white around the inverted rim and pools in the vertical grooves, 34.8cm.

£2,000-3,000

Provenance: from the Mark and Elizabeth Harding Collection, South Africa, purchased from Bentley Antiques, Cape Town, 1st November 1989, a copy of the invoice is available.

十八世紀紅釉蒜頭瓶

來源：南非Mark及Elizabeth Harding 收藏，1989年11月1日開購於開普敦 Bentley Antiques (附發票複印件)。

Bentley Antiques invoice 1st November 1989

118 A PAIR OF CHINESE CINQUEFOIL CINNABAR LACQUER BOXES AND COVERS QIANLONG 1736-95

Carved with central panels depicting scholars and attendants in rocky landscapes, the sides carved with floral panels including peony, prunus, rose, crab apple, peach blossom and passion flower, the central panels and foot rims with key-fret borders, all reserved on diaper grounds, 11.5cm. (4)

£2,000-3,000

Provenance: from the Mark and Elizabeth Harding Collection, South Africa, purchased from Spink & Son Ltd in 1990s.

Cf. Spink, Directory 1: Chinese Works of Art, 1994 no.160 for a related larger pair of cinquefoil cinnabar lacquer boxes and covers.

清乾隆剔紅松下高士圖梅花式蓋盒

來源：南非Mark及Elizabeth Harding 收藏，1990年代購於倫敦 Spink & Son。

BCI Shipping invoice 16th October 1990

119 A PAIR OF CHINESE YELLOW BEIJING GLASS ‘CHRYSANTHEMUM’ BOWLS QING DYNASTY

Each with a short foot rising to a flared rim, moulded with overlapping chrysanthemum petals to the exteriors, the bases with a flowerhead, 7.3cm. (2)

£300-500

Provenance: from the Mark and Elizabeth Harding Collection, South Africa.

清黃料菊瓣紋撇口杯一對

來源：南非Mark及Elizabeth Harding 收藏。

120

A RARE CHINESE CLAIR DE LUNE GLAZED VASE

QIANLONG 1736-95

The body surmounted by angled shoulders and a tall neck, the shoulders decorated with twelve petal motifs, the body divided into twelve panels with vertical lines, covered overall in a pale blue glaze, a paper label for Spink & Son Ltd, 41cm.

£4,000-6,000

Provenance: formerly The Edward T Chow Collection: Ming and Qing Porcelain, Sotheby Parke Bernet, Hong Kong, 19th May 1981, lot 520, and later the Mark and Elizabeth Harding Collection, South Africa, purchased from Spink & Son Ltd.

A much smaller related vase of similar form in the Fondation Baur, Geneva, is illustrated by John Ayers, The Baur Collection, vol. 3, pl. A334; and another from the collection of the Hon. Mountstuart William Elphinstone, now part of the Sir Percival David collection in the British Museum, London, is published on the museum’s website, accession no. PDF,B.569.

清乾隆天藍釉葵瓣紋長頸瓶

來源：仇焱之舊藏，1981年5月19日曾於香港蘇富比上拍，拍品編號520; 其後為南非Mark及Elizabeth Harding 收藏，購於倫敦Spink & Son (附標籤)。

Sotheby Parke Bernet, 19th May 1981, lot 520

A RARE AND FINE CHINESE IMPERIAL FLAMBE-GLAZED BOTTLE

VASE

SIX-CHARACTER QIANLONG SEAL MARK AND OF THE PERIOD 1736-95

The globular body rising to a flared neck, covered in a rich mottled glaze of purple, crimson, blue and lavender tones, thinning at the mouth to a creamy beige, raised on a high foot, the base with a seal mark incised beneath a mottled glaze, 39.3cm.

£10,000-20,000

Provenance: from the Mark and Elizabeth Harding Collection, South Africa, purchased from Marchant, London, 1st November 1969, together with a copy of a letter from Marchant confirming payment received which is available.

A similar Qianlong vase is illustrated by R Krahl in Chinese Ceramics from the Meiyintang Collection, vol. 4 (II), no.1812, pp.366-367. Another related flambé vase from the Salting Bequest at the Victoria and Albert Museum is illustrated by R Kerr in Chinese Ceramics, Porcelain of the Qing Dynasty 1644-1911, col. pl.3, pp.20-21.

See also Bonhams, London, 6th November 2014, lot 17 for a similar vase from the Roy Davids Collection also purchased from Marchant.

The flambé glaze of the present lot is inspired by the Jun glazes of the Song dynasty, using attractively irregular bluish splashes where the copper red colour has drained away.

清乾隆窰變釉賞瓶

《大清乾隆年製》篆書款來源：南非Mark及Elizabeth Harding 收藏，1969年 11月1日購自馬錢特古董店

S Marchant & Son invoice 1st November 1969

A fine Chinese apple green jadeite ‘dragon’ belt hook Qianlong 1736-95

Provenance: A European private collection acquired from Spink

Estimate £8,000 - 12,000*

AUCTION INFORMATION

OPENING HOURS

Castle Street Salerooms

Monday to Friday 9.00am – 5.00pm

Castle Gate Offices

Monday to Friday 9.00am – 5.00pm

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. 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@woolleys.live

You will be asked to show your documents, or email copies.

PLEASE NOTE: Registering with thesaleroom.com or through our website does not automatically register you with us.

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.

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.

COMMISSION BIDDING

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

TELEPHONE BIDDING

It is usually possible to bid on the telephone by prior arrangement with the office.

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 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24% 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.

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

Kimdan Ltd

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

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

ZIXIS Fine Art Limited +44 (0)7873 981026 zixisfineart@163.com www.zixisfineart.co.uk

Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.

EXPORTING YOUR PROPERTY FROM THE UK

If you are exporting your property, import taxes, customs duties and other fees may apply at the country of destination. It is also your responsibility to ensure that your shipment can be lawfully imported to the destination country.

Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand-carried exports.

In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided.

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 and address and will require funds to be cleared before purchases can be released.

The following methods of payment may be made: Bacs, debit and credit cards.

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

Debit and Credit cards: Visa, Mastercard, Amex or Union Pay

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

We reserve the right to add storage charges to all lots 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.

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.

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 Φ 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 £1,000 and the maximum royalty payable on any single lot is £12,500.

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.

Royalties for Droit de Suite are as follows:

4% Up to £50,000

0.5%

£50,000.01 - 200,000

£200,000.01 - 350,000

£350,000.01 - 500,000

0.25% In excess of £500,000

Up to a maximum levy of £12,500

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.

營業時間：

週一至週五9:00-17:00

拍賣前預展：

本公司所有拍賣預展都會在正式拍賣的前兩天舉行，詳細資訊請查閱相關拍賣圖錄。

登記競投：

競買人應在拍賣日前於公司前臺接待處申領競投號牌。本公司現提供永久競投號牌，競買人登記後可在未來的拍賣中使用。

登記時，您需要出示身份證、護照（如果有）和地址證明（有注明住址的水電煤帳單或駕駛證），或者將以上資料以郵件的形式發送至enquiries@ woolleys.live

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：Visa, Mastercard, Amex or 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。

如果您要將拍品運出英國，請留意在目的地國家可能需要支付進口稅、關稅和其他費用，賣家需承擔確保貨物可以合法進口到目的地的責任。

注：由於英國稅務海關總署（HMRC）已撤銷零售出口法案（Retail Export Scheme），本公司將無法提供手持出口增值稅退稅文件（C88）機場退稅單。

若您慾退增值稅，您的拍品必須由貨運公司運送，並且必須由運輸公司提供有效的出口文件。

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£12,500. 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：

£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£12,500. 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

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

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

Mailboxes

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

ZIXIS Fine Art Limited +44 (0)7873 981026 zixisfineart@163.com www.zixisfineart.co.uk

若拍品已轉交運輸公司，任何丟失及損壞威立士將不承擔一切責任

**注：本須知如有任何詮釋上的問題，一概以英文版本爲準。

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：競買人需要府成交價和佣金（每件拍品的成交價低於£500,000 取26%，超過 £500,000 部分取 20%）+ 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。

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）

（b）

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。

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。

拍賣條例

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：競買人需要府成交價和佣金（每件拍品的成交價低於£500,000 取26%，超過 £500,000 部分取 20%）+ 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。

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 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24%) 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.

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 six 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.

(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.

INCREMENTS

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

THE PURCHASE PRICE

The Buyer shall pay the hammer price together with a premium thereon of 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24%) 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).

PAYMENT

(a) Immediately a lot is sold you will:

(i) give to us, if requested, proof of identity, and

(ii) pay to us the total amount due in pounds sterling

(b) 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.

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’.

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

15. FORGERIES

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

GENERAL

16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate.

(b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting.

19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue.

20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular

concession only; in all other respects these Conditions shall be construed as having full force and effect.

21. English law applies to the interpretation of these Conditions.

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

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.

(a) 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.

(b) 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.

(c) 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.

(d) 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.

(e) 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.

(f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date.

(g) After Edward Lear: In our opinion a copy of a known work of the artist.

(h) 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.

(i) 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.

(j) Dimensions are given height before width.

(k) Pictures are framed unless otherwise stated.

BOOKS AUCTIONS

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.

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.

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.

Royalties for Droit de Suite are as follows:

4% Up to £50,000

0.5%

£50,000.01 - 200,000

£200,000.01 - 350,000

£350,000.01 - 500,000

0.25% In excess of £500,000

Up to a maximum levy of £12,500

Lots marked with a Φ symbol are potentially subject to the levy.

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@woolleys.live

• 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

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.

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.

HOW LONG YOUR INFORMATION IS KEPT

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.

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

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.

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 clients’ needs.

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.

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

PROBATE VALUATIONS

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

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.

Contact Jeremy Lamond +44 (0)1722 424502 | valuations@woolleys.live

FREE AUCTION VALUATIONS

Free verbal valuations of items for sale are available by appointment. Please email valuations@woolleys.live or call +44 (0)1722 424500.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

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

Woolley & Wallis Salisbury Salerooms Ltd.

51-61 Castle Street, Salisbury, Wiltshire SP1 3SU

Registered in England No.02998482

VAT No: 631 9832 29

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

ABSENTEE BID FORM

FINE ASIAN ART

TUESDAY 12TH NOVEMBER 2024

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 26% plus VAT at 20%

Billing Name (please print)

Address

Daytime Telephone

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

中國書畫及藝術品

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：

拍品編號（按數字順序）

簡要的拍品描述競拍價格（請除去VAT 增值稅和買家保險價）

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

AUCTION CALENDAR

2024

OCTOBER

30th & 31st Fine Jewellery

NOVEMBER

12th & 13th Fine Asian Art, Japanese Works of Art & Asian Art II

27th Medals & Coins, Arms & Armour

DECEMBER

3rd & 4th British Art Pottery

5th Modern British & 20th Century Art

2025

JANUARY

15th & 16th Furniture, Works of Art & Clocks

29th & 30th Fine Jewellery

FEBRUARY

4th British and Continental Ceramics & Glass

5th Silver & Objects of Vertu

19th Arts of Africa, Oceania and the Americas

Dates may be subject to change

+44 (0)1722 424500 enquiries@woolleys.live

51-61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk

*Price includes buyer’s premium