Chiswick Auctions - Chinese Art: 100 Stories - 1 June 2021 by Chiswick Auctions

CHINESE ART : 1OO STORIES

齊仕閣

CHINESE ART : 1OO STORIES Tuesday 1 June, 10AM

Full Sale & Viewing at Chiswick Auctions 1 Colville Road, London W3 8BL Preview 27 - 31 May 27 - 28 May, 10AM - 5.30PM 29 - 31 May, 11AM - 4.30PM Buyer’s Premium

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Collection of Lots

Buyers are asked to collect thier lots on the day of the sale or between 10AM - 6PM up until close of business on Friday following the sale. Front Cover: Lot 48 First Double Page Spread: Lot 15 Last Double PAge Spread: Lot 64 Back Cover: Lot 35

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- Meet the Team -

Lazarus Halstead

Head of Department lazarus@chiswickauctions.co.uk

Marta Olszewska

Veronica Li

Specialist & Cataloguer marta@chiswickauctions.co.uk

Specialist veronica@chiswickauctions.co.uk

- Contents Introduction

Main Sale Artist's Stories of the last Century 1 The Collectors 15 Larger than Life Characters 27

Litrary Sources 12 Scholarly Parties 25

Female Experiences 34

Dreams of the Red Chamber & Romance of the Western Chamber 39 Of East and West 43 Treasure from Under the Sea 47

Calendar

Neil Tung

Photographer & Catalogue Designer neil.tung@chiswickauctions.co.uk

Terms & Conditions

- Chinese Art : Stories for our Time -

he trials and tribulations of the last year have necessitated an ever-increasing reliance on stories – the stories we tell our loved ones and ourselves to keep us going . . . of old times and future plans. But stories have always held an important place in our psyche and an artist’s role is to transport and transform, whether through conjuring up fantastical visions or by re-imagining the everyday.

All stories begin with a storyteller. Unfortunately, much of Chinese decorative art was created by anonymous artisans. However, Chinese paintings are one field where artists are part of the story of their art, and the painters who transformed Chinese traditional ink paintings in the 20th Century were both actors and creators in the dramas of 20th Century art (lots 1-14). Next, we turn to the literary sources which have inspired generations of artists. We transition into this section with two works from the bapo movement which sought to create auspicious assemblages of textual fragments, a movement which developed independently of the Merz Pictures of Kurt Schwitters (1887 – 1948). Less deconstructed sources of storytelling include the fantastical encyclopaedia of the Mountains and Seas and the Mustard Seed Garden Manual of Painting (lots 15-24). But as creators fade from memory, we are often left with the objects themselves. The stories these tell sometimes relate to the figures who have owned them and French jeweller Henri Vever, art dealer Roger Bluett and English collector Alfred Clark have all left their indelible mark on the Western collecting traditions of the 20th Century (lots 21-35). The collectors of today take on the role of heirs to the Chinese literati of the past, who would typically gather in gardens to enjoy antiques, to write poetry and exchange stories (lots 36-41).

CHINESE ART : 1OO STORIES

These were often presented on the export porcelain of the 17th and early 18th Centuries, a class of works emerged specifically inspired by Western artistic traditions, from the replication of scenes from Western stories seen in the form of engravings sent to China in the 18th Century, to works intended to spread Christian stories across China in the early 20th Century (lots 75-83). One of the most compelling stories of recent times associated with Chinese export porcelain has been one of rediscovery. The sale of the contents of four complete wrecks of cargo ships carrying Chinese porcelain from the 17th Century through to the 19th Century, beginning in 1984 with the Hatcher cargo followed by the Vung Tao, Cau Mau and Tek Sing cargos has set the imagination of collectors alight and provided important information on the dating of these pieces (lots 84-96). Every object holds a story and in many cases the value of the piece is as much in the stories it tells – the patina of its surfaces from the hands through which it has passed, its chance survival, its ability to elicit emotions, to recall or encode memories – as in the intrinsic material from which it is fashioned. It is hoped that as these 100 objects pass from their liminal status on the auction house shelves their stories will continue to be written by future collectors, dealers and story tellers. Lazarus Halstead, Head of Asian Art, Chiswick Auctions

Lazarus holding the Chinese Gilt Bronze & Cloisonné Enamel 'Lion Dogs' Buddist Longevity Vase (Lot 35)

Artists' Stories of the last Century (Lots 1 -14)

he story of how these works ending up in a UK private collection is one which elucidates some of factors that underpinned the development of Chinese ink painting across the 20th Century. Born in Guangzhou, China, Lui moved to Hong Kong in 1948. In Hong Kong he became the founder of the Hong Kong New Ink Movement which made huge innovations within the field of contemporary ink painting alongside what was happening in mainland China and Taiwan. Because of the artistic distance that developed between these three artistic centres it is only in recent years has the contribution and status of Lui been carefully re-written in the context of ink painting as a whole. During the 1960s one of the ways that his reputation was built was through an intensive progamme of international exhibition much of it arranged by Major T. Geoffrey Barker (1912-1980). This included solo exhibitions including at the Runbold Gallery and culminated in a major Loan Exhibition of Modern Chinese Painting at the Scottish National Gallery of Modern Art in 1967 co-organised by Barker and Professor Michael Sullivan (1916-2013). For more details see Huang Yingling, ‘Establishing the Reputation of Lui Shou Kwan in Britain in the 1960s’, Arts of Asia, January 2018, pp 42-49.

1▲ LU SHOUKUN (Lui Shou Kwan, 1919 - 1975). Landscape | Ink & Colour on Paper | Chinese Painting Mounted On Silk. 21.5cm x 47cm. Provenance: from the Collection of Margeret Canon (1935 - 2017). Exhibited: Watercolours by LUI SHOU KWAN, the Runbold Gallery. 25 February - 29 March 1962.

呂壽琨款識：辛丑二月。呂壽琨

藏印：「呂壽琨印」来源：瑪格麗特·坎農（1935年-2017年）收藏。展览：《呂壽琨水彩》，1962年2月25日至3月29日，Runbold 畫廊。

£1,500 - £2,000

2► LU SHOUKUN (Lui Shou Kwan, 1919 - 1975). Dawn on The Peak | Ink & Colour on Paper | Chinese Painting Mounted on Silk. 19.5cm x 16cm. Provenance: from he Collection of Margeret Canon (1935 - 2017). Exhibited: Watercolours by LUI SHOU KWAN, the Runbold Gallery, 25 February - 29 March 1962.

呂壽琨款識：辛丑二月。呂壽琨藏印：「呂壽琨印」来源：瑪格麗特·坎農（1935年-2017年）收藏。展览：《呂壽琨水彩》，1962年2月25日至3月29日，Runbold 畫廊。

£800 - £1,200

CHINESE ART : 1OO STORIES

orn in Xiamen, Fujian, Teng-Hiok Chiu moved to the USA in 1920 where he studied under Irwin D Hoffman (1901 – 1989) later studying under Philip Leslie (1865 – 1931). In 1923 Chiu moved briefly to Paris, enrolling briefly at the École des B e a u x - A r t s i n P a r i s , b e f o r e t r a n s f e r r i n g t o t h e Univer sity of London in 1924. He won a scholar ship to the R oy a l A c a d e my i n 1 9 2 6 a n d f r o m 1 9 2 9 wo r k e d w i t h Laurance Binyon at the British Museum to catalogue their Chinese painting collection. 1929 also saw his first solo exhibition at London’s Claridge Galler y which was honoured by an official appearance from Her Majesty Queen Mar y, with all the paintings sold out within a few days of the Royal visit. In 1930 he held a solo exhibition in Beijing with a fur ther e x h i b i t i o n i n S h a n g h a i i n 1 9 3 3 . I n 1 9 3 8 h e r e t u r n e d t o America holding a solo exhibition at Knoedler’s Galler y in 1942. His unusual path through East and West result in a unique style and his journey is perhaps best summed up in his own words: As I go forward I realize increasingly that it is not a matter of East or West, some day there will be Ar t from a New Wor ld Civilization, the c r e atio n o f w h i c h , as a painter, I wish to contribute to. Ar t is a univer sal language that speaks to ever y human hear t. (Extract from Teng Chiu, "A Chinese Painter's Exhibition in Europe," Monitor, (August 1928), Museum School Library, Boston.)

3▼ ZHOU TINGXU (Teng Hiok Chiu, 1903 - 1972). Low Tide | Oil on Cardboard | Framed & Glazed. 30cm x 23cm.

周廷旭《退潮》木板油畫，玻璃木框

£1,500 - £2,000

4◄ ZHOU TINGXU (Teng Hiok Chiu, 1903 - 1972). On The Sussex Down | Oil on board | Framed & Glazed | The Royal Institute of Oil painters | London Label Affixed on the Reverse. 23cm x 30cm.

周廷旭《在薩塞克斯丘陵之上》木板油畫，玻璃鏡框

£1,500 - £2,000

i Yuan-chia holds an impor tant position in the development of 20th Centur y Wor ld Ar t. Decades before the Stars movement brought contemporar y ar t to mainland China has was bringing cutting edge conceptual thoughts to the bridge Western and Eastern ar t historical tradition and contemporar y practice.

Dino Gavina

These wor ks date from a key moment in both Li Yuan-chia’s career and also in the histor y of the development of conceptual ar t. Whilst Chinese ar tists visited and studied in Europe in large number s in the ear ly 20th Centur y. They all date to the four-year period in the early 1960s which Li spent in Bologna where he sent up a studio in the factor of the internationally renowned designer Dino Gavina. Having arrived in Italy in 1962, where he met with Hsiao Chin (1935 –), joining him as a member of the Punto movement, which sought to draw on the mindful spirit of Tang and Song Buddhism, which would rescue the post-war ar t wor ld from the aimlessness and indecision that had resulted from an overabundance of movements.

5 LI YUANJIA (LI YUAN-CHIA, 1929 - 1994). Untitled | Executed 1958 | Signed & Dated | Ink on Paper. 76.5cm x 107.5cm. Provenance: from the collection of an Italian furniture designer, Dino Gavina (1922 - 2007).

李元佳《無題》創作於1958年

藝術家簽名水墨紙本來源：意大利家具設計師，迪諾·加維納（1922 - 2007）收藏。

£3,000 - 5,000

CHINESE ART : 1OO STORIES Li’s major contribution to the movement was his concept of the “Cosmic Point” drawing on Western spatialism, minimalism and abstractionism. It used only fleeting calligraphic mar ks and a limited palette, black for the origin and the end of all things, red for blood and life, gold for nobility, white for purity, and through this represented the symbolic image of the univer se (or 'allness').

6 LI YUANJIA (LI YUAN-CHIA, 1929 - 1994). Untitled | Executed 1958 | Signed & Dated | Ink on Paper. 76.5cm x 107.5cm. Provenance: from the collection of an Italian furniture designer, Dino Gavina (1922 - 2007).

李元佳《無題》創作於1958年

藝術家簽名水墨紙本來源：意大利家具設計師，迪諾·加維納（1922 - 2007）收藏。

£3,000 - 5,000

7▲ LI YUANJIA (Li Yuan-Chia, 1929 - 1994). Untitled | Two Relief Work on Paper | Executed Circa 1963 | Signed on Reverse | Embossed Paper & Ink. Each 31.5cm x 36.2cm (2). Procenance: from a collection fo an Italian funiture designer, Dino Gavina (1922 - 2007).

李元佳《無題》創作於1963年，藝術家簽名水墨擊凸紙張來源：意大利家具設計師，迪諾·加維納（1922 - 2007）收藏。

£2,000 - £3,000

8► LI YUANJIA (Li Yuan-Chia, 1929 - 1994). Cosmagnetic Multiple | 1963 | Four Magnetic Points & Painted Steel Panel. 91cm x 61cm. Provenance: from a collection of an Italian furniture designer, Dino Gavina (1922 – 2007).

李元佳《宇宙點磁鐵裝置》創作於1963年可活動磁點、不銹鋼板來源：意大利家具設計師，迪諾·加維納（1922 - 2007）收藏。

£2,000 - £3,000

Li Yuan-Chia

CHINESE ART : 1OO STORIES

9◄ LI YUANJIA (Li Yuan-Chia, 1929 - 1994). Untitled | Executed Circa 1964 | Signature Imprint on Paper | Oil On Wood On One Side | Paper Mounted On Reverse. 24cm x 23.5cm. Provenance: from the collection of an Italian Furniture Designer, Dino Gavino (1922 - 2007).

李元佳《無題》約創作於1964年，擊凹簽名木板油彩，紙張來源：意大利家具設計師，迪諾·加維納（1922 - 2007）收藏。

£2,000 - £3,000

10 ► WANG ZHENGENG (1927 - 2005). Untitled | Executed 1964 | Signed & Dated | Oil on Canvas 21cm x 55cm. Provenance: from the collection of an Italian Furniture Designer, Dino Gavina (1922-2007).

王鎮庚《無題》創作於1964年布面油畫來源：意大利家具設計師，迪諾·加維納（1922 2007）收藏。

£100 - £200

CHINESE ART : 1OO STORIES

orn in Qingdao, Lo moved to Taiwan in 1949 and has been a professor of both Literature and Fine Arts at universities in Taiwan, the UK and the US. He studied classical Chinese painting under Pu Ru (1896 – 1963), cousin to the last Emperor of China. In the traditional guise he combines paintings, calligraphy and poetry in his works, and indeed his reputation as a poet is perhaps unsurpassed among his contemporaries. He was one of only a very few contemporary Taiwanese artists included in the landmark British Museum exhibition ‘Modern Chinese Ink Paintings’ in 2012. This piece is on a scale rare for such an early piece, and beautifully displays the play with empty space, geometric forms and distor ted perspectives that characterise the very best of Lo’s early work.

11 LUO QINGZHE (Lo Ch'ing, 1948-). Life in a Taxi | Signed & Dated 1980 | With A Title Slip Written By The Artist | Chinese Hanging Scroll Painting | Ink & Colour on Paper. 132cm x 62cm. Provenance: from the collection of Gordon Aldrick (1935 – 2020), acquired directly from the artist, who he counted as a close personal friend. Aldrick had several works by the artist of which this was the largest and most significant work and he considered one of the treasures of his collection.

羅青哲《計程車的過客》

設色紙本立軸款識：命運是一條顛踬灰暗的路，兩旁的風景有時殘缺，有時圓滿。而我們都是計程車中的過客，身不由己，不斷而前行。遐距離計程，時間也計程，車費則一定要用生命來支付。六十九年，青哲。藏印：「水墨齋」「羅青」簽條：計程人生。一九八零年，羅青。

來源：從戈登·奧爾德里克(1935 -2020)收藏，從藝術家处获得，并且也是艺术家的好友。奧德里克有数幅罗青的作品，这幅是其中尺寸最大且最珍贵的画作。 £2,000 - £3,000

nother wor k with a similar subject from the collection of Rober t Hatfield Ellswor th is now in the collection of the Metropolitan Museum of Ar t, this wor k depicts the summer resor t of Beidaihe memorialised in a poem by Mao Zedong: A rainstorm sweeps down on the northern land, White breakers leap to the sky. No fishing boats off Qinhuangdao a Are seen on the boundless ocean. Where are they gone? Nearly two thousand years ago Weilding his whip, the Emperor Weiwu Rode Eastward to Jieshi; his poem sur vives. Today the Autumn wind still sighs, But the world has changed! Wu Guanzhong studied oil painting under Lin Fengmian (1900–1991) at the Hangzhou Academy of Ar t where he enrolled in 1936. Between 1947 to 1950 he moved to Paris, immer sing himself in the wor ks of Cézanne , Gauguin, and Matisse before retur ning to China as a lecturer at the Central Academy of Fine Ar ts in Beijing. Wu was the fir st living Chinese ar tist to be gr anted a solo exhibition at the Br itish Museum in 1992: Wu Guanzhong – A 20th-Centur y Chinese Painter. As one of the founder s of modern Chinese painting Wu merged Chinese ink painting traditions with Western abstraction, and in this wor k we see representational form pushed to the limits of abstraction. Here calligraphic lines in opaque white give str ucture to the swir ling colour s and adding a basis of Chinese ar tist tradition to the vibrant and dynamic composition.

12 WU GUANZHONG (Attributed to, 1919-2010). Waves | Oil & Gouache on Board | Signed Tu To Bottom Right | Unframed. 21.9cm x 26cm. Provenance: from an important Western private collection, acquire from Robert Hatfield Ellsworth, New York, circa 2000, by repute then by decent to the present owner.

吳冠中《浪》

油彩水粉木板畫右下角簽筆名「荼」來源：西方重要私人收藏，大約於2000年購於紐約Robert Hatfield Ellsworth處（口述），後傳承至現藏家。

£5,000 - £8,000

CHINESE ART : 1OO STORIES

orn in Singapore, Lim arrived in London 1954 enrolling fir st at Central Saint Mar tin's School of Ar t and later Slade School of Fine Ar t where she took inspiration from Constantin Brancusi. She wor ked mainly in wood and steel in the 1960s, incoporating prints into her ar tistic practice in the 1970s. In 1979, the fir st retrospective of Lim's wor k was held at the Roundhouse Galler y.

13 ▲ LIN ZHENJIN (Kim Lim 1936 - 1997)

Fighting Cockerels | Drypoint Print | Artist Proof 2/6 | Inscribed To Malcolm | Framed & Glazed. 18.5cm H, 37.5cm.

林真金《鬥雞》

銅板雕刻印刷，第2/6版題名：致馬爾科姆。

£300 - £500

guyen Huyen (1915 – 1994), was cofounder of the Vietnam Fine Ar ts Association and is known for his iconic wor k depicting a far mer beside a blue buffalo featured on the 100 dong banknote issued in 1946. He is best known for his wor k as a lacquer ar tist.

14 ► NGUYEN HUYEN (Vietnamese, 1915 - 1994). Signed To Lower Left & Dated 1954 | Lacquer On Wood Panel. 35cm x 24.5cm.

阮絢

漆彩木板藝術家簽名

£2,000 - £3,000

Litrary Sources (Lots 15 -24)

CHINESE ART : 1OO STORIES

he genre of bapo (liter ally 'eight-brokens') or jinhuidui (literally 'a pile of brocade and ashes') emerged at the end of the Qing Dynasty, and uses trompe-l'oeil techniques to paint piles of two dimensional textual fragments including of book pages, calligr aphic r ubbings, paintings, letter s and other ephemera. These compositions have been interpreted as coded reflections on the decay of cultural traditions, but they have also been used as a means of wishing someone good for tune and were often presented as bir thday gifts.

15 ◄ UNKNOWN ARTIST. Eigh Broken | Ink On Silk | Hanging Scroll | With Seal Of The Artist And Collector's Seals. 83cm x 39cm.

八破图設色絹本立軸

款識：潤泉五弟臺雅鑒如兄松山宗室聖福鈐印：「松山」「聖福圖印」內容：乾隆庚酉年今古奇文魁聖論廣訓卷之上中庭地白樹棲鴉冷露無聲濕桂花今夜月明人盡望不知秋思落誰家東丁亥年端陽丹松山題鈐印：「寬賢堂制」標簽：松山八破條簽條：清聖福畫博古中堂

£800 - £1,200

16 ▼ TWO CHINESE FAMILLE ROSE 'BAPO' BOWLS. Qing Dynasty. The faceted sides of each bowl supported on a short tapering foot and enamelled on a cracle ground with a collage of fragmentary galligraphic inscriptions. 6.5cm H, 10.5cm D | 8.5cm H, 17.5 D (2).

清飾八破圖盌兩隻 £600 - £800

ao manuscripts, guo shan bang, are a kind of ‘char ter s’ and literally translate as ‘passpor t for crossing the mountain’. They are considered to be the single most impor tant Yao document, reser ved for leader s, and described by the anthropologist Hor leifur Jonsson as ‘a rare prestige object which enables a leader to take off with follower s to a new domain. As such, the scroll makes a leader out of whoever has a copy of it.’ The text is a copy of a char ter issued under the Southern Sung emperor Lizong in 1260 confirming twelve Yao clans in the possession of thier lands and recalls the legen of thier divine ancestor, Panhu.

17 A CHINESE YAO-MINORITY PASSPORT CHARTER, GUO SHAN BANG.

19th Century. Compromising a mixture of figurative images and calligraphy interspersed with large circular seals | Ink on Cloth. 550cm, 53cm.

十九世紀瑤族《過山榜》 £500 - £800

CHINESE ART : 1OO STORIES

18 ► SHAN HAI JING GUANG ZHU [An Expanded and Illustrated Edition of the Guideways through Mountains and Seas with Extensive Commentaries]. 1786. Jinchang: Shuyetang, by Wu Renchen | Woodblock Printed | Fragmentary Book | One Volume Only. 26cm x 18cm. Provenance: formerly in the collection of SOAS library.

一七八六《山海經廣註》來源：前亞非學院圖書館藏。

£100 - £200

t is generally believed that Shan Hai Jing originated from geographical files as documented by Zhou Dynasty officials. It combines fantasies of imagined wor lds with tr ue-to-life descriptions of peoples, animals and plants, and has been regular ly annotated and amended across the Dynasties. This ver sion of Wu Renchen’s 1667 edition was recut in 1786 and is the ver sion most widely reproduced in succeeding editions through the present.

(par t)

19 ◄ NIAO SHOU TU HUI. Late Ming Dynasty. Eight Volumes Traditionally Bound | In A Blue Cover | Woodblock Printed In Colour In Malachite And Azurite Tones. 26cm x 16cm (8).

明晚期《鳥獸圖會》八冊 £2,000 - £3,000

his is the thir teenth par t of the late Ming Pictorial Encyclopaedia compiled by Wang Qi (1530-1615).

20 ► GAILING HUITU XIN LIAOZHAI CHU JI [Improved Illustrated Edition of the Strange Stories from the Chinese Studio]. Circa Republic period. Volume 2 Only | 54 Pages | With Numerous Black & White Illustrations. 20cm x 13.5cm.

約民國《改良繪圖新聊齋初集》第二冊 £200 - £300

he ‘Strange Stories’, attributed to the writer Pu Songling (1640 - 1715) and first published 50 years after his death, describe ghosts, animals, demons, and all other kinds of strange creatures and happenings. The themes also include families, children, and lovers. The ordinary and the extraordinary are juxtaposed, and the familiar is transformed or contrasted with the unknown.

(par t)

The Collectors (Lot 21 -35)

enri Vever (1854-1942) was one of the pre-eminent collectors of Chinese and Japanese art of the late 19th and early 20th Centuries. He made his name as a Parisian jeweller and was an important taste-maker of his day with the Oriental motifs drawn from his collecting passion making their way into the development of the Art Nouveau movement. His Japanese print collection, exhibited in instalments at the Musée des Arts Décoratifs was later sold off, partly in the 1920s, and then in the landmark three-part sale at Sotheby’s in 1974. His Persian art collection was sold to the Smithsonian Institution in 1986. The Chinese collection relates to Vever’s interest in Japanese prints although publications on Chinese art reproducing part of his collection show he also had an interest on figurative painting of the meirenhua genre. Many of the prints contain annotations by Vever himself, some including the original price paid. This suggests that he built up the collection meticulously piece-by-piece and he conceived of each print as an individual artwork in its own right. It was Laurence Binyon, curator of the British Museum, who had in 1904 discovered a collection of Chinese multicolour prints from the collection of Dr Engelbert Kaempfer which had been acquired in the late 17th Century, which indicated to him – the first time it had been known in the West – that multicoloured prints of China significantly predated those of Japan.Thus for Vever, the prints of China held huge artistic significance and import. Some of the pieces from the collection may date as early as 1640, whilst others date to the 18th or 19th Century.

21 ▲ A COLLECTION OF CHINESE MULTICOLOUR WOODBLOCK PRINTS FROM THE 'TENBAMBOO STUDIO AND THE MUSTARD SEED GARDEN' Late Ming Dynasty | Chongzhen Period To Early Qing Dynasty | Kangxi period. Various Dimensions (9). Provenance: Sotheby's, 7 June 1994, Fine Chinese Ceramics and Works of Art; collection of Henri Vever (1854 - 1942).

明崇禎至清康熙石竹齋《芥子園圖譜》木板印刷九幅來源：1994年6月7日蘇富比《中國重要瓷器及工藝品》拍賣；亨利·範 (1854-1942)收藏。

£200 - £300

CHINESE ART : 1OO STORIES

(par t)

22 ▲ TWENTY-TWO CHINESE MULTICOLOUR WOODBLOCK PRINTS FROM THE THIRD VOLUME OF 'THE MUSTARD SEED GARDEN'. Qing Dynasty | Qianlong period | 1782. 26cm x 32cm (22). Provenance: Sotheby's, 7 June 1994, Fine Chinese Ceramics and Works of Art; collection of Henri Vever (1854 - 1942).

清乾隆一七八二《芥子園圖譜》第三冊木版印刷二十二幅來源：1994年6月7日蘇富比《中國重要瓷器及工藝品》拍賣；亨利·範(1854-1942)收藏。

£400 - £600

(par t)

23 ▲ A COLLECTION OF CHINESE MULTICOLOUR WOODBLOCK PRINTS FROM THE ‘TEN BAMBOO STUDIO AND THE MUSTARD SEED GARDEN’. Late Ming Dynasty | Chongzhen Period To Early Qing Dynasty | Kangxi period. 26cm x 32cm (35). Provenance: Sotheby's, 7 June 1994, Fine Chinese Ceramics and Works of Art; collection of Henri Vever (1854 - 1942).

明崇禎至清康熙石竹齋《芥子園圖譜》木板印刷三十五幅來源：1994年6月7日蘇富比《中國重要瓷器及工藝品》拍賣；亨利·範(1854-1942)收藏。

£600 - £800

CHINESE ART : 1OO STORIES

(par t)

24 ▲ A COLLECTION OF FOURTY FIVE CHINESE MULTICOLOUR WOODBLOCK PRINTS FROM THE 'TEN BAMBOO STUDIO AND THE MUSTARD SEED GARDEN'. Late Ming Dynasty | Chongzhen Period To Early Qing Dynasty | Kangxi Period. 29cm x 26cm (45). Provenance: Sotheby's, 7 June 1994, Fine Chinese Ceramics and Works of Art; collection of Henri Vever (1854 - 1942).

明崇禎至清康熙石竹齋《芥子園圖譜》木板印刷四十五幅來源：1994年6月7日蘇富比《中國重要瓷器及工藝品》拍賣；亨利·範(1854-1942)收藏。

£800 - £1,200

25 ► A PAIR OF CHINESE COLOISONNÉ ENAMEL AND GILT BRONZE 'RAM' PAPER WEIGHT. Ming Dynasty | 17th Century. 7.5cm long. Provence: From the collection of James Kilpatrick Hutton (1870 – 1953), thence by descent to the present owner. Born in India, Kilpatrick Hutton spent time in Tianjin and Shanghai in the first half of the 20th Century, as well as Japan and Indonesia. Each creature naturalistically modelled seated with the legs tucked beneath with the tail curved round to the left and the head partially cocked with curling horns and a beard and a reflective expression on the face, the fur picked out in gilt bronze cloisons against a white ground, other details picked out in red and blue enamels, each with a carved fitted wood stand.

明十七世紀銅胎掐絲琺瑯羊形鎮紙連木座一對來源：詹姆斯·基爾帕特里克·赫頓 (1870 – 1953)私人收藏，後傳承至現藏家。赫頓出生於印度，曾於20世紀前半葉在天津及上海、以及日本於印度尼西亞生活過。

£20o0 - £300o 26 ◄ A CHINESE JIZHOU 'PAPER-CUT' TEA BOWL Song Dynasty. With a flared conical body decorated to the interior with three brown quatrefoil blossoms against the variegated buff ground, the exterior under a dark brown unctuous tortoiseshell glaze mottled in beige flowing down to the unglazed foot. 10.7cm Diameter x 7cm H. Provenance: From the collection of D.M. Jacobs (1930 - 2020), Bluett & Sons [label]

宋吉州窯剪紙貼花紋黑釉盌來源：D.M. 雅各布斯紳士藏品，Bluett & Sons (標籤)。

£600 - £80o 27 ► A CHINESE JIZHOU BOWL. Song Dynasty. The wide body with a slightly everted rim rising form a circular foot, all decorated with irregular splashes of black, russet and buff glaze. 16cm D x 7cm H. Provenance: From the collection of D.M. Jacobs (1930 - 2020), Acquired from Sydney Moss in 1960 [copy of an invoice]

宋吉州窯黑釉盌来源： D.M. 雅各布斯紳士藏品（1960年Sydney Moss收據副本）。

£1,000 - £2,00o 28 ◄ A CHINESE 'HARE'S FUR' BOWL AND A BLACK-GLAED BOWL. Song Dynasty. The hare's fur bowl with a gently waisted body coated with lustrous black glaze with russet streaks, the second bowl decorated with an even matt glaze, each with an unglazed foot. 9,5cm Diameter x 10.5cm H (2). Provenance: D.M. Jacobs, Esq Collection (H.R.N. Norton invoice from 1960). D.M. Jacobs, Esq Collection, William Clayton, 2nd March 1961 but no invoice.

宋建窯兔毫盞及黑釉盞來源： D.M. 雅各布斯紳士藏（H.R.N. 諾頓收據副本）。 D.M. 雅各布斯紳士藏，與 1961年3月2日購於威廉·克萊頓，無收據。

£1,000 - £2,00o

CHINESE ART : 1OO STORIES

29 ▲ ANONYMOUS. Calligraphy | Chinese Ink Rubbing On Paper | Mounted as a hanging scroll. 139 x 254.5cm. Provenance: this piece was lent to collector-dealer Robert Hatfield Ellsworth (1929 – 2014) for several years in the early 1990s who hung it in his New York apartment. Two Qing Dynasty calligraphic rubbings were offered by Christie’s, 2015, The Collection of Robert Hatfield Ellsworth, volume II, as lots 282 and 283.

£2,000 - £3,00o 重修漢孝子郭公祠記拓本拓本文字 : 重修漢孝子郭公祠記 <一> 「郭公何許人也通誌雲河內縣人寓肥城家貧竭力養母人莫之及後葬母於此山,舊傳此山曰龜山因是易名孝堂山,里名孝里郷名孝德地以人傳詎不然與此山毎歲秋前後夕照炳載縣乘誰云，非孝所感前五代大齊武平年間，有感孝頌勒文石壁文古書古近代罕匹大唐開元時有賛孝文附於後愛慕深切孝之感人爲何如但相傳埋兒得金遍區無異詞二千年竟以埋兒得金爲郭公孝不知郭公埋兒孝也不埋兒亦孝也得金孝也不得金亦孝也摠之人情矜奇好異非奇非異難以遠傳埋兒事奇得金事異以得金而指爲埋兒以埋兒而指爲孝貽名百世豈非感格之明徴乎然正可爲愛子不愛親者其猛省是郭公之孝足以感人於無竆而郭公之祠亦應萬古長新也乾隆十八年秋偶被風雨孝貽名百世登謁懐感不惜捐俸道人瑣德性募縁以助之抵十九年冬工竣但石廟及神像亦有棟折之懼二十二年五月道人獨立承當募化闔鄕並加整理以埀永久斯亦純孝感格之驗也事不可沒勒石以記」 <二> 「惟夫德行之本仁義之基感洞幽明擾馴禽獸清音帶冰而挺潔素采映雪而流輝根矩定於一丸丘吾絕於三失開府儀同三司尚書右仆射尚書左仆射尚書令攝選新除特進使持節齊州刺史隴東王胡長仁雌黃雅俗雄飛戚里入膺北鬥執柄端衡出牧東秦脫崔林之屣聊褶賈琮之檐視聽經過訪詢耆舊郭巨之墓馬鬣交阡孝子之堂鳥翅銜阜君王愛奇好古歷覽徘徊妃息在傍賓僚侍側璧疑秦鏡炳煥存形柱識荊珉寂寥遺字所以斂眉長嘆念昔追遠遂若羊公登峴還同處墨飲泉慨賢勝之多弊嗟至德而無紀蘭溪儻不見松榖城何以知石于時開府中兵参軍梁恭之盛工篆隸騎兵参軍申嗣邕微學摛藻並應命旨俱營頌筆以大齊武平元年正月廿二日權輿雕瑩表建庭宇棟刻蒼文檐栽翠柏庶令千葉之下彌振金聲九原之中恒浮玉樹其詞曰天經地義啟聖通神重華曾閔萊子樂春時多美跡世有芳塵前漢逸士河內貞人分財雙季獨養壹親客舍凶弭兒埋福臻穹隆感異旁薄貽珍懸車遽落夜臺弗晨千齡俄古萬祀猶新朱驂紫蓋撫俗調民高山達節景慕縈顰式憑不朽永播衣巾」 <三> 「大唐開元廿三年秋七月旬有五日朝請大夫守濟州別駕上柱國楊傑因公務之人之行莫大於孝孝莫大於愛親則郭公其人也竭力以養歡心而事見分甘以達天地至德通鬼神埋玉彰必死之期得金表全生之應實可謂人所不能重敘斯文顧封樹以長存挹徽猷而不泯傑聞孝子不櫃永錫爾類其郭公」

he calligraphy in this rubbing provides critical commentary on the ninth of the twenty-four tales of filial piety. Although the details of the story are subject to debate, as outlined in the texts, it tells of Guo Ju, who lived with this mother, wife and son. Due to his extreme love for his mother when unable to feed his family due to poverty he made the difficult decision to bury his son alive. Whilst digging the hole, he fortunately happened upon a pot of gold, which meant that he was able to provide for the whole family and keep his son. After Guo’s mother died, she was buried in the Wu mountain at the Xiao Tang, Filial Piety Temple, which has become a shrine to ancestors from the Eastern Han Dynasty onwards. This rubbing is taken from a stone tablet dating from 1757 created based on the original stele which was damaged in a storm in 1753, details outlined in the inscription to the right hand portion of the composition. The central section reproduces a dedication by Hu Changren and critic of the story, King of Jiaodong from the year 618. The inscription on the left is by Yang Jie and dates to 735.

Sir Lionel Lamb

30 ► A TIBETAN PEWTER AND COPPER MILK TEAPOT & COVER. Tibet | 19th Century. With a plain tapered body and a flared neck, the spout and handle cast as dragons, the cover with lotus petals and a bud finial. 16cm Diameter x 7cm H. Provenance: From the collection of Sir Lionel Lamb (1900 – 1992), acquired in Chengdu in 1924, where he was posted as a British diplomat.

西藏十九世紀錫鑲銅龍紋奶茶壺來源：萊昂內爾·蘭姆爵士收藏，於1924年任外交官期間購於成都。

£600 - £80o 31 ▼ SIXTEEN CHINESE BRONZE ARROWS. Warring States Period. Including three with barbed arrowheads, seven with rhombic-section arrowheads and six with trilobate solid tips. 24.5cm (16).

戰國銅箭十六支 £800 - £1,200

eighted arrows were an essential part of the Chinese game of taohu, in which the players attempted to throw arrows into the three necks of the vase. The ancient game may have begun life as a drinking game, but developed with its own ritualised rules of etiquette as described in the Li Ji, Book of Rites, written during the Warring States period, 5th-3rd century BC. The game continued to be played throughout the centuries and appears to have generated particular interest from the Song to the early part of the Ming dynasty.

CHINESE ART : 1OO STORIES

32 ► A CHINESE LONGQUAN CELADON ARROW VASE. Song Dynasty. Of slender pear-shaped form, the shoulders set with cylindrical lug handles, a firing crack to one side repaired with gold lacquer. 16cm D x 7cm H. Provenance: found in a kiln site at Longquan, Zhejiang provenance. Alfred Clark (1873 – 1950) and Mrs Alfred Clark (1890 – 1976) collection. Sotheby's London, 25th March 1975, lot 67. English private collection, thence by descent. Exhibited: Celadon Wares, Oriental Ceramic Society, London, 1947, cat no 59.

宋龍泉青釉雙貫耳投壺來源：於浙江省龍泉縣的一個窯址中發現。阿爾弗雷德·克拉克 (1873-1950)與夫人(1890 - 1976) 收藏。倫敦蘇富比1975年3月25日拍賣，編號67。英國私人收藏，後傳承至現藏家。展覽：1947年東方陶瓷協會《青瓷》特展，圖錄第59號。

£3,000 - £5,00o

lfred Clark (1873 – 1950) and his wife Ivy were legendary collectors of Chinese porcelain. Their collection was described by Lady Percival David as, “one of the greatest. It was small, formed by two people with extremely good taste” and the collection Percival David considered most highly according to an article in Orientations in 1992.

oger Bluett took over the business of Bluett’s founded by his grandfather Leonard Bluett in 1884. He and his partner Brian Morgan introduced a number of innovations including being the first dealers to publish scholarly catalogues, and turned it into the greatest London dealer in Chinese art of its day. His clients included King Gustav VI Adolf of Sweden (who granted Bluett's his royal warrant and was a regular visitor), and museums including the British Museum, the Victoria and Albert Museum and New York Metropolitan museums. It is always interesting when items from an important dealer’s personal collection come onto the market and this Korean piece demonstrates the breadth of Bluett’s interests. The current owner of the bowl has a specific memory of the bowl being filled with Smarties painting a touching picture of how the piece would have been woven into family life.

Roger Bluett

33 ◄ A KOREAN CELADON-GLAZED CONICAL BOWL. Korea | Koryo Dynasty The conical body moulded to the interior with stylised clouds under a scrolling floral border, all decorated with an even crackled celadon glaze. 17.5cm D. Provenance: From the private collection of Roger Bluett (1925 - 2000) and thence by descent.

高麗青釉模印雲紋斗笠盌來源：羅傑·布魯特 (1925 - 2000)私人收藏，後傳承至現藏家。

£1,000 - £2,00o

34 ▼ A CHINESE PALE CELADON JADE 'MAGNOLIA' BRUSH WASHER. Qing Dynasty. Carved as a large blossom with seven petals creating a basin, with a small spider and a beetle below the rim picked out in a darker stone, the base formed as a petal, the stone of even celadon colour with minor brown inclusions and white veins, together with a box. 20cm long. Provenance: from ta French diplomatic collection.

清青玉雕玉蘭形筆洗來源：法國外交官收藏。 £3,000 - £5,00o

n China the spider is considered lucky. The word for spider, zhi zhu, is sometimes affectionately nicknamed xi zi or xi zhu, meaning the ‘lucky one’ or ‘lucky spider’.The term xi cong tian jiang, meaning ‘a spider descending from the sky’ is a rebus meaning 'pleasant surprise descending on you'. One might well imagine the delight of a Chinese scholar turning over this vessel to reveal the eight-legged creature carved into its surface.

CHINESE ART : 1OO STORIES

35 ◄ A CHINESE GILT BRONZE AND CLOISONNÉ ENAMEL 'LION DOGS' BUDDIST LONGEVITY VASE, BUMPA. Ming Dynasty | 16th Century. The ovoid body cast rising from an incised gilt bronze foot, to broad rounded shoulders, surmounted by a waisted neck and a flange encircling the rim, the exterior of the body brilliantly decorated with nine Buddhist lion dogs frolicking among the Bajixiang and ribboned balls all between borders of lotus lappets encircling the shoulder and foot, the shoulders set with a further band of raised gilt bronze lappets, and set on either side with a pair of mythical gilt-bronze sprawling luduan creatures, the neck adorned with two bands divided by an incised gilt-bronze raised band, the upper being composed of four lotus flowers borne on a leafy stem, the lower of sprays of lingzhi fungus, the rim bordered with a classic scroll band above a frieze of florettes, the dense design brilliantly decorated in tones of red, yellow, white, blue and green cloisonné enamels against a bright turquoise ground, a four character Jingtai nianzhi seal mark to the underside. 25cm H. Provenance: From a French diplomatic collection.

明十六世紀銅胎掐絲琺瑯佛獅紋賁巴壺陽文「景泰年製」篆書款來源：法國外交官藏品。 £10,000 - £15,00o

he present vase is similar to a small number of vessels within the Chinese Imperial collection of which the closest is illustrated in Compendium Collection of the Palace Museum, Enamels, 2011, cat no 62. The form of the Buddhist longevity vase, bumpa, was origiånally a water container used in Tibetan Buddhist ceremonies. Chinese Imperial Court archives show that bumpa were used to contain holy herbs or peacock feathers. They became a central part of Imperial ritual processes during the Qianlong era, and in the fifty-seventh year of the reign of the Emperor Qianlong, a bumpa was used to draw lots to determine the succession of the highest Tibetan and Mongolian lamas of the Gelugpa order. The lion is in China a symbol of protection and law, and from the Tang dynasty, appeared in decorative arts. The Buddha's teachings are often referred to as the 'lion's roar' in the sutras, indicating their power and nobility. Buddhist lions playing with a brocade ball became the most popular form of imagery for the lion and appear during the Ming dynasty. Compare with a very similar cloisonné-enamel ewer and cover, 16th century, which was sold at Christie's Paris, 7 December 2007, lot 6. See also an ewer formerly in the Kitson Collection and then in the Pierre Uldry Collection, illustrated in H. Brinker and A. Lutz, Chinesisches Cloisonné - Die Sammlung Pierre Uldry Museum Rietberg, Zurich, 1985, pl.98, and a dish bearing similar decoration may be found on the dish illustrated in C. Brown, Chinese Cloisonné - The Clague Collection, Phoenix Art Museum, 1980, pp.22-23, pl.3.

Scholarly Parties (Lots 36 - 41)

utdoor gatherings have long been a central part of artistic life for Chinese scholars since the Elegant Gathering in the Western Garden of Mi Fu, Li Gonglin and others in 1088. Paintings and antiques were often viewed and the drinking of wine and discussion often inspired the creation of calligraphic and pictorial works in the open air.

36 ► A CHINESE CANTON ENAMEL 'SCHOLARS' TRAY. Qing Dynasty | 18th Century. Of rectangular form with cut corners, the central panel delicately painted to depict a group of seven scholars reclining on a rocky outcrop beneath bamboo within a border of dense flowers on a yellow ground, each side punctuated with a panel of birds, butterflies and flowers, the left corner with an inscription that reads, shi jian shi su wu duo lu, zhu li cheng shi jiu shubei (there are no troubles in the world, life is fine beneath the bamboo branches drinking wine and reciting poetry.) 31cm x 20.5cm H.

清十八世紀廣東銅胎畫琺瑯繪士大夫圖紋長方盤，「世間事俗無多慮，竹裏成詩酒數杯」款 £500 - £80o

37 ◄ A CHINESE BLUE & WHITE 'TAO YUANMING' TABLE SCREEN. Qing Dynasty. The circular plaque enclosing a scene depicting two scholars one seated beneath a tree, the other standing and observing an approaching attendant carrying a stringless qin, inscribed to the upper right, mounted within a pierced wood table screen. 13cm D, total 41cm H. (2)

清木鏤雕嵌青花繪士大夫圖紋瓷板插屏款識：出自陶淵明詩，「但得琴中趣，何勞弦上聲」款

£600 - £80o

ao is often depicted holding a qin but he is known for a famous incident during his time at Donglin monastery. After entertaining his two friends and seeing them off the premises, absorbed in conversation accidentally wandered in tiger country. When the animals gave a howl, the three men burst out laughing.

38 ► A CHINESE BLUE & WHITE FIGURATIVE VASE. Transitional period. Of hexagonal section, the body spreading to rounded shoulders and an upright rim, the exterior painted with a scholar surrounded by three boy attendants, a background of mountain peaks, beneath a border of floral lappets encircling the shoulders. 23cm H.

明末清初青花六方繪士大夫山水圖紋瓶 £1,000 - £2,00o

CHINESE ART : 1OO STORIES

39 ► A CHINESE BLUE& WHITE 'ZHANG SHENG' DISH. Qing Dynasty | Kangxi mark & of the period The central roundel depicting a scene from Dream of the Red Chamber where the scholar seated on a chair before a monk holding a fly whisk is about to request to live in the temple, a large screen decorated with mountains in the background, the wide rim decorated with various diaper pattern separated with four panels each painted with a scholar in a state of relaxation, six character Kangxi mark to the base. 27.7cm D. Provenance: Geoffrey Waters [label].

清康熙青花繪西廂記人物故事圖紋折沿碟，青花「大清康熙年製」楷書款

來源：杰弗裡·沃特斯（Geoffrey Waters）[標籤]。

£800 - £1,20o

he scene depicts Zhang Sheng in conversation with a monk, conveying his wish to live in the monastery.

40 ◄ A CHINESE BLUE & WHITE 'SCHOLARS' DISH. Qing Dynasty | Kangxi period. The central roundel painted to depict a scholar kneeling before two figures with two further figures observing, enclosed by four floral sprays, of plum blossom, lotus flower, peonies and chrysanthemums, the edge with a continuous border of scholars engaged in various pursuits in a garden. 31cm x 20.5cm H.

清康熙青花繪人物故事圖紋折沿碟 £600 - £80o

41 ► A CHINESE FAMILLE VERTE 'ZHANG SHENG' DISH. Qing Dynasty, Kangxi period. Painted with the young scholar from Dream of the West Chamber, setting out on horseback to take his exams and his assistant from fortified pavilions, piles of books and scholarly objects to the side, the rim with alternating floral ruyi heads and groups of treasures and antiques, the reverse, with floral sprays and a jue mark within a double band. 22.5cm Diameter.

清康熙五彩繪張生趕考圖紋折沿碟 £1,000 - £2,00o

Larger than Life Characters (Lots 42 - 56) 42 ► A CHINESE FAMILLE ROSE 'FIVE POISONS' DISH. Qing Dynasty | Six character Daoguang Mark & probably of the period. The interior painted with the Daoist Zhang Daoling riding mid-air on the back of a scorpion, a sword in his right hand with a snake coiled around the blade, sharing the skies with an iron-red bird, below a three-legged toad seated on a rock beneath a pine tree and a small boy standing to the left holding a lingzhi spray, a six character iron-red mark to base. 16.5cm Diameter.

清約道光粉彩繪五毒圖紋碟，礬紅「大清道光年製」篆書款 £1,000 - £2,20o

hang Daoling and the 'Five Poisons' is an important motif symbolic of combating evil and is associated with the Duanwu festival on the fifth day of the fifth month of the Chinese lunar calendar. The five poisons, represented by the snake, centipede, scorpion, lizard and toad, are said to come out of hibernation at this time and their slaughter is a means of conquering the evil they represent. Zhang was a historical figure who lived during the Eastern Han Dynasty. Certain accounts of his life stray into the fanciful. It is stated, for instance, that he discovered the elixir of immortality during a visit to the mountains, of which he only drank half. This resulted in his gaining supernatural powers, and later to pick a fight with the king of the demons resulting in other demons fleeing in fright.

43 ◄ A CHINESE FAMILLE ROSE-DECORATED CIRCULAR GLASS PANEL. Qing Dynasty | 18th/ 19th Century. Depicting an interior scene with Wu Song raising a sword in readiness to slay his brother’s wife, Pan Jinlian, with a horse seated meekly in the background, its head lowered in disbelief, wood stand. 11cm Diameter Provenance: acquired in Hong Kong in May 1986 [copy of certificate].

清十八 / 十九世紀粉彩繪武松殺嫂故事圖紋料牌來源：於一九八六年購於香港（證書副本）。£600 - £80o

he scene is taken from the Ming classic novel Jin Ping Mei and depicts the moment when Wu Song, known from another Chinese classic, Water Margin, slays his elder brother’s wife Pan Jinlian, in revenge for her killing of Wu’s brother, Wu Dalang, with poison provided by her lover, Qing Ximen.

44 ► A CHINESE BLUE & WHITE 'ROMANCE OF THE THREE KINGDOMS' DISH. Qing Dynasty | Six character Kangxi mark & of the period Painted with a figure of a warrior and a scholar holding a large box beneath an overhanging cliff, the rim moulded with lobes and painted with lotus blossoms among scrolling foliate arabesques. 20cm D. Provenance: from the Christopher Clay Collection [label, no. 109].

清康熙青花繪七擒孟獲圖紋花口碟，青花「大清康熙年製」楷書款

來源：克里斯托弗·克萊（Christopher Clay）收藏（第109號，標籤）。

£3,000 - £5,00o

his dish depicts an interaction between Zuge Liang and Meng Huo from the Chinese canonical classic novel, Romance of the Three Kingdoms. In the novel Meng Huo being captured and released seven times by Zhuge, demonstrating the resourcefulness of Zhuge.

CHINESE ART : 1OO STORIES

45 ► A CHINESE CARVED BAMBOO 'RAFT VOYAGE' BRUSH POT. Qing Dynasty. Delicately incised to depict a scene of Su Dongpo and two friends drinking wine together on a raft steered by a young attendant through a rocky riverscape on a wave-filled water between rocks overhung with pines. 14cm H.

清竹雕士大夫泛舟圖紋筆筒 £800 - £1,20o

he scene appears to draw directly on the work, Ode to the Red Cliff by Su Shi (1037 – 1101). In the text, he writes: In the autumn of the year jen-hsu (1082), on the sixteenth day of the seventh month, I took some guests on an excursion by boat under the Red Cliff. A cool wind blew gently, without starting a ripple. I raised my cup to pledge the guests; and we chanted the Full Moon ode and sang out the verse about the modest lady. (Anthology of Chinese Literature, Volume I: From Early Times to the Fourteenth Century, edited by Cyril Birch, New York: Grove Press, 1965, pp. 381-382.)

46 ▼ A CHINESE LONGQUAN CELADEON-GLAZED SCHOLARS & POETS' BOWL. Ming Dunasty. Moulded to the centre with the important historical figures: Li Bai reading a scroll, Zhen Zi and Feng Qin, Confucius seated in a dignified expression and the Tang beauty Zhao Jun seated before a screen, each beside an inscription, all beneath with a key fret band to the rim, the exterior incised with a floral band. 14cm D.

明龍泉青釉模印士大夫詩人像盌 £3,000 - £5,000

he present bowl is exceptional for the quality and crispness of the impressed decoration. Another example of the same scene with inferior quality is in the Museum of Fine Arts, Boston accession number 93.1459. For further examples of this type see Harrison-Hall, Ming Ceramics in the British Museum, 2001, nos 16:52 and 16:53.

47 A CHINESE GILT-BRONZE FIGURE OF ZHENWU. Ming Dunasty | Dated 16th Year Of Chongzhen | 1643 | & of period. The figure standing with eyes lowered, a third eye in the centre of the forehead, dressed in fine armour, a ribbon looping behind his shoulders and trailing over his bear feet, details highlighted in gilt and green, red and white pigment, the figure supported on a fourfoot stand which is inscribed Da Ming Chongzhen shiliu nian. 34.5cm H, 4.5kg.

明崇禎十六年銅鎏金真武大帝像，陰文「大明崇禎拾陸年」款 £1,500 - £2,000

henwu is an impor tant and distinctive figure in Chinese literature known for his trademark bare feet and unkempt long hair. Various explanations have been put forward for his appearance. In one explanation a fierce battle with demons and resulted in his hair becoming dishevelled and his loss of footwear. Another account from 1602 by Yu Xiaodou states that Zhenwu was busily combing his hair ready for the day ahead, when he was interrupted by a heavenly envoy who announced his appointment as a heavenly emperor. He accepted the appointment, and after bowing in thanks, continued to comb his hair but was told that since he had already accepted his heavenly appointment, his appearance was fixed, and he could no longer tie back and boot up. A further account tells of a sculptor, commissioned to create a likeness of Zhenwu by the Yongle emperor, who caught the emperor fresh from the bath to ask what the god should look like. The reply came briskly to model the work on the Emperor himself. The plucky sculptor apparently took the Emperor at his word and modelled the God barefoot and with hair still dripping wet and hanging freely. Various documentary figures of Zhenwu are recorded but those from the late Ming period are rare and extremely important as scholars work to create a chronology in the field of later Chinese bronzes which has in recent years attracted a flurry of academic interest. For a related bronze figure of Zhenwu, dated by inscription to 1626, see Sydney L. Moss Ltd., The Second Bronze Age: Later Chinese Metalwork, London, 1991, Catalogue no. 4.

CHINESE ART : 1OO STORIES

48 A RARE CHINESE BLUE & WHITE KOSOMETSUKE ELEPHANT-FORM INCENSE BURNER. Ming Dunasty | early 17th Century The hollowed base of the censer formed as a small elephant standing four-square with eyes set in an expression of concentration, on short waisted feet, the rounded body set on either side with a stylised cash coin, the edges encircled with a raised band, the body painted with fur from the hooked trunk to the tail, the latter two body parts modelled in slight relief, the cover set into an aperture on the creature’s back, held in place by a deep flange above which is modelled a charming figure of a seated Buddha, the bare chest with a liberal coating of body hair, the chin set back and eyes raised with the mouth open in a quizzical grin for the release of smoke, the long flowing robes decorated with various patterns, together with an old Japanese wood box. 16.5cm H (3)

明十七世紀早期青花（古染付）人騎象形香爐連日本木盒 £15,000 - £20,000

his censer would have had a function within the Japanese tea ceremony. Produced for the Japanese market between 1620 to 1645 it is one of a group of ceramics known as ko-sometsuke (old blue and white). The iconography of the form is highly unusual. The white elephant is traditionally associated with Samantabhadra, the virtuous protector of the Buddhist law, symbolic of the strength achieved through the practice of Buddhism, however the figure brings to mind Maitreya, the form of Buddha associated with happiness and contentment. The censer is exceptionally rare within another being recorded from the Umezawa collection, published in the Umezawa Gallery, Summer Exhibition, Tokyo, 1968, no. 31. The playful juxta-positioning is

brought to mind by a related incense burner in the form of a rather corpulent Liu Hai on the back of a three-legged toad appears in the same genre as the current piece and is published in Transitional Wares and their Forerunners, Hong Kong, 1981, no 138, p 171. Other fanciful depictions of the elephant from contemporary ceramics include 'elephant' kendis, a form illustrated by R. Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. II, pp. 729 and 730. However, the theme of a figure riding an elephant has particular significance with the term qixiang (to ride an elephant) sounding similar to jixiang (good fortune).

49 ► A CHINESE FAMILLE ROSE FIGURATIVE VASE. Republic period. The cylindrical body with a steep shoulder and a waisted neck painted with figures in a landscape, all raised on a tall stepped foot, a six character Qianlong mark to the base. 33cm H.

民國粉彩繪人物故事圖紋瓶，礬紅「大清乾隆年製」篆書款 £120 - £150

50 ◄ A CHINESE FAMILLE ROSE 'HAI WU TIAN CHOU' VASE

With a pear-shaped body supported on a short cylindrical foot and tapering to a tall slender neck with a garlic-head mouth and thin-lipped rim, the body painted with figures either side of a riverscape beside pine covered rocks, with two cranes in flight over the water, the bulbous mouth with floral scroll on a turquoise ground, the base and interior turquoise, six character Qianlong mark to the base. 33cm H

粉彩繪海屋添籌圖紋蒜頭口瓶，礬紅「大清乾隆年製」篆書款 £6,000 - £8,000

he depiction of the sea, pavilion, and cranes in flight come from the rebus hai wu tian chou, which expresses a wish for longevity. In fact, the three men depicted here are from Su Shi’s work Dongpo Zhi Lin: San Lao Yu. The story tells of three old men who were competing to decide who was the oldest.The first said that he was older than Pangu, the primordial being who is said to have separated the earth from the sea. The second said that he had been alive since the sea had been turned into fields. The third man then said that he had been alive so long that the pile of pits from the peaches he had eaten now dwarfed the nearby Kunlun mountains.

51 ► A CHINESE FAMILLE ROSE 'IMMORTALS' VASE. Late Qing Dynasty | 19th/ 20th Century. The tapered body with a stepped shoulder and a flared neck, painted in enamels and gilt with a gathering of Immortals and their assistants in a mountainous valley, the interior enameled turquoise, the base rising from an integral porcelain stand. 23cm H.

清晚期十九 / 二十世紀粉彩繪群仙祝壽圖紋瓶 £1,500 - £2,000

CHINESE ART : 1OO STORIES

52 ► A PAIR OF CHINESE FAMILLE ROSE 'LUOHANS' DISHES Qing Dynasty | Qianlong period Painted in enamels and gilt with six figures with their attributes among grey rocks, a dragon emerging from clouds above them, the rim with a double gilt spearhead band. 22.5cm D (2).

清乾隆粉彩描金繪羅漢圖紋碟一對 £1,200 - £1,500

53 ◄ A NEAR-PAIR OF CHINESE FAMILLE ROSE 'MAGU XIANSHOU' DISHES. Qing Dynasty | Yongzheng period. Each painted with the Immortal beauty carrying a ruyi sceptre and a basket of blossoms and lingzhi, looking towards her young assistant equipped with a jar, a spotted yellow deer observing them from the right, all beneath a pine tree emerging from a rocky outcrop, the rims with floral bands. 22.5cm D (2). Provenance: From the Jodrell Collection [Label]

agu is a Chinese mythical figure known for her association with long life. 清雍正粉彩繪麻姑獻壽圖紋折沿碟一對 She is regularly depicted carrying a basket of peaches and homebrewed 來源：喬德雷爾收藏（標籤）。 lingzhi wine, both symbols of longevity, on her way to visit Xi Wangmu, the £600 - £800 Queen Mother of the West, on the occasion of her birthday.

54 ► A CHINESE FAMILLE ROSE 'IMMORTALS' DISH. Qing Dynasty | Yongzheng period. The central roundel enclosing a scene of two ladies and a scholar accompanied by two phoenix birds, one captured in flight above their heads, below a pink diaper border and a further decorative band. 22.5cm D (2).

清雍正粉彩繪仙人像折沿碟 £1,500 - £2,000

55 ► ZHENG SHIXAN (1901 - 1982). Wang Xizhi Catching a Goose, ink and colour on paper, signed Mu Kang, Chinese album leaf. 30cm x 31cm.

鄭師玄《羲之籠鵝》款識：羲之籠鵝。慕康畫鑒藏印：「慕康」「書帶草堂」

£800 - £1,200

here are various stories linking the legendary calligrapher, Wang Xizhi (303 – 361), to geese. In one whilst walking along he saw a priest herding geese, who during an idle moment was copying out the Huang Ting Sutra. Wang admired the geese and lent him a hand with his writing. In exchange he was given a big white goose. Since then the Huang Ting Sutra has been colloquially known as the ‘Inscription for Geese’.

56 ◄ A CHINESE FAMILLE VERTE 'BAXIANGUO HAI' JAR. Transitional | Circa 1644. Of baluster form decorated around the exterior with the figures in a mountainous landscape, below a border of cracked ice on the shoulders, and peonies and rocks on the rim. 29cm H.

約一六四四青花五彩繪八仙過海圖紋罐 £4,000 - £6,000

he Eight Immortals, each readily identifiable according to their attributes are popular Daoist characters within the Chinese pantheon. They have featured in numerous literary texts of which The Eight Immortals Depart and Travel to the East by Wu Yuantai are arguably the most important.

Female Experiences (Lots 57 - 62)

CHINESE ART : 1OO STORIES

57 CUI HUI (ATTRIBUTED TO). Yang Yuhuan Bathing, dated 1716, ink and colour on silk, Chinese hand scroll painting, with two colophons by Gion Nankai (1676-1751) dated 1748 and Ito Rangu dated 1765 and a frontispiece by Gion Nankai. The Painting 107cm x 28cm | Colophons 75cm x 28, 90 x 28cm | The Frontispiece 56cm x 28cm.

崔鏏（傳）《華清賜浴圖》. 設色絹本手卷款識：康熙丙申年夏四月。上谷崔鏏寫鈐印：「崔鏏」 <一> (祇園南海) 寂寂蕉陰夏日長，六宮無事更新妝。管弦嘔啞逐涼吹，宮外帶傳羅綺香。出浴香肌汗未乾，菱臺各處看初傳。人物花影誰相勝，誰倚西風玳瑁欄。水殿乘涼圖一幅，工巧精緻，固實父家法，更千載之後，精神飛動，遂題二絕以代跋語云。戊辰之秋。南海阮瑜手書於湘雲居竹深處。鈐印：「枕洞天」「源瑜之印」「一片冰心在玉壺」 <二> (伊藤蘭嵎) 明皇誅韋后，睿宗反正何其壯。開元之治與貞觀并稱，則實可謂英主也。及其晚節，久相林甫，尤寵楊妃，故祿光稱兵潼關不守，遂致播遷五十年。太平一旦，土崩瓦解，雖李郭之勛，復兩都其後，藩鎮跋扈，遂兆唐之亡矣。此圖楊妃出浴，明皇倚檻，觀之褻瀆宣淫，豈可與正人莊士俱展觀者耶？十洲爲之圖，殆為勸戒設耶？十洲之畫，精緻入神，予鑒賞一展卷，有目者皆能動之。及乞不佞跋尾書夫明皇有始無終以還之云。時明和乙酉秋日，蘭嵎長堅書。鈐印：「六有軒圖書」「長堅」「不從三代以下人物莫名孟子以今學術」引首：(祇園南海) 乘涼，南海阮瑜書。鈐印：「源瑜之印」「一片冰心在玉壺」

£10,000 - £15,000

ang Guifei, also known as Yuhuan, rose to become the Tang Dynasty Emperor Xuanzong’s favourite concubine and gained bathing rights to the Emperor’s exclusive Huaqing resort, where she is depicted here. Interestingly the route to becoming the Imperial consort was circuitous, with Yang originally betrothed to the Emperor’s son, Li Mao. After the death of his favourite consort, the Emperor’s eye alighted on Yang. However, to avoid accusations of impropriety, Xuanzong disguised Yang as a Buddhist nun within the palace, and thoughtfully provided his son with an alternative wife.The story of Yang has been particularly popular in Japan where it is thought to have inspired the 11th Century classical novel, The Tale of Genji.

58 ► XU SHAOJIU (1911 - ?). Two Ladies Sewing, signed Xu Hong and dated 1939, ink and colour on paper, framed and glazed Chinese painting. 96cm x 32cm

徐韶九《仕女圖》款識：己卯年中秋前一日。徐洪韶九製於劬書讀畫之樓藏印：「劬書讀畫之樓」「徐洪」「韶九」

£500 - £800

orn in Shanghai, Xu Shaojiu was the son of Kun Opera artist Xu Lingyun (1886 – 1966). Xu is famous for his paintings of women, flowers and fruit. He was one of the earliest members of the Su Yue Painting Society, and was acquainted with opera performer Sun Junqing (1905 – 1998) and artist Lu Yifei (1908 – 1997).

59 ▼ ZHI ZIYI.

Ladies, Chinese ink and colour on silk, four framed and glazed paintings. 29cm x 40.5cm (4).

朱子簃《仕女圖》設色絹本玻璃鏡框款識： <一> 玉殿承恩夢已遙，薰籠斜倚坐深宵。星河未落雞初唱，親掌宮燈事早朝。擬改玉壺意。王宜。鈐印：「原名廷禮」 <二> 楓葉蘆花水不波，琵琶人老淚爲何。青衫我亦天涯客，寫出潯江舊怨多。辛丑秋末，會稽朱子簃寫於廣州客次並題。鈐印：「小弇」「子宜父」 <三> 玉帳金閨夢，黃河黑水聲。橅仇英畫法。藤谿子子彜。鈐印：「子宜」 <四> 六如居士曾有此本，背臨一過愧不及也。次裳太尊人大人教正。會稽朱鎧寫意。鈐印：「鎧」 £500 - £800

hese paintings depict the lives of ancient Chinese women of different backgrounds and statuses whether taking on affairs of state, reading and engaging in literary activities with friends, joining the army fighting for their country or travelling by raft and expressing emotions through the playing of music.

CHINESE ART : 1OO STORIES

60 ► A CHINESE FAMILLE ROSE 'HUA MULAN' VASE. Qing Dynasty | 19th Century. The tall ovoid body painted with the heroin seated at a table surrounded by her retainers and holding a banner, with a floral band to the shoulder, a short neck and a flared rim decorated with two sages playing a board game, a four character Kangxi mark to the base. 30.5cm H.

清十九世紀粉彩繪‘木蘭’圖紋瓶，青花「康熙年製」楷書款 £250 - £350

ua Mulan is famous for disguising herself as a man to conscript to the army in her father’s place. After distinguishing herself in battle she turns down a military honour from the Emperor, returning to her home town to reveal her true identity. Here she is depicted taking centre stage sitting confidently behind a desk with various figures in attendance likely about to reveal her true identity.

61 ◄ A CHINESE YELLOW-GLAZED BISCUIT 'HE XIANGU AND LU DONGBIN' BRUSH POT. Qing Dynasty | 19th Century. The male Immortal standing in long flowing robes among swirling clouds holding a fly whisk, and looking down on his female counterpart holding a lotus stem and seated on the back of a mythical beast. 12cm H.

清十九世紀素燒黃釉模印何仙姑與呂洞賓圖紋筆筒 £500 - £800

he dramatic tension between two Immortals is underscored by an intriguing story. The tale The Eight Immortals Depart and Travel to the East tells of how he was greatly attracted to the courtesan Bai Mudan. Despite his passion for her he would not give himself fully to Bai. In frustration, she sought the aid of He Xiangu who taught her special techniques of seduction, and through these she was able to successfully seduce him and steal his immortal essence, thereby aiding her self-cultivation and quest to become Immortal.

62 λ A LARGE AND IMPRESSIVE CHINESE IVORY CARVING. Qing Dynasty | By Liang Wei. Exquisitely carved and pierced in the round from the rim to the tapering foot, to depict a young bride surveying from a high window a pine and willow covered landscape densely populated with figures and animals, inscribed below the rim with a poem by Wang Changling, and signed, Liang Wei. 64cm Long, 2.3kg. The inscription quotes from the poem Gui Yuan by the poet Wang Changling during the period of the Tang Dynasty which has been translated thus by Xu Yuanchon: Sorrow of a Young Bride in Her Boudoir The young bride in her boudoir does not know what grieves. She mounts the tower, gaily dressed, on a spring day. Suddenly seeing by roadside green willow leaves, How she regrets her lord seeking fame far away!

清象牙雕人物故事圖擺件款識：閨中少婦不知愁，春日凝妝上翠樓。忽見陌頭楊柳色，悔教夫婿覓封侯。梁伟作「雁門」, 「西城」, 「闗」, 「司馬」款

£10,000 - £15,000 λ *Please note that this may be subjected to cites regulations*

he carving places the young bride as an omniscient observer at the top of a scene populated with a fantastical landscape laid out before her. Some of the scenes may be recognised as depicting stories drawn from the wider pantheon of Chinese literature, and with her husband away, it is particularly poignant that some of these relate to famous battles. The flag bearing the inscription Sima indicates the warriors riding beneath represent the States of Cao Wei and their proximity to the walled gate inscribed Xi Cheng recall the order given by the military general Zhuge Ke of the Eastern Wu to invade the city. This was one of the decisive campaigns in the great Battle of Dongxing towards the end of the Three Kingdoms period.

Elsewhere, warriors riding beneath another flag, inscribed guan, indicate that they form part of the army of Guan Yu, made famous in the classic work, Romance of the Three Kingdoms. Another touching scene visible towards the tapering base of the tusk depicts the heroic Zhou Tanzi, from the seventh of the twenty-four tales of filial piety. The plucky youngster is in the process of securing milk for his ailing parents from a herd of deer whilst dressed as a deer so as not to raise suspicion, when a group of hunters spy him almost shooting him before he reveals his true identity.

CHINESE ART : 1OO STORIES

Dreams of the Red Chamber & Romance of the Western Chamber (Lots 63 - 74)

63 ▲ A CHINESE BLUE AND WHITE 'QIN PLAYER' DISH. Qing Dynasty | Kangxi period. The rounded body painted with a lady seated below a weeping willow playing a qin beneath the stars, a curious intruder holding a fan approaches from the side, while a small boy looks on from the vicinity of a pavilion, the evening sky lit by a crescent moon and stars. 28cm D.

清康熙青花繪撫琴仕女圖紋碟 £1,500 - £2,000

64 ▲ A CHINESE FAMILLE VERTE FIGURATIVE BASIN. Transitional period | Circa 1640. The deep-sided vessel with a wide rim, supported on short feet, the interior painted with a figurative scene of a scholar and maiden watching a male and female drummer, the latter with a boy clambering over his shoulders, with another lady observing proceedings from a first floor window, all within a geometric border. 27.5cm D.

明末清初五彩繪人物故事圖紋折沿盆 £2,000 - £3,000

CHINESE ART : 1OO STORIES

65 ► A LARGE CHINESE FAMILLE VERTE 'ROMANCE OF THE WESTERN CHAMBER' CHARGER. Qing Dynasty Painted to depict a young girl pleading with her mother to accept her young scholar lover, all set out in a fine interior, the rims with precious objects and flower heads on a diaper ground, the reverse with floral sprays. 42cm D.

清五彩繪西廂記故事圖紋折沿大盤款識：這其間何必苦追求，常言道女大不中留。

£800 - £1,200

he scene depicted is from Romance of the Western Chamber tells of Cui Yingying, a beautiful maiden, begging her reluctant mother, Madam Zheng, to allow her marriage to the poor but talented scholar, Zhang Sheng. She sends Zhang to the capital to seek his for tune and ultimately returns to marry Yingying.

66 ◄ A PAIR OF CHINESE FAMILLE ROSE SQUARE-SECTION VASES, FANGGU. Qing Dynasty | Yongzheng period. Each with a flared neck and foot painted with scenes from The Romance of the Western Chamber, the central section decorated to each side with landscapes within a pink diaper border. 26.5cm H. (2)

清雍正粉彩繪西廂記圖紋方觚一對 £2,500 - £4,000

See La Ceramique Chinoise sous les Ts'ing, by J.P. van Goidsenhoven, Brussels 1936, plate 91, cat. 1206-207 for a similar pair of vases.

67 ► A CHINESE FAMILE ROSE 'ROMANCE OF THE WESTERN CHAMBER' DISH Qing Dynasty | Yongzheng period Painted with the scene from the Romance of the Western Chamber, when Cui Yingying and Hong Niang heard Zhang Gong playing a qin, all within a black and gilt border of petals, the rim with floral panels on a pink diaper ground. 30.5cm D.

清雍正粉彩繪西廂記故事圖紋折沿碟 £400 - £600

68 ▲ TWO CHINESE BLUE AND WHITE 'DREAM OF THE RED CHAMBER' DISHES. Qing Dynasty | Yongzheng period Each painted with a figurative scene from the classical novel to the centre within a band of floral panels of a diaper ground, the wide rims with floral sprays. 22cm Diameter

清雍正粉彩繪紅樓夢圖紋碟兩隻 £800 - £1,200 69 ► A BLUE AND WHITE 'ZHANG GONG' DISH Qing Dynasty Decorated with a scene from the Romance of the Western Chamber, depicting Cui Yingying and Hong Niang listening to Zhang Gong playing a qin. 225cm D.

清青花繪张珙撫琴圖紋碟 £800 - £1,200

70 ◄ A CHINESE FAMILLE ROSE 'SCHOLAR DREAM' DISH. Qing Dynasty | 19th Century. The interior painted to the edges of the dish to depict the scholar Si Mayou slumped across his desk dreaming of a liaison with the famous courtesan Su Xiaoxiao. 26.5cm D.

清十九世紀粉彩繪錢塘夢圖紋碟 £800 - £1,200

he scholar Si Mayou is depicted dreaming of the famous courtesan Su Xiaoxiao, whose relics, according to the prologue of the Yuan classic, Dream of the West Chamber, he had chanced upon the previous day in his garden and arranged to be properly buried. Accordingly, the young woman had appeared to him in a dream to show her gratitude.

CHINESE ART : 1OO STORIES

71 ◄ A CHINESE FAMILLE ROSE JAR AND COVER AND A CUP. Qing Dynasty. The cylindrical jar with a flat cover painted with calligraphy and figures from the Wu Shuang Pu, the flared cup illustrating a scene from The Dream of the Red Chamber where Ying Chun and Li Zhi’s sad stories of their marriage life. 7.7cm - 8cm D, 3.7cm - 10cm H (3).

清粉彩繪紅樓夢圖紋故事盃及無雙譜圖紋蓋罐 £100 - £200

he Wu Shuang Pu, 'Table of Peerless Heroes', published in the late 17th century by Jin Guilang, lists forty imagined portraits of famous Chinese folk heroes, warriors and poets.

72 ► A CHINESE FAMILLE ROSE 'LOVERS' TEACUP & SAUCER. Qing Dynasty | Yongzheng period Each piece decorated with an elegant amorous couple, Cui Yingying and Zhang Sheng in a garden, the man kneeling and embracing the shy maiden, both observed by a servant from a circular window. 7cm -11.5cm Diameter (2).

清雍正粉彩繪人物故事圖紋盃碟 £600 - £800

73 ◄ 74 ▼ A CHINESE FAMILLE ROSE 'LOVERS' A CHINESE FAMILLE ROSE 'LOVERS' CUPS VASE. AND SAUCERS. Qing Dynasty | 19th Century. Of pear-shaped form with a waisted neck, supported on a high foot decorated with a scene of a scholar and a lady in the garden. 18cm H.

清十九世紀粉彩繪人物故事圖紋瓶 £400 - £600

Qing Dynasty | Yongzheng period. Each piece painted with a young lady relaxing in a garden beneath a blooming prunus tree, approached by a young admirer with a fan, the rims with pink diaper bands, saucers 10.2cm D (4).

清雍正粉彩繪人物故事圖紋盃碟一對 £400 - £600

Of East And West (Lots 75 - 83) 75 XU SANCHAN. Circa 1930. Jesus Washing the Feet of his Disciples, ink and colour on paper, unmounted Chinese painting. 135cm x 35cm. Provenance: from an English Private Collection.

徐三春約一九三十款識：服役衆生。耶穌說，我若不洗你，你就與我無分了。人子來，並不是要受人的服事，乃是要服事人的。徐三春敬繪藏印：「永惠」「三春畫印」來源：英國私人收藏。

£1,000 - £2,000

n 1926 Bishop Shen Zigao (1893 – 1982), the Oxford and Cambridge educated theologian, set up the art society ‘St Luke’s Studio’ with the expressed purpose of encouraging the creation of art within the Chinese church. One of the leading artists of the movement was Xu Sanchun who converted to Christianity having previously worked in the railways. His work was often critiqued by the Bishop himself to help it communicate the tenants of Christianity to a Chinese audience through indigenous artistic means. Works by the artist are exceptionally rare. A poster of a work by Xu is currently in the collection of the Hong Kong Baptist University Library Art Collection, accession number 226-095. The present image is taken from the Bible’s New Testament, John 13:1-17 tells of how Jesus washed the feet of his disciples, as a demonstration of his humility. It was one of a series of four works, now thought to be lost, commissioned by Bishop Zigao to represent the four tenants of the Christian faith: prayer, healing, preaching and service, created to hang on a side wall of the guest hall of St Luke’s Studio in Nanjing. A version of the present work is reproduced in Daniel Johnson Fleming, Each With his Own Brush: Contemporary Christian Art in Asia and Africa, 1938, p 19.

CHINESE ART : 1OO STORIES

76 ► A CHINESE FAMILLE ROSE CANTON ENAMEL 'QUAILS' SNUFF BOX Qing Dynasty | Qianlong period The cover delicately painted with a pair of quail birds among rocks beneath sprays of flowering peonies, sides with panels of peony flowers on a diaper ground, the corners each set with a flower head roundel, the base and interior enamelled white. 3.5cm x 9.5cm x 6.5cm

清乾隆广东銅胎畫琺瑯繪鵪鶉花卉圖紋鼻煙盒 £800 - £1,200

pair of Canton enamel boxes similarly decorated with a pair of quails on the covers was gifted to Queen Mary in 1924 by the Duke and Duchess of York, Prince Henry, Prince George, Princess Victoria, the King and Queen of Norway and the Duke of Connaught on the occasion of her 57th birthday (Ayres, Chinese Art in the Collection of her Majesty the Queen, cat nos 2134 and 2135, page 953.).

Indeed the appropriateness of these boxes as a royal birthday gift is underlined by the hidden meanings within the painting where the combination of plants and rock is intended as a rebus of birthday wishes, and the pair of quails, shuang an, are a homophone for ‘double peace’. The royal pair of boxes were so highly prized that they were lent for exhibition at the International Exhibition of Chinese art at the Royal Academy, 1935-1936, the most important exhibition of Chinese art ever to have taken place in the West by that point. The present piece differs in shape, but finds a close example in shape and size to a piece in the Chinese Imperial collection also depicting a pair of birds on the cover, see Compendium Collection of the Palace Museum, Enamels, 2011, volume 5, cat no 101.

77 ► A CHINESE BLANC-DE-CHINE MODEL OF A SHOE. Qing Dynasty | 18th Century. With a small heel and a square toe turning upwards, moulded to the front with a buckle. 14cm long.

清十八世紀德化窯鞋 £400 - £600

n Northern China, the word for shoe, xie, formed a rebus expressing reciprocal understanding. The story of Ye Xian, similar to Cinderella, tells of a young girl who was married to the King after it was discovered her foot fitted a tiny golden shoe. Historically, porcelain shoes, tokens of harmony between two people, were used as cups and were occasionally given as wedding presents in China.

78 ► A CHINESE FAMILLE ROSE 'APOLLO AND DAPHNE' DISH. Qing Dynasty | Qianlong period | Circa 1735. Depicting the Greek god playing his lyre, seated beside his beloved nymph on a rock in a hilly grass field with trees in the background, the everted rim with finely painted sprays of chrysanthemum and peony. 22.5cm D. Provenance: an English private collection.

清乾隆約一七三五粉彩繪阿波罗与黛芙妮圖紋折沿碟來源：英國私人收藏。

£400 - £600

reek Myth tells of the lover Apollo chasing Daphne who turns herself into a tree to escape him. Here they are pictured in a more happy union. This dish would have been copied from a European etching in China and produced for export to the West.

79 ◄ A CHINESE FAMILLE ROSE 'GOATS' DISH. Qing Dynasty | 18th Century | Circa 1760 - 1840. The interior of the dish delicately painted with two goats on the grassy bank of a river, beneath sprays of oversized peonies,looking out to buildings and trees on the opposite shore. 22.5cm D. Provenance: From an English Private Collection

約一七六零至一八四零粉彩繪羊紋碟來源：英國私人收藏。 £800 - £1,200

n identical dish to this was famously in the collection of Alexander Hamilton (1755 – 1804), one of the founding fathers of the USA, and immortalised in the 2015 Broadway musical Hamilton. The Hamilton dish is illustrated in Jean McClure Mudge, Chinese Export Porcelain in North America, 1986, cat no 246, p 158, and has been loaned to the Museum of the City of New York by the estate of John Church Hamilton.

he view of this well-known pattern is thought to depict the Dutch coastal town Scheveningen. This scene has also been referred to as Deshima Island, near Nagasaki, which was the V.O.C.'s headquarters in Japan between 1641 and 1862. However, it is more likely to be a Dutch scene depicted by a well-known Dutch Delft pottery painter Frederick van Frytom (1652-1702). It is exceedingly rare to be able to bring together both a Chinese and Japanese version of the same scene. A Japanese Arita dish painted with a similar landscape included in the 'Exhibition Interaction in Ceramics, Oriental Porcelain and Delftware', Hong Kong, 1984, Catalogue, no. 65 A Chinese example is in the collection of the Peabody Essex Museum, Salem, illustrated by William R. Sargeant in Treasures of Chinese Export Ceramics from the Peabody Essex Museum, New Haven and London, 2012, p. 132, no. 42.

80 ▼ A CHINESE BLUE AND WHITE 'DESHIMA ISLAND' DISH, TOGETHER WITH A JAPANESE VERSION OF THE SAME DISH.

Qing Dynasty | Kangxi Period / Edo Period. Each dish depicts three figures and a bull in the foreground of various buildings around a harbour, within a washed-blue wave border on the flat rim. 19.5cm - 20cm D. (2) Provenance: an English Private Collection.

清康熙 / 江戶時期青花繪出島人物山水圖紋碟兩件來源：英國私人收藏。

£1,000 - £2,000

CHINESE ART : 1OO STORIES

81 ▲ A CHINESE PAINTED ENAMEL 'CHERRY PICKERS' CUP WITH TREMBLEUSE STAND.

Qing Dynasty | 18th Century. The cup with a tall body painted with two cartouches depicting a European couple, the man up a ladder, picking fruit and passing it to his companion, all on a white ground with floral sprays, the saucer formed as a large lobed shell with decorative rocaille borders to the rim and around the centre. 23cm across (2).

The same scene occurs on Chinese famille rose porcelain made for export to European markets. Painted enamel on copper is significantly more complex to make than porcelain and the present piece is exceptionally rare.

he design on the exterior of the cup is taken from a painting called "The Cherry Pickers" by the French painter Antoine Baudouin (1723-1769). The painting was popularised through an engraving by Nicolas Ponce (1746-1831), which inspired European porcelain manufacturers to copy the scene.

82 ◄ A CHINESE FAMILLE ROSE ARMORIAL RETICULATED BASKET AND STAND.

清十八世紀廣東銅胎畫琺瑯繪外國人像盃碟 £600 - £800

Qing Dynasty | 19th Century The oval-section body painted to the interior with the arms of Walterbeck and monogram CJW above a banner inscribed 'Mallacca' within a gilt spearhead border, surrounded by panels of blossoms and brocade patterns, the rim pierced with oval openings, two gilt handles rising from the everted rim, the stand similarly decorated. 23cm D (2).

清十九世紀粉彩繪徽章圖紋籃子及托盤 £1,200 - £1,500

I 83 ► A CHINESE FAMILLE ROSE ARMORIAL STAND AND MEAT DISH. Qing Dynasty | 19th Century Each of oval-section body painted with the arms of Walterbeck and monogram CJW flanked by a lion and an elephant above a banner inscribed 'Mallacca' within a gilt spearhead border, all surrounded by alternating panels of blossoms and brocade patterns, the stand with a reticulated rim pierced with oval openings. 26cm - 36.cm across (2)

清十九世紀粉彩繪徽章紋肉食盤及托盤 £1,200 - £1,500

nspired by an 1762 Worcester porcelain design, according to family tradition, this service was given to Dutch governor Constantijn Johan Wolterbeek (1766 – 1845) by the Sultan of Malacca when the British ceded the colony to the Dutch after 23 years of interim rule by the British (see J. Kroes, Chinese Armorial Porcelain for the Dutch Market, pp. 519-520, no. 443).

Treasures from Under the Sea (Lots 84 - 96)

hinese porcelain from shipwrecks tell an important story and three major shipwrecks of wares gave important information on wares of the 17th and 18th centuries.The first cargo to come to market was the Hatcher Cargo, sold over several auctions in Christie`s Amsterdam in 1984 and 1985. Two porcelain covers dated 1643 helped to date the wreck but this needed corroborating to give a firm date of the wreck and its cargo. The romance of lost treasures recovered from the sea helped catch the public imagination and the Hatcher Cargo sale which achieved a record result at the time of 13.2 million USD.

84 ► TWO CHINESE BLUE AND WHITE CIRCULAR BOXES AND COVERS. Ming Dynasty | Chongzen period | Circa 1635 - 1644. The sides of one decorated with a scrolling pattern, the other with flames, the flat top of each with a fan-shaped panel enclosing a landscape scene. 2.8cm H (4). Provenance: Christie's Amsterdam, Hatcher Collection, June 1984 [Label]

明崇禎青花繪山水圖紋圓形蓋盒兩件 £400 - £600

85 ◄ TWO CHINESE BLUE AND WHITE CIRCULAR BOXES AND COVERS. Ming Dynasty | Chongzhen | Circa 1635 - 1644. Each decorated with a scrolling pattern around the sides, the flat top of each painted with a watery landscape with two dwellings in the foreground. 2.8cm H (4). Provenance: Christie's Amsterdam, Hatcher Collection, June 1984 [label]

明崇禎青花繪山水圖紋蓋盒兩件來源：1984年3月14日，Hatcher收藏專場拍賣（標籤）。

86 ► TWO CHINESE BLUE AND WHITE JARLETS.

£400 - £600

Ming Dynasty | Chongzhen Period | Circa 1635 - 1644. The globular body of each decorated with sprays of bamboo emerging from a rock beside oversized insects, the flat covers similar decorated. 5cm H (4). Provenance: Christie's Amsterdam, Hatcher Collection, June 1984 [label].

明崇禎青花繪竹紋蓋罐兩件來源：1984年3月14日，Hatcher收藏專場拍賣（標籤）。

87 ◄ TWO CHINESE BLUE AND WHITE JARLETS WITH COVERS.

£400 - £600

Ming Dynasty | Chongzhen period | Circa 1635 - 1644. The first with a swelling body, a waisted neck and tapering rim supported on a short foot, painted with fan-shaped panels containing landscapes, the flat cover with a landscape scene, the second of similar proportions but decorated with floral scrolls. 5cm H (4). Provenance: Christie's Amsterdam, Hatcher Collection, June 1984 [label].

明崇禎青花繪花卉卷草紋及山水圖紋蓋罐各一件來源：1984年3月14日，Hatcher收藏專場拍賣（標籤）。 £400 - £600

CHINESE ART : 1OO STORIES

88 ► A SMALL CHINESE CIRCULAR BLUE AND WHITE BOX AND COVER. Ming Dynasty | Chongzen Period | Circa 1635 - 1644. Decorated with a band of lotus scroll around the exterior and rounded cover which has a circular roundel with a small incised hole to the centre around another small band of foliage. 4cm Diameter (2). Provenance: Christie's Asterdam, Hatcher Collection, 14 March 1984 [label]

明崇禎青花繪蓮紋圓形蓋盒來源：1984年3月14日，Hatcher收藏專場拍賣（標籤）。

£300 - £500

89 ◄ A SMALL CHINESE CIRCULAR BOX AND COVER. Ming Dynasty | Chongzhen Period | Circa 1635 - 1644. Of circular form supported on a short tapering foot, the exterior of the box and domed cover decorated with flower heads born on scrolling foliage, the base inscribed with a six character Xuande mark, the interior glazed, with a circular liner pierced with a cash motif. 9cm D (3). Provenance: Christie's Amsterdam, Hatcher Collection, June 1984 [label]

明崇禎青花繪卷草紋印泥盒，青花「大明宣德年製」楷書款來源：1984年3月14日，Hatcher收藏專場拍賣（標籤）。

£1,000 - £2,000

his box appears to be a seal paste box, and a number of circular boxes and covers were recovered from the wreck, however pieces including liners were incredibly rare, and are not known from other sources. It has been suggested that they are designed to allow for the control of the amount of rouge in the seal paste.

90 ► A PAIR OF SMALL CHINESE BLUE AND WHITE 'THREE FRIENDS' STEM CUPS. Ming Dynasty | Chongzhen period | Circa 1635 - 1644. The deeply rounded bowls supported on a spreading foot, painted around the exterior with flowering plum branches, bamboo shoots and pine trees. 4.5 - 5cm H (2). Provenance: Christie's Amsterdam, Hatcher Collection, 14June 1985, Lot 49, [label]

明崇禎青花繪歲寒三友圖紋高足盃一對來源：1984年3月14日，Hatcher收藏專場拍賣（標籤）。

£400 - £600

91 ◄ TWO CHINESE BLUE AND WHITE JARLETS WITH COVERS INCLUDING A RARE UPSIDE-DOWN-DECORATED JAR Ming Dynasty | Chongzhen period | Circa 1635 - 1644 Of barrel shaped form decorated with sprays of bamboo emerging from a rock, the flat covers similarly decorated. 5cm H (4). Provenance: Christie's Amsterdam, Hatcher Collection, June 1984 [label]

明崇禎青花蓋罐繪竹紋蓋罐兩件來源：1984年3月14日，Hatcher收藏專場拍賣（標籤）。

£400 - £600 n interesting feature of the present pair is that one of them has the decoration painted on upside down. It is unclear whether this was an intentionally playful and irreverent act of ceramic artist, or whether it was an accidental reminder of the fallibility of humankind.

92 ► A RARE CHINESE BLUE AND WHITE TRIPOD INCENSE BURNER. Qing Dynasty | Kangxi period | Circa 1690. The globular body with three spayed feet emerging from beast masks, and rising to a high spreading mouth, the body decorated with four figurative landscape scenes on a quatrefoil panel against a diaper ground each separated with vertical flanges, the neck with similar panels divided by ruyi heads, the interior of the bowl painted with a single lotus flower. 9.3cm (4). Provenance: from the Vung Tau Cargo

清康熙約一六九零青花繪人物故事圖紋三足香爐來源：頭頓沉船。

£300 - £500

he Vung Tau Cargo was discovered in 1989 by Vietnamese fishermen and subsequently sold at Christie's Amsterdam in a two-day sale of 1011 lots on 7th and 8th April 1992. An ink stick in the ship’s cargo bears the cyclical date corresponding to 1690 and much of the porcelain appears to have been created in the decade of 1683 following the reopening of the kilns at Jingdezhen.

93 ◄ TWO CHINESE BLUE AND WHITE CYLINDRICAL VASES AND COVERS. Qing Dynasty | Kangxi period | Circa 1690. Each with a cylindrical body supported on a waisted spreading foot, and rising to rounded shoulders and short cylindrical mouth, the exterior variously decorated with a landscape scene with a figure and a rock with chrysanthemums emerging from it, decorative borders to the shoulders, foot and domed covers which are surmounted by a finial. 13.5 - 15.cm H (4). Provenance: Vung Tai Cargo, Christie's Amsterdam, 7th and 8th April 1992 [label]

清康熙約一六九零青花繪山石花卉圖紋蓋瓶兩件來源：頭頓沉船，1992年4月7、8日阿姆斯特丹佳士得拍賣（標籤）。

£1,000 - £1,500 94 ► TWO CHINESE BLUE AND WHITE MUSTARD POTS. Qing Dynasty | Kangxi period | Circa 1690 The globular body raised on a knopped spreading foot, set with an S-shaped handle, the body decorated with four spiralling panels which extend down to the feet, each painted with a landscape scene populated with figures, the domed covers decorated with three similar scenes below a bud finial. 13.5 - 15.cm H (4). Provenance: Vung Tau Cargo, Christie's Amsterdam, 7th and 8th April 1992, lot 239 [label].

清康熙青花繪山水圖紋芥末蓋罐來源：頭頓沉船，1992年4月7、8日阿姆斯特丹佳士得拍賣，第239號（標籤）。

£1,000 - £1,500

CHINESE ART : 1OO STORIES

95 ► A BLUE AND WHITE 'BOY AND BUFFALO' TEAPOT. Qing Dynasty | Yongzheng period. Of pear-shaped form with a domed cover and a bud finial, decorated with a boy riding a buffalo and throwing his hat into the air. 10.5 H (2). Provenance: from the Ca Mau shipwreck.

清雍正青花繪童子騎牛圖紋茶壺來源：金甌沉船。

£300 - £500

he Ca Mau Cargo was discovered around 1998 and was eventually sold in Sotheby's Amsterdam in the Ca Mau Shipwreck Sale, 29-31 Januar y 2007. The presence of porcelain with the Yongzheng reign mark allows the wreck to be dated between 1723 and 1735. This pattern was much appreciated in Europe and versions of the design are found on teapots from the Worchester factor y.

96 ► TEN CHINESE BLUE AND WHITE CIRCULAR BOXES AND COVERS. Qing Dynasty | Circa 1822. Of circular form with rounded covers, each decorated with a floral spray, each box containing within it a smaller box of similar form. 8.3 - 8.5cmD (11) Provenance: From the Tek Sing cargo

約一八二二青花蓋盒十件來源：的星號沉船。 £400 - £600

he Tek Sing was wrecked in 1822 and has been referred to as the ‘Titanic of the East’ due to the tragic loss of life. The cargo was recovered in 1999 and sold in Germany in November 2000.

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Terms and Conditions for Buyers at Chiswick Auctions aware of any error or dispute of any nature, whether or not title has passed to the Buyer, and up to a period of 6 months after the said sale. Grounds for cancellation under the present section shall include but not be limited to any dispute relating to the attribution or provenance of the Lot, ownership and title, fraud or deceit, lack of relevant licences or cer tificates, any subsequent changes in domestic or international legislations restricting the sale of export of goods etc. In the event of internet-only auctions, the Buyer shall have a 14 day right to retract, after reception of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract. 4. AFTER THE SALE 4.1 Payment All purchased lots must be paid for on the day of the auction. Commission bids must be paid for no later than the day after the auction. Payment must be in cash, debit, credit card or bank transfer. Cheques are not accepted. Cash payments shall not be receivable for amounts over €10,000, regardless of the payment being for one or multiple Lots. Payments made by someone other than the registered Buyer shall not be accepted. Title will not pass to the Buyer until CA Ltd has received all amounts due to them in cleared funds even if the Lot has been released to the Buyer. 4.2 Buyer’s Premium The Buyer will pay CA Ltd a premium of 25% on the hammer price plusVAT on that premium on the first £500,000 and 12% plusVAT on the balance thereafter.A Buyer’s Premium of 21% plusVAT is charged on Wine & Spirits Lots. The VAT payable varies by symbol as below: No Symbol: The standard rate ofVAT is charged on the premium under the Auctioneers Margin Scheme in accordance with Art. 333 of 2006/112/EC. Standard UK VAT will be charged on the buyers’ premium and invoiced on an inclusive basis. †: Normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium. *:These lots have been imported from outside the UK for sale and placed under theTemporary Admission regime. Impor tVAT is payable at 5% on the hammer price.VAT at 20% will be added to the buyer’s premium but will not be shown separately on the invoice. If you are re-exporting a * lot outside of the UK, you must use Chiswick Auctions Ltd TA Shipper.

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4.3 Online Bidding Surcharges Customers bidding through Chiswick Live are liable for a 1% surcharge on the hammer price, plus VAT.This is in addition to the Buyer’s Premium. Customers bidding through the third-par ty auction platform the- saleroom.com are liable for a 4.95% surcharge on the hammer price, plus VAT.This is in addition to the Buyer’s Premium. Customers bidding through the third-par ty auction platforms invaluable.com or liveauctioneers.com are liable for a 5% surcharge on the hammer price, plus VAT.This is in addition to the Buyer’s Premium. 4.4 Taxes VAT is payable on the buyer’s premium, and for some lots,VAT is payable on the hammer price.The successful bidder will be responsible to ascertain and pay any applicable taxes including VAT,sales tax or any equivalent tax arising on sale of a particular lot. W.e.f. 1st January 2021 (Post Brexit), Private individual buyers based outside UK will now be chargedVAT at the applicable rate and will not be able to claim a VAT refund. Trade clients based outside UK and who arrange for their own shipping can get the VAT refunded if all the below conditions are met: 1. Have registered to bid with an address outside of the UK 2. Provide immediate proof of expor t out of the UK within 90 days from the date of the auction Please note, we charge an administrative fee of £35 per invoice to check export documents and arrangingVAT refunds.VAT refunds will be done to the original method of payment used by the buyer. No VAT will be refunded where the total VAT on an invoice is under £70. Trade clients based outside UK and who arrange shipping with our recommended shipper JGM Shipping can get the VAT taken off the invoice prior to making payment. In order to do this, you must email katy.mcevoy@chiswickauctions.co.uk a confirmation of shipping with JGM Shipping. If you cancel or change the shipping with our recommended shipper, we will issue a revised invoice charging all applicable taxes. 4.5 Artist Resale Rights / Droit de Suite Lots marked with ‘ARR’ may be subject to a levy.

Terms and Conditions for Buyers at Chiswick Auctions Droit de Suite is a royalty payable to a qualifying artist or to the artist’s heir 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 cumulative sliding percentage scale based on the hammer price excluding the buyer’s premium.The royalty does not apply to Lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single Lot is the sterling equivalent of €12,500. Royalties for Droit de Suite are as follows: • From 0 to €50,000 4% • From €50,000.01 to €200,000 3% • From €200,000.01 to €350,000 1% • From €350,000.01 to €500,000 0.5% • Exceeding €500,000 0.25% 4.6 Remedies for non-payment If the Buyer fails to make full payment in cleared funds within the time required as aforementioned, CA Ltd shall be entitled to exercise any one or more of the following rights or remedies additional to such other rights or remedies available: • To cancel the sale • To resell the Lot on such terms by auction or otherwise entirely at CA Ltd’s discretion.The Buyer will be liable for all costs including legal fees incurred in the sale and will remain liable for any shortfall arising upon sale. • To offset against any sums which CA Ltd may owe the Buyer the outstanding sums unpaid by the said Buyer • Where the Buyer owes sums to CA Ltd in respect of different transactions, to discretionarily apply any sum paid by the Buyer for discharge of any owed sums. • To refuse entry to the Buyer at any future auction and/or reject any future bids by the Buyer and/or seek a deposit from the Buyer entirely in the discretion of CA Ltd. •To exercise a lien over the Buyer’s property in the possession of CA Ltd as collateral for any outstanding sums owed and to exercise all the rights and remedies of a person holding security over any such property, whether by way of pledge, security interest or in any other way to the extent permitted by Law. •To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs. •To take such other action as is permissible by Law and in the discretion of CA Ltd. 4.7 Collection Purchased Lots can be collected from the auction room after the sale has ended or between 10am and 6pm up until close of business on the Friday following the sale. Special arrangements may be made for collection on Saturday at CA Ltd’s discretion.

4.8 Storage CA Ltd offers a discretionary 14 days free storage on purchased Lots from the date of the sale.Thereafter Lots not collected shall incur storage charges of £5.00 per lot, per day or part thereof. CA Ltd shall be entitled to retain purchased Lots sold until all sums due have been paid to CA Ltd. If any purchased lot remains uncollected 21 days after the sale, storage charges shall thereafter be £10 per day and CA Ltd shall, in accordance with the Law, have the right to sell the purchased Lot to recover payment of storage charges outstanding. Any balance proceeds of sale received after payment of all sums outstanding and due to CA Ltd shall be held for the account of the Buyer. 4.9 Shipping Any shipping costs that may arise subsequently to the sale shall be at the Buyer’s expense. Such costs may include but not limited to postage, import and export permits where required and any other licence necessary for goods to be shipped outside of the European Union. CA Ltd does not offer insurance for shipping. However, CA Ltd may arrange insurance upon the Buyer’s request and at the Buyer’s expense. CA Ltd cannot be held responsible for any damages that may be incurred to goods prior to the fall of the hammer. 4.10 Loss or Damage CA Ltd does not accept liability for loss or damage occurring to Lots after the sale. CA Ltd will use reasonable efforts when handling packing and shipping of Lots purchased, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third party’s care. 4.11 Cultural Goods import and export restrictions Cultural goods may be subject to import and export restrictions. Under EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the item’s value exceeds the EU threshold. Under UK Law, a licence may also be required for intra-EU trade. Licenses are issued by Arts Council England and it is the Buyer’s duty to obtain them. Some countries restrict the import of specific cultural goods. For example, the United States prohibits the import of pre- Columbian monumental or architectural sculpture or murals, as well as any cultural goods in provenance from some countries subject to armed conflicts. The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible. 4.12 CITES import and export restrictions Certain endangered species are listed in the CITES Convention. Listed specimens and any parts or products thereof are subject to issuance of an export permit when leaving the European Union. Appendix I species, are also subject to issuance of a prior import

Terms and Conditions for Buyers at Chiswick Auctions permit from the country in which the goods are to be imported. Such permits are necessary before applying for export permits and it is the Buyer’s duty to initiate the proceedings with the relevant authority. The Buyer must be aware that certain countries prohibit the import of some species or any par ts or products derived thereof. For example, the United States prohibit all import of African elephant ivory, and any item containing parts that may merely resemble African elephant ivory must be accompanied by relevant documentation stating it is not the latter. Worked items that are dated before 1947 are exempt from import restrictions for intra-EU trade and shall not require export licences. Please be aware that all Lots marked with the symbol λ are subject to CITES regulations. 4.13 Limitation of liability regarding CITES export licenses Where licences are required for importing or exporting outside of the European Union, it is the Buyer’s duty to obtain them. CA Ltd cannot be held responsible if the Buyer’s application for an export permit is unsuccessful. Subsequently, in the event of failure thereof, CA Ltd shall not permit cancellation or rescission of the sale. 4.14 Warranties CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law. 4.15 Authenticity warranty In the event of a Lot being sold as authentic under the catalogue description and the Buyer provides evidence in the form of a written report by a recognised expert or test results that the said Lot is not, CA Ltd will refund the purchase price. The Buyer shall give notice to CA Ltd within 28 days from knowledge or any event giving reasons for suspecting that the item is not authentic, and within one year of the said sale. Any claim thereafter shall not be receivable. For the purposes of the present paragraph, authenticity shall be defined as the state of a Lot that is genuine and not a forgery or a copy. 5. ANTIQUITIES AND TRIBAL ART 5.1 Import and export restrictions and regulations Archaeological goods over 100 years of age, unless covered by exemption of limited scientific interest, will require an EU Licence for export to a third country, regardless of their value. It is recommended that the Buyer contact the Export Licensing Unit at Ar ts Council England in order to be assured the good is or not of limited archaeological or scientific interest. Archaeological goods found on United-Kingdom soil or in UK territorial waters over 50 years of age shall require a UK Licence regardless of their value and regardless of the export destination. Other archaeological objects regardless of their origin will require an Individual Licence or OGEL depending on their value.

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Both European-Union and UK Licences may be required simultaneously for some items. It is the Buyer’s duty to undertake the necessary steps. CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences. 6. JEWELLERY 6.1 Gemstone treatment and estimates Many gemstones on the market have been treated so as to augment their appearance, in a reversible or permanent manner. Treatments under the present section may be but not limited to: • Heat treatment to enhance sapphires and rubies’ clarity and colour • Oil and resin treatments for emeralds applied in different ways, to enhance clarity of the stone • Staining • Irradiation • Coating Estimates provided by CA Ltd are deemed to be based on the fact that the gemstone may have been subject to any type of treatment in the past. CA Ltd shall not be responsible in the absence of mention thereof. A certificate may be issued by a laboratory, providing with detailed information on the condition of the gemstone and any treatment applied thereto.The Buyer must be aware that different laboratories have different approaches as to the degree or type of treatment for a particular gemstone. If a certificate accompanies the Lot, the Buyer must be aware that it is merely a statement of the laboratory’s opinion and in no way can CA Ltd be held responsible for any mentions therein. Such certificates are deemed to be delivered with the Lot for informative purposes only. 6.2 Estimated weights If a stone’s exact weight appears within the body of the description, the stone has been un-mounted and weighed by CA Ltd. If the weight of a stone is stated to be approximate, the stone has been assessed by CA Ltd within its setting, and the defined weight is a statement of opinion only.This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy. 6.3 Signatures ‘A diamond ring, by X’: When the maker’s name appears in the title, in Chiswick Auctions’ opinion the piece is by that maker. ‘A diamond ring, signed X’: Has a signature that, in Chiswick Auctions’ opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered. ‘A diamond ring, mounted by X’: Has been created by the jeweller,

Terms and Conditions for Buyers at Chiswick Auctions in Chiswick Auctions’ opinion, but using stones or designs supplied by the client. ‘Maker’s mark for X’: Has a maker’s mark which in Chiswick Auctions’ opinion is authentic. Some items may include parts or products derived from endangered species, such as ivory or coral. Such items may be subject to import or export restrictions. See section on CITES regulations for more details. 7. CLOCKS AND WATCHES All Lots are sold as seen. Clocks and watches are therefore not deemed to be sold in working condition. Absence of reference thereof in the description does not imply that the Lot is in good condition and without defects, or has been subject to repair or restoration. CA Ltd makes no representation or warranty that any clock or watch is in working order.As clocks and watches often contain fine and complex mechanisms, bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Most clocks and watches are likely to have been repaired in the past, and as a result may include parts that are not original thereto. The United-States restrict the importation of watches such as Rolex, Frank Muller or Corum. Such models can only be imported personally by the Buyer and CA Ltd cannot assist with shipping thereof. Some watches may include leather straps derived from endangered species. Buyers may be required to obtain appropriate permits for import or export purposes in accordance with CITES regulations. CA Ltd acts in compliance with such legislations and shall take necessary steps where required. Subsequently, watches may be deemed sold without their straps. 8. FURNITURE 8.1 Upholstered furniture after 1950 According toThe Furniture and Furnishings (Fire Safety) Regulations 1988, furniture that was upholstered after the 1st of January 1950 is subject to restrictions in the United-Kingdom. Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic purposes. CA Ltd shall not be responsible for later alterations to the furniture, making it unfit for sale. 9. GLOSSARY OF PICTURE CATALOGUING TERMS 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 reserve the right,

in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. 1 JMWTurner: 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 ar tist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. 2 Attributed to JMW Turner: In our opinion probably a work by the artist, but less certainly as to the authorship expressed than in the preceding category. 3 Studio of JMW Turner: In our opinion probably a work by an unknown hand in the studio of the artist, which may or may not have been executed under the artist’s direction. 4 Circle of JMWTurner:In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist and of the period, but not necessarily his pupil. 5 Style of...; Follower of JMW Turner: In our opinion a work by a painter working in the artist’s style, but not necessarily his pupil. 6 Manner of JMW Turner: In our opinion a work in the style of the artist and of a later date. 7 After JMW Turner: In our opinion a copy (of any date) of a known work of the artist. 8 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 ar tist. 9 The term ‘with signature’ and/or ‘with date’ and/or ‘with inscription’ means that in our opinion the signature and/or date and/or inscription have been added by another hand than that of the artist. 10 Pictures are framed unless otherwise stated. 10.ASIAN ARTS 10.1 Import and export restrictions When dealing with Asian Ar ts and more specifically with items made of exotic wood (e.g. all species of rosewood) or elephant ivory, the Buyer must be aware of impor t and expor t restrictions in accordance with CITES Regulations. As aforementioned in the Section relating to such matters, import and export permits or re-export certificates may be required.Verification letters will be required for re-export of worked rhinoceros items. 10.2 Fine Chinese Paintings Current scholarship in the field of Chinese Paintings and Calligraphy does not permit unqualified statements as to the authorship or date of execution.The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings. Notwithstanding, if within 28 days of the sale of any such Lot, the original purchaser gives written notice to CA Ltd that the Lot is a forgery and within fourteen days after giving such notice, the original purchaser returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a forgery, CA Ltd will rescind the sale and refund the purchased price received. For this purpose, a 'forgery' is defined as a work created with the intent to deceive.

Terms and Conditions for Buyers at Chiswick Auctions 11. BOOKS AND MANUSCRIPTS

16. AMENDMENTS

Books and manuscripts sold as incomplete are not subject to returns. Printed books may be returned for a full refund only if they prove to be defective in text or illustration.This shall not apply to the absence of blanks, half titles or advertisements, to un-named books or to books sold under the heading of ‘binding’ or ‘bindings’.

The current Terms and Conditions may be amended, verbally or in writing, prior to the sale.

12.WINES AND SPIRITS In accordance with agreed standards in the trade, estimates shall be deemed to have taken into account the fill level. For the purposes of the present Terms and Conditions, the ‘Fill Level’ refers to the space between the base of the cork and the liquid in the bottle. Fill levels may vary with age or depending on the condition of the wine or spirit. Lack of mention thereof in the description is not a representation of an ‘acceptable’ fill level from CA Ltd. CA Ltd offers no guarantee as to suitability for drinking of the wine or spirit. The Buyer must be aware of the risk that the taste of a wine or spirit may be altered due to factors such as age, storage conditions, oxidation, etc. 13. COPYRIGHT CA Ltd shall own the copyright on all images, illustrations and written material produced by or for CA Ltd relating to a Lot, including catalogue contents. Such copyright shall remain at all times the property of CA Ltd. Neither the Buyer nor anyone else shall use the abovementioned materials without the prior written consent of CA Ltd. Some Lots may be subject to copyright protection, CA Ltd does not guarantee said Lots are free thereof. 14. DATA PROTECTION The Buyer agrees that personal information transmitted to CA Ltd may be disclosed exclusively for the purposes of business, or as required by Law. CA Ltd shall not use personal information for any other purpose without the Buyer’s prior consent. CA Ltd never sell, lend or trade in personal data provided by any Bidder. 15. SEVERABILITY Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, such provision is to take effect only in so far as it may do so without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way to be affected or impaired as a result.

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17. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale and the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with the Law of England and Wales. For the benefit of CA Ltd all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship warranty relate or apply. All parties agree that CA Ltd shall retain the right to bring proceedings in any court other than the Courts of England.

AUCTION CALENDAR MAY

28 Wine & Spirits

Featuring the Private Collection of Martyn Jenkins AKA the Whisky Cyclist

Jewllery Photographs (1840 - 2020)

JUNE

1 Chinese Art: 1OO Stories Asian Art I

2 Asian Art II

10 Fine Rugs & Carpets Interiors, Homes & Antiques Eroctica: Objects of Desire

11 Silver & Objects of Virtue Urban & Contemporary Art

19th & 20th Century Paintings & Works on Paper

Books & Works on Paper The Collector: Objects to Clocks

Please not that auction dates are subject to change.