Dukes Asian Art 12th November 2015 by john holmes

Duke’s

In Pursuit of the Scholar’s Spirit 12th November 2015

In Pursuit of the Scholar’s Spirit

AUCTIONEERS SINCE 1823

12th November 2015

Duke’s

Duke’s AUCTIONEERS SINCE 1823

Lot 153 detail

IN PURSUIT OF THE SCHOLAR’S SPIRIT: INCLUDING AN IMPORTANT PRIVATE COLLECTION

Thursday, November 12th, 2015 at 10.30 am

Catalogues £30.00 (by post) Photography by Jonathan Gooding Cover artwork by Kevin Williamson

www.sofaa.org

Lot 158 detail

LOCATION AND CONTACT INFORMATION

Welcome to the Dorchester Fine Art Salerooms, which are centrally located in the county town, close to the main Dorchester South railway station. Trains run hourly to London Waterloo (approximately 2 hours 30 minutes) and there are airports at Bournemouth and Exeter. B31 47 The Saleroom has ample parking. If you require further information please refer to the buyer’s guide on page 3, visit our website, or contact Stephanie Smith. MILL

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Dukeâ&#x20AC;&#x2122;s AUCTIONEERS SINCE 1823

area representatives Wiltshire & Cranborne Chase Sir Michael Salt, Bt (01258) 860259 The Isle of Wight Anthony Blest (01983) 760460 Devon Chris Bolton F.R.I.C.S. (01297) 32351 Cornwall Charles Cox (01840) 261085 Bristol & North Somerset Michael Liversidge (01305) 265080 Hampshire Robert Nevin (0208) 7685152 North of England Nick Bray (07860) 642488

VIEWING: Saturday, 7th November, 9.30am - 12noon Monday, 9th November, 9.30 am - 5pm Tuesday, 10th November, 9.30am - 7pm Wednesday, 11th November, 9.30am - 5pm and on the morning of the auction day. At other times by appointment.

Lot 222 detail 11

RESULTS FROM PREVIOUS ASIAN ART SALES

Duke’s AUCTIONEERS SINCE 1823

An exceptional Chinese Imperial white jade cup and stand, Qianlong, 13.4cm wide.

An important Chinese hardwood carving of a luohan, the underside incised with an Imperial poem, Qianlong, 10.2cm high.

Sold for £513,850

Sold for £382,400

A fine Chinese miniature cloisonné vase, Qianlong mark and period, 12.7cm high.

A fine Chinese Imperial yellow bowl, Hongzhi mark and period, 20.3cm diameter.

Sold for £27,800

Sold for £89,625

BUYERS INFORMATION Registration: If you wish to bid at this auction you will need to register and provide proof of identity. You may be required to pay a deposit, which will be refunded within 7 working days (without interest) if you are not successful. For more information and a registration form please contact the auctioneers. Commission bids: If you are unable to attend the auction in person we will be pleased to execute commission (absentee) bids on your behalf. Lots will be purchased as cheaply as allowed by other bids and reserves. Commissions must be received at least 48 hours before the auction. Telephone bidding: If you wish to bid on a major lot over the telephone we will do all we can to assist you, but lines should be booked at least 48 hours before the auction. Online bidding: If you pay a deposit online bidding is available for this sale at www.the-saleroom.com. All you need is a computer or laptop, and an internet connection. Please refer to our terms and conditions of sale for charges. Condition reports: An indication of condition is not generally printed in the catalogue, but prospective buyers are welcome to request a condition report up to 48 hours before the auction. Please bear in mind that whilst we endeavour to provide an accurate representation the ultimate responsibility is with the buyer and we strongly recommend you personally view any lots on which you intend to bid. Illustrations: If you would like a more detailed image of an illustrated lot, or an image of an item which is not illustrated, we will be delighted to send them by email. Requests must be received at least 48 hours before the auction. Terms and Conditions: It is important that you read our terms and conditions of sale at the back of this catalogue in conjunction with the glossary of cataloguing terms. Payment: Lots will not be released until we have received cleared funds in payment. We are delighted to accept debit and credit cards, but there is a 3% surcharge on credit card transactions. Payment may be made by credit or debit card over the telephone up to a maximum of ÂŁ500 only. Buyerâ&#x20AC;&#x2122;s Premium:

22% plus VAT on the hammer price.

IN PURSUIT OF THE SCHOLAR’S SPIRIT: AN IMPORTANT PRIVATE COLLECTION

The following collection is an exciting and diverse group of Chinese and other East Asian works of art, assembled with great passion and commitment. Most of the best pieces were purchased from a highly-respected group of London dealers from the 1950s to the 1990s and many of the receipts for these are available for inspection. The gentleman who collected them was for many years a member of the Oriental Ceramics Society. He died recently and the family have asked Duke’s to handle the collection, which is both a privilege and a pleasure. It is clear from the many letters of correspondence with dealers that he was on friendly terms with those he purchased from and was much more than a passive customer, often asking deeply thoughtful questions about things before and after purchase. By far the largest group of objects bought in the early stages was from Spinks. In more recent years Gerard Hawthorn was a regular source. Others included Bluetts, John Sparks, and The Oriental Art Gallery. Although there is a great range of material in the collection, the unifying theme can best be described as a taste for the classical in Chinese art. This is very much in harmony with the scholar or literati class within traditional Chinese society. The idea of the scholar’s studio has become synonymous with connoisseurship and refined taste, especially with a reverence for antiquity and classicism. It is in this spirit that the collection was formed and which lends itself to the title – In Pursuit of the Scholar’s Spirit.

Many objects could be highlighted which summarise this theme but several stand out for particular note. In ceramics there are several examples from the great Song Dynasty kilns. The most important of these is an exceptional ‘oil spot’ bowl (lot 22) with provenance dating back to 1926. In many ways it represents so much that is noble in Chinese connoisseurship. It is not an ostentatious object and its beauty remains hidden to the untrained eye. Yet to those with a refined taste, attuned to the subtleties of Song Dynasty glazes, it is a truly stunning piece. Wood and metalwork in scholar’s taste are also well-represented in the collection, as well as objects in amber and ivory. A bronze double-phoenix scroll weight (lot 74) is particularly interesting, as well as a rare huanghuali lotus-form brush pot (lot 105). There are some great examples of the jade carver’s art and the most impressive of these is a magnificent large green jade horse (lot 150) purchased from Spinks in 1961. It belongs to a rare group of related jade sculpture and may have been an Imperial commission. The presence of this wonderful object within the collection shows a high degree of taste and is indicative of a collector with integrity who was deeply interested in both the beauty and the meaning of Chinese art. Andrew Marlborough, October 2015.

A RARE CHINESE SANCAI CUP, the everted rim above a deep body with three registers of impressed circular motifs, the conical foot unglazed, Tang Dynasty, 7.5cm diameter.

Provenance: The Collection of Mr and Mrs Alfred Clark. Spink and Son Ltd London 1975.

Exhibited: Oriental Ceramic Society 1955 Exhibition, no.113.

For a comparable handled cup in the British Museum, which has similar impressed ring decoration, see ‘Tang Pottery and Porcelain’ by Margaret Medley, 1981, pl.23

£1,000-2,000

A CHINESE YUEYAO FROG-FORM WATER POT, the rounded body modelled in relief with the creatures head, arms and legs, and with incised details, Western Jin Dynasty, 8cm long.

Provenance: George de Menasce Collection. Spink and Son Ltd London 1974.

Exhibited: Mostra D’Arte Cinese Venezia, 1954

£1,000-2,000

A CHINESE POTTERY FEMALE FIGURE, wearing a long dress tied below the waist with a belt, Tang Dynasty, 30cm high.

Provenance: Spink and Son Ltd London 1970

£200-400

A CHINESE SANCAI MINIATURE CUP, of gently rounded form with an everted lip, Tang Dynasty, 6cm diameter.

Provenance: Sydney L. Moss Ltd London 1963

£300-600

A SET OF FIVE CHINESE PAINTED POTTERY FEMALE FIGURES, each kneeling and wearing long robes, three holding musical instruments, one a fish, Northern Wei Dynasty, 12cm high.

Provenance: Spink and Son Ltd London 1957.

Exhibited: Manchester City Art Gallery 1936

The dating of this lot is consistent with thermoluminescence testing by Oxford Authentication.

£1,000-2,000

A CHINESE GLAZED POTTERY DUCK, with moulded details, Han Dynasty, 10.5cm high.

Provenance: Spink and Son Ltd London 1970

£200-400

A CHINESE ‘HARE’S FUR’ GLAZED BOWL, of conical form with a metal-bound everted rim, the rich glaze with subtle ‘hare’s fur’ vertical markings, the lower body and foot rim unglazed, Northern Song - Jin Dynasty, 13.5cm diameter.

£800-1,500

A CHINESE CIZHOU JAR, of rounded form, decorated with a resist design of flowers and butterflies, Yuan-Ming Dynasty, 19.5cm high.

Exhibited: Chinese Exhibition Manchester 1936 (label).

£1,000-2,000

A SMALL CHINESE YAOZHOU STYLE HEXAFOIL DISH, the glaze with a soft surface and fine crackles, Northern Song Dynasty, 11.2cm diameter.

Provenance: John Sparks Ltd London 1958

£500-1,000

10 TWO SIMILAR CHINESE YAOZHOU HEXAFOIL DISHES, each with a thick glassy olive glaze with fine bubbles pooling in the centre, Northern Song - Jin Dynasty, 11.6cm and 11.9cm diameter (2). Provenance: John Sparks Ltd London 1957 £1,000-2,000

11 A CHINESE POTTERY FIGURE OF A PRANCING HORSE, the animal with its right foreleg raised and head looking to the left, Han Dynasty, 22.8cm long.

12 A CHINESE LONGQUAN ‘LOTUS’ BOWL, of gently rounded form, the exterior suggesting petals, Southern Song Dynasty, 11.3cm diameter.

Provenance: Roger Keverne Ltd London 1997.

The dating of this lot is consistent with thermoluminescence testing by Oxford Authentication.

£300-600

£500-1,000

13 A SMALL CHINESE DING-STYLE HEXAFOIL DISH, probably Cizhou, the soft creamy glaze with fine crackles, the flat base unglazed, Song - Jin Dynasty, 9.7cm diameter. £500-1,000

14 A CHINESE QINGBAI SMALL BOWL, of rounded form, the central well with a relief prunus spray moon in slip to one side, beneath a bluish glaze, the rim in biscuit, Song - Yuan Dynasty, 9.8cm diameter. Provenance: The Collection of Mr and Mrs Alfred Clark; Sotheby’s London, Important Chinese Ceramics, The Property of Mrs Alfred Clark, 25th March 1975, lot 74. Adrian Maynard London 1986.

£200-400

15 A FINE CHINESE DINGYAO SHALLOW WASHER, the centre carved with a peony flower and foliage, the sides tapering and gently rounded towards the recessed foot, the rim metal-bound, Northern Song Dynasty, 13.5cm diameter. Provenance: Spink and Son Ltd London 1976.

A Dingyao dish of exactly the same size and similar decoration, formerly in the collection of Lord Cunliffe (TT17), is now in a private collection.

ÂŁ5,000-10,000

16 A SMALL CHINESE JUNYAO ‘MOON WHITE’ SAUCER DISH, the broad everted rim above a gently rounded body, the thick light-blue glaze suffused with tiny whitish particles, Northern Song Dynasty, 11.5cm diameter. Provenance: The George de Menasce Collection. Spink and Son Ltd London 1972.

This type of lighter blue Junyao glaze has traditionally been referred to by Chinese scholars as ‘moon-white’. This analogy rights expresses appreciation for its great subtlety. The present example, with a glaze appearing suffused with tiny white particles, brings to mind the softness of a fresh dusting of snow in the moonlight. For a foliated dish in the Sir Percival David Collection see ‘Song Ceramics: Objects of Admiration’, by Stacey Pierson, London 2003, pp.46-47.

£2,000-4,000

17 A FINE SMALL CHINESE JUNYAO ‘BUBBLE’ BOWL, the steep sides of gently rounded form, the thick glaze of milky-blue and moon-white tones suffused with tiny bubbles and pooling above the unglazed foot, Northern Song Dynasty, 8.3cm diameter. Provenance: T. Y. King Jnr to Bluett and Sons, October 19th 1960 (£90). Bluett and Sons to R. G. Hill, April 6th 1961 (£115). R. G. Hill to Bluett and Sons 1964 (£90). Bluett and Sons to the present collection, March 18th 1964 (£160).

This exquisite little bowl exemplifies the so-called Junyao ‘bubble’ type - a relatively rare group within the range of Jun wares. The name derives from the presence within the glaze of small pearlescent bubbles which develop during firing and reinforces the attention to detail and subtlety inherent in connoisseurship of Song Dynasty ceramics. For a very similar bowl from the Feng Wen Tang Collection see Bonham’s Hong Kong, 9th October 2014, lot 116

£5,000-10,000

18 A KOREAN CELADON OVOID VASE, the shoulder inlaid with a foliate band, above the rounded body carved with lotus flowers and scrolling foliage with a lappet band below, Choson Dynasty, probably 19th century, 9cm diameter

19 A KOREAN CELADON CONICAL BOWL, with a slightly everted rim and gently rounded body, the glaze an even greyish-green tone, Koryo Dynasty, 17.5cm diameter.

Provenance: Compagnie de la Chine & des Indes Paris (label).

Provenance: John Sparks Ltd London 1975

£300-600

20 A THAI SAWANKHALOK JOSS STICK HOLDER, in the form of a kneeling figure, the glaze with some blue areas, 15th-17th century, 7cm high.

£200-400

£500-1000

21 A KOREAN INLAID CELADON ‘OIL’ JAR, the shoulder decorated with a band of chrysanthemum flowers, Koryo Dynasty, 8cm diameter. Provenance: John Sparks Ltd London 1975 £500-1,000

Lot 22 detail

Photo of lot 22 in 1926 when it was sold by Bluetts.

22 AN EXCEPTIONAL CHINESE ‘OILSPOT’ (YOUDIYOU) GLAZED WAN BOWL, of gently rounded form, the rich dark brown glaze suffused with numerous small silvery markings, pooling more thickly in places, the lower body and foot unglazed, Northern Song - Jin Dynasty, 11.5cm diameter. Provenance: The James Baird Collection. Bluett and Sons London 1926. George de Menasce Collection. Spink and Son Ltd London 1975.

Exhibited: Oriental Ceramic Society Exhibition 1952. Mostra d’Arte Cinese Venezia 1954.

This bowl is a rare and superb example of the ‘oil-spot’ technique developed by Northern Song potters, where tiny metallic particles added to the glaze settle near the surface during firing to produce a variety of stunning yet subtle effects reminiscent of the iridescent patches found on the surface of oil. The term ‘oil-spot’ actually derives from Japanese connoisseurship, where such glazes have been highly prized since at least the first half of the 15th century, being referred to as yuteki temmoku (oilspot temmoku). Northern Song potters probably first experimented with the technique to imitate and compete with their Southern Song counterparts.

Within the oil-spot group there exists a variety of effects, which can be classified according to the arrangement, shape and size of the spots. The present lot has numerous small spots which might be best described as resembling snowflakes because of their shape and individuality. This revelation of great beauty upon close inspection summarises so much that is noble in connoisseurship of Song Dynasty ceramics.

The provenance of this bowl is also of great interest. It was sold by Bluetts in 1926 as part of the James Baird Collection (see illustration) to Baron George de Menasce for £200. A commentary about the exhibition from The Morning Post on May 25th 1926 mentions the bowl and shows how highly regarded it was at the time: “... a small tea bowl of greyish stoneware, with a black “oil spot” glaze of high quality, probably from Honan, is an outstanding piece of this type of ware.”

Examples of Northern Song oil-spot bowls can be found in major collections. For a comparable pair of slightly deeper bowls with larger spots from the Arthur M Sackler Museum see ‘Hare’s Fur, Tortoiseshell, and Partridge Feathers’ by Robert Mowry et al, 1996, no. 44, pp. 150152. A slightly smaller example appeared at Sotheby’s Hong Kong on 5th April 2015, lot 2888

£20,000-40,000

23 A CHINESE CELADON DEEP BOWL, probably Longquan, the interior with a mould-pressed band of figures, the rounded body above a pronounced foot, Ming Dynasty, 17.5cm diameter.

£500-1,000

24 A CHINESE LONGQUAN CELADON DISH, the centre with a carved flower design within a scroll cavetto and broad rim, the body gently rounded, Ming Dynasty, 26.5cm diameter. Provenance: John Sparks Ltd London (label).

25 A CHINESE LONGQUAN CELADON OVOID VASE with a spreading lip, rounded body and unglazed foot, Yuan - Ming Dynasty, 12cm diameter.

£200-400

£500-1,000

26 TWO SIMILAR CHINESE LONGQUAN CELADON JARLETS of baluster form with covers, Yuan - Ming Dynasty, 6.8cm and 8cm diameter (2).

£300-600

Lot 27 detail

27 A CHINESE LONGQUAN CELADON OCTAGONAL DISH, the centre with a moulded flower and two-character mark, within an ogee cavetto and foliate scroll border, the underside carved to simulate petals, Ming Dynasty, 21.5cm diameter. Provenance: Dunt King Hong Kong 1950’s. Bluett & Sons Ltd London 1958

£800-1500

28 A LARGE CHINESE LONGQUAN CELADON BOWL of gently rounded form, the central well moulded with a lotus flower within a border of flowerheads and foliage, the exterior with conforming decoration, Ming Dynasty, 38cm diameter.

£800-1,500

29 A CHINESE LONGQUAN CELADON BOWL, the centre with a moulded chrysanthemum flower within a stylised foliate border, the exterior with conforming decoration, Ming Dynasty, 28cm diameter. Provenance: John Sparks Ltd London 1955

£1,000-2,000

30 A LARGE CHINESE LONGQUAN CELADON JAR of baluster form, the exterior decorated with a band of chrysanthemum flowers and scrolling foliage above a lappet band, Ming Dynasty, 32cm diameter; with a modern hardwood stand and cover. Provenance: The Collection of Mrs JG Bennett. Bluett & Sons Ltd London 1976

£2,000-4,000

31 A CHINESE LONGQUAN CELADON TRIPOD CENSER with a waisted neck above the rounded body with cross-hatched decoration, beneath a greyish-green glaze with crackles, the lower body and foot unglazed, Ming Dynasty, 30cm diameter.

£1,000-2,000

32 A CHINESE LONGQUAN CELADON TRIPOD CENSER with a waisted neck above the rounded body with crosshatched decoration, beneath a glassy glaze pooling darker near the unglazed foot, Ming Dynasty, 32cm diameter Provenance: John Sparks Ltd. London (label).

£1,000-2,000

33 A LARGE CHINESE LONGQUAN CELADON DISH, with a broad rim and gently rounded body, the centre decorated with a phoenix within a cavetto of two dragons chasing flaming pearls beneath a glassy glaze, Ming Dynasty, 39.5cm diameter.

£1,000-2,000

34 A LARGE CHINESE LONGQUAN CELADON DISH, the broad rim above the gently rounded body, the centre and cavetto decorated with dragons beneath a glassy glaze, Ming Dynasty, 42.5cm diameter. Provenance: John Sparks Ltd London 1955

£800-1,500

35 A JAPANESE KAKIEMON SAUCER DISH of foliate form, decorated with flowers in a landscape, Edo period, late 17th century, 11cm diameter.

£500-1,000

36 TWO CHINESE FAMILLE VERTE SAUCERS, one of octagonal form decorated with precious objects on a table within a foliate border, the other of circular form decorated with flowers, Kangxi, 13cm and 13.4cm diameter (2). £200-400

37 A CHINESE WHITE-GLAZED MINIATURE EWER of segmented form, Qing Dynasty, 18th/19th century, 10cm long; and a similar Dehua leaf dish, 9.5cm long (2)

£200-400

39 TWO CHINESE DEHUA GUANYIN FIGURES, the larger example with a child attendant, Qing Dynasty, 17th/18th century, 19cm and 22cm high £300-600

38 A CHINESE DEHUA OCTAGONAL CUP of tapering form with four short feet, Qing Dynasty, 17th/18th century, 9.7cm long.

£150-300

40 TWO CHINESE DEHUA CUPS, one of libation form with relief prunus decoration, the other decorated with foliage above a lotus petal band, the base with a Fu mark, Qing Dynasty, 17th/18th century, 6.5 and 7cm high (2) 36

£200-400

41 A JAPANESE ARITA UNDERGLAZED BLUE AND IRON RED OVOID VASE, the body decorated with three panels of flowers in garden landscapes, late 17th century, 24.5cm high Provenance: Spink & Son Ltd London 1978

£800-1,500

42 A CHINESE BLUE AND WHITE BARBED-RIM DISH, the centre decorated with a peacock in a rocky garden within a flower and scroll cavetto and broad rim, Ming Dynasty, 15th/16th century, 32cm diameter. £500-1,000 43 A CHINESE BLUE AND WHITE BALUSTER VASE decorated with a butterfly, blossoming foliage and rocks, Chongzhen period, 20cm high.

£500-1,000

44 A LARGE CHINESE BLUE-GLAZED OVOID VASE with moulded decoration, one side showing flowers amongst rocks, the other with a bat and butterfly flying towards lingzhi, late Ming - Qing Dynasty, 33cm high.

ÂŁ2,000-4,000

45 A CHINESE ‘IRON-DUST’ GLAZED VASE of baluster form, the fine glaze suffused with tiny metallic particles, the rounded body above a spreading foot, Qing Dynasty, 18th/19th century, 29cm high. Provenance: Spink & Son Ltd London 1979

£5,000-10,000

46 A SMALL CHINESE ‘TEA-DUST’ GLAZED WATER POT, Yongzheng period, 7.5cm diameter.

£500-1,000

47 A CHINESE MINIATURE GE WARE MEIPING, the translucent glaze with strong and subtle crackles, Qing Dynasty, 7.5cm high. Provenance: Spink & Son Ltd London 1979

£200-400

48 A CHINESE YIXING TEAPOT AND SIX CUPS of lotus form, signed Zhong-zuo meizhi, late QingRepublic, the teapot 14.5cm long (7)

£500-1,000

49 A CHINESE YIXING OCTAGONAL TEAPOT, the cover with a faceted finial surrounded by relief cloud scrolls, the body decorated in relief with two flower meanders, the base with two impressed seal marks, Qing Dynasty, 17th / 18th century, 12cm long.

£800-1,500

50 A CHINESE YIXING GLOBULAR TEAPOT A CHINESE YIXING GLOBULAR TEAPOT with a light ‘tea-dust’ surface, signed Zhou-zhi Sun Yi, late QingRepublic, 12.5cm long. £500-1,000 51 A CHINESE YIXING LOTUS-FORM EWER naturalistically formed with the handle as the stem and the leaves forming the vessel’s body, Qing Dynasty, 18th/19th century, 10.5cm long.

£300-600

52 A JAPANESE RAKU TEA BOWL inscribed on the body Kenzan (probably Tominosuke Miyazaki fl. 1770-1830), of irregular form and covered all over in a mottled and crackled glaze, Edo period, 11cm diameter.

53 A JAPANESE CERAMIC INRO by Kenya (Miura Totaro, 1825-1889), the inro decorated on each side with landscape scenes and inscribed with place names from the Tokaido Highway, signed Kenya, the manju signed Tenrokudo, the inro 9cm long.

ÂŁ200-400

ÂŁ500-1,000

54 A JAPANESE CALLIGRAPHIC SETO WARE DISH by Shunzan (Kato Kagenori) of waisted rectangular form with three feet, signed underneath Shunzan and dated 1806, the sides and interior with poetic inscriptions by Shiro, Shingetsu and others, Edo period, 21cm long.

Shunzan was a noted potter of the late Edo period. The Metropolitan Museum of Art in New York holds three examples of his work (93.1.46 / 93.1.62 / 36.120.650).

ÂŁ500-1,000

55 A CHINESE SILVERED BRONZE FOLIATE-FORM MIRROR decorated in relief with Immortals riding cranes and horses, the eight-lobed border with insects and flowers, Tang Dynasty, 12.4cm diameter. Provenance: Roger Keverne Ltd London 2000

56 A CHINESE GILT-BRONZE WEIGHT, modelled as a tiger fighting a bear, probably Han Dynasty, 6cm diameter.

£1,000-2,000

57 A CHINESE BRONZE BOTTLE VASE, the rounded top rim above a plain slightly tapering neck, the shoulder with a register of ring motifs between lappet bands above two further concave registers, the rounded lower body decorated with dragons above a further lappet band and spreading foot, the surface with a rich and complex patina, Han Dynasty, 28cm high. Provenance: Spink and Son Ltd London 1958. ÂŁ2,000-4,000

58 A CHINESE BRONZE MINIATURE CENSER, the rounded body with mask handles, the base with a Xuande mark, late Ming Dynasty, 6.5cm long.

59 A SMALL CHINESE BRONZE TRIPOD WATER POT, of rounded form, with relief dragon decoration, late Ming Dynasty, 7cm diameter.

Provenance: Gerard Hawthorn Ltd London 2003

£200-400

60 A SMALL CHINESE BRONZE VASE, in the form of a tree trunk with peaches and lingzhi, late Ming - early Qing Dynasty, 8cm long.

£500-1,000

£300-600

61 A CHINESE BRONZE ‘SHOU’ SEAL, of stepped square form with a writhing chilong dragon on top, late Ming Dynasty, 4.7cm x 4.7cm.

£200-400

62 A CHINESE BRONZE PARCEL-GILT SCROLL WEIGHT, modelled as a scholar reclining beside a seal box, late Ming - early Qing Dynasty, 4.3cm high. Provenance: Gerard Hawthorn Ltd London 2000

£300-600

64 AN EARLY CHINESE BRONZE SEAL, with a trefid finial, probably Song Dynasty or earlier, 3cm x 3cm..

£200-400

63 A CHINESE BRONZE ‘LION’ SCROLL WEIGHT, the creature crouching and ready to pounce with its rear raised and tail curled back, late Ming - early Qing Dynasty, 6.8cm long.

£500-1,000

65 TWO CHINESE BRONZE SCROLL WEIGHTS, one of a hound, the other a lion with a frog on its back, Ming -Qing Dynasty, 4cm and 5cm long (2). Provenance: The lion Spink and Son Ltd London 1977; the hound Gerard Hawthorn Ltd 2002

£300-600

66 A CHINESE BRONZE ‘RAM’ SCROLL WEIGHT, the recumbent animal with its head turned to the rear, Ming Dynasty, 6cm long. Provenance: Gerard Hawthorn Ltd London 2006.

£500-1,000

67 A CHINESE BRONZE ‘HOUND’ SCROLL WEIGHT, the recumbent animal with its head raised and turned to the right, Ming Dynasty, 6cm long. Provenance: Gerard Hawthorn Ltd London 2002 £500-1,000 68 A JAPANESE BRONZE ‘SHISHI’ SCROLL WEIGHT, the creature lying down with its head touching the ground and turned slightly to the left, Muromachi - early Edo period, 10cm long; with an inscribed softwood box. £200-400

69 A CHINESE BRONZE FIGURAL SCROLL WEIGHT, modelled as a seated man holding a fish, late Ming - early Qing Dynasty, 7cm long. Provenance: Spink and Son Ltd London 1981

£500-1,000

70 A CHINESE BRONZE FIGURAL WATER COUPE, modelled as a boy holding a fish bowl, late Ming Dynasty, 7.5cm high. Provenance: Gerard Hawthorn Ltd London 2004

£500-1,000

71 THREE JAPANESE BRONZE SEALS, one modelled as a scholar riding an ox, another of a Buddhistic lion, and a dragon-form example, Edo period, the largest 7cm high (3).

£500-1,000

72 A PARCEL-GILT SAWASA WARE TOBACCO BOX, of rounded form, the cover and underside decorated with figures and pagodas in landscapes within ogee borders, the sides with foliate panels, late 18th/early 19th century, the interior of the cover monogrammed and dated 1823, 9.5cm long. Provenance: Gerard Hawthorn Ltd London 2003.

Several boxes of this type are illustrated in ‘Sawasa: Japanese Export Art in Black and Gold, 1650-1810’, Rijksmuseum 1998, pp.57-62

£1,000-2,000

73 A SMALL JAPANESE BRONZE COVERED BOX, in the form of a stylised duck, signed Houn, Edo - Meiji period, 8cm long.

£200-400

74 A CHINESE PARCEL-GILT BRONZE ‘DOUBLE-PHOENIX’ SCROLL WEIGHT, the two reclining winged creatures facing each other and seated on a scroll base, late Ming-early Qing Dynasty, 7.7cm long; on a hardwood stand. Provenance: Spink and Son Ltd London 1977.

£1,500-3,000

75 A CHINESE BRONZE ‘CHIMERA’ SCROLL WEIGHT, the creature turning backwards to look at the cub on its’ back, probably Qing, 6.5cm long.

£200-400

77 A CHINESE BRONZE ‘HORSE’ SCROLL WEIGHT, the recumbent creature with its’ head turned to the rear, probably Qing, 5.5cm long

£200-400

76 A CHINESE BRONZE ‘RAM’ SCROLL WEIGHT, the recumbent creature turning to one side and holding a lingzhi spray, probably Qing, 6cm long.

£200-400

78 A CHINESE BRONZE SCROLL WEIGHT in the form of a mythical creature, a rounded body seated on all fours, probably Qing, 5cm long.

£200-400

79 A PAIR OF CHINESE CANTON ENAMEL SQUARE DISHES with canted corners, decorated with butterflies above baskets of flowers, the bases seal marks Zhuju (Bamboo House), Yongzheng - Qianlong, 12cm from corner to corner (2). £200-400

80 A SET OF SIX CHINESE CANTON ENAMEL WINE CUPS of tapering quatrefoil form, decorated with phoenix and other birds in garden landscapes, Qianlong, 6cm across from corner to corner (6)

£300-600

81 A CHINESE CLOISONNÉ INGOTFORM MINIATURE BOX, the cover decorated with flowers in a garden landscape on a light blue ground, the sides with foliate scrolls, Qing Dynasty, 17th/18th century, 4.6cm long. Provenance: Gerard Hawthorn Ltd London 2002.

For a miniature vase with similar decoration, see ‘Chinese Cloisonné: The Pierre Uldrey Collection’ by Brinker and Lutz 1989, no. 131

£1,000-2,000

82 A CHINESE CLOISONNÉ MINIATURE VASE of rounded form with a flared neck, lion-mask handles and a straight foot, decorated in polychrome with flowerheads and tendrils on a light blue ground, the base with an incised four-character Qianlong sealmark and of the period, 7.5cm diameter. Provenance: Spink & Son Ltd London 1954. The receipt notes the provenance as from ‘The Yuan Ming Yuan, Pekin 1860’.

£1,000-2,000

83 A CHINESE TIXI LACQUER MINIATURE WINE CUP, the exterior carved with a band of three ruyi motifs, the base with a radiating tripart design, Ming Dynasty, 15th/16th century, 6.4cm diameter Provenance: Spink & Son Ltd London 1962.

For a comparable cup see Christie’s New York, 18th-19th September 2014, lot 1081

£1,000-2,000

84 A SMALL CHINESE CINNABAR LACQUER BOX of quatrefoil shape, the cover carved with a scholar and attendant in a rocky landscape, Qing Dynasty, 18th century, 5.5cm wide. Provenance: Gerard Hawthorn Ltd London 2003

£500-1,000

85 A CHINESE CINNABAR LACQUER CIRCULAR BOX, the cover and lower body carved with blossoming foliage on a diaper ground, late Ming - early Qing Dynasty, 6.5cm wide. Provenance: Spink & Son Ltd London 1962

£300-600

86 A CHINESE ‘MYTHICAL BEAST’ IVORY WEIGHT the hooved creature crouching low on a rectangular base, late Ming Dynasty, 6cm long. Provenance: Spink & Son Ltd London 1991.

A very similar piece carved with a rabbit is illustrated in ‘Chinese Ivories from Shang to Qing’ by William Watson, 1985, no.225, pg.171

£1,000-2,000

87 A CHINESE IVORY FEMALE IMMORTAL, the figure with one hand raised and the other holding a bowl, late Ming Dynasty, 11.5cm high; on a later wood stand. Provenance: Spink & Son Ltd London 1989

£300-600

88 A CHINESE IVORY CIRCULAR SEAL PASTE BOX, the cover decorated with prunus blossom, late Ming Dynasty, 6.5cm diameter.

£300-600

89 A CHINESE BAMBOO WRIST REST carved in liu qing style with two figures crossing a bridge approaching a mountain retreat, inscribed in relief ‘yi ting fang you’ (meeting a friend at the well spring pavilion), signed Xiaosong Zhu, Qing Dynasty, 19th century, 26cm long. Provenance: Gerard Hawthorn Ltd London 2005

£500-1,000

91 A SMALL CHINESE IVORY TABLE SCREEN, inscribed on one side with a poem after Wang Zhihuan (688-742), signed Zizhi, Qing Dynasty, in a later hardwood stand, the central ivory panel 16cm x 7cm

£300-600

90 A CHINESE BAMBOO ROOT LIBATION CUP carved in relief with prunus blossom, Qing Dynasty, 17th/18th century, 7.5cm long. Provenance: The Oriental Art Gallery London 1994

£300-600

92 A SMALL CHINESE BLACKWOOD BRUSH POT, of naturalistic slender trunk form, the dense wood with a rich patina, Qing Dynasty, 18th/19th century, 10.5cm high Provenance: Spink & Son Ltd London 1981

£300-600

93 AN UNUSUAL BAMBOO SEAL, probably Chinese, in the form of a tiger and cub on an oval base, the adult animal roaring and turning backwards, one side of the base with a Chinese poetic inscription, signed Boshang Xianren , late Ming - early Qing Dynasty, 8.5cm high

This unusual and rare bamboo seal is likely to be of Chinese origin given that the seal face and poetic inscription are both Chinese. However the carving of the tiger is stylistically closer to Japanese work. It is possible that the seal may have been commissioned for a Japanese literati figure who was immersed in Chinese culture.

ÂŁ1,000-2,000

94 A CHINESE BAMBOO OPENWORK BRUSH POT, carved with a scholar at rest in a rocky grotto surrounded by trees, with an attendant looking on from nearby beside a table laid with precious objects, late Ming - early Qing Dynasty, 15.5cm high Provenance: Spink & Son Ltd London 1981/82

£800-1,500

95 A SMALL CHINESE JICHIMU CYLINDRICAL POT, the plain central section with a band of three incised lines above a banded base with integral feet, early Qing Dynasty, 7.7cm diameter. Provenance: Gerald Hawthorn Ltd London 2004

£500-1,000

96 A SMALL CHINESE BAMBOO BRUSH POT, the slender body carved with cabbage leaves, the base with three short integral feet, Qing Dynasty, 18th/19th century, 11cm high

97 A SMALL CHINESE BAMBOO BRUSH POT, carved with a solitary scholar in a rocky landscape, the base with three short integral feet, Qing Dynasty, 18th/19th century, 11.5cm high

Provenance: Spink & Son Ltd London 1981

£200-400

98 A CHINESE ZITAN BRUSH POT, of folded asymmetric form, Qing Dynasty, 18th century, 11.2cm high Provenance: Gerard Hawthorn Ltd London 2008

£1,000-2,000

99 A CHINESE HARDWOOD COVERED BOX, formed as two pomegranates, Qing Dynasty, 18th/19th century, 12.7cm long. Provenance: Spink & Son Ltd London 1989

£800-1,500

100 A SMALL CHINESE BAMBOO BRUSH POT, finely carved with a continuous scene showing the Seven Sages of the Bamboo Grove and various attendants within a rocky wooded landscape, the base with three short integral feet, Qing Dynasty, 18th century, 11.4cm high Provenance: Spink & Son Ltd London 1983

£800-1,500

101 A SMALL CHINESE BAMBOO BRUSH POT, densely carved and pierced with a scene showing the Queen Mother of the West surrounded by attendants in a rocky wooded landscape, the base with three short integral feet, Qing Dynasty, 18th century, 11.2cm high Provenance: Spink & Son Ltd London 1984

£800-1,500

102 A CHINESE HUANGHUALI BRUSH POT, of plain slightly waisted form, the surface with a rich patina and vertically arranged irregular figuring, Qing dynasty, 18th/19th century, 19cm diameter. Provenance: Spink & Son Ltd London 1984

£1,000-2,000

103 A CHINESE HARDWOOD BRUSH POT, of slightly waisted form with a flat pronounced rim, rounded base and three short integral feet, Qing dynasty, 18th/19th century, 15cm high Provenance: Gerard Hawthorn Ltd London 2008

£500-1,000

104 A LARGE CHINESE WOOD BRUSH POT, probably bamboo, of plain form with vertically arranged figuring, 19th/20th century, 22cm diameter.

£500-1,000

105 A CHINESE HUANGHUALI LOTUSFORM BRUSH POT, the body carved to suggest petals, each lobe with a reliefcarved chilong dragon chasing an auspicious objects, late Ming - early Qing Dynasty, 19cm diameter. Provenance: John Sparks Ltd London (label).

For a similar huanghuali lotus-form brush pot dated to the 16th century see ‘Documentary Chinese Works of Art in Scholar’s Taste’ by Sydney L Moss Ltd 1983, no.63, pg. 120.

£2,000-4,000

106 A CHINESE HUANGYANGMU (BOXWOOD) TRUNK-FORM BRUSH POT, of asymmetric form carved from a single piece of wood, with a recessed base, Qing Dynasty, 18th century, 15.5cm long. Provenance: Gerard Hawthorn Ltd London 2005

107 A CHINESE ROOTWOOD BRUSHPOT of complex gnarled form with some openings, the honey-coloured wood with a rich patina, the base with an ink inscription, Qing Dynasty, 17th/18th century, 23cm wide.

£500-1,000

£1,000-2,000

108 A PAIR OF CHINESE HUANGHUALI TRUNK-FORM BRUSH POTS naturalistically carved with gnarls and branches, the well-patinated wood of honey and caramel tones, Qing Dynasty, 18th/19th century, 13.7cm high (2)

ÂŁ2,000-4,000

109 A RARE JAPANESE WOOD TOADFORM HAND WARMER the creature with its head raised and metal-lined mouth open, the chest area with a poetic inscription signed San’yo (Rai San’yo 1780-1832), the back carved with warts, the eyes inlaid, Edo period, circa 1820-30, 21cm long; the softwood box with hakogaki reading ‘Hiki, te-aburi Shiko zoju” (toad, a treasured collection of Shiko, a hand-warmer), also with a label inscribed ‘Jidai kiri gama teaburi’ (a piece of antique item, paulownia wood, toad, hand-warmer)

This hand-warmer is an unusual and fascinating object which exemplifies the mixture of humour and sophistication inherent in Japanese literati sensibility. Rai San’yo (1780-1832) was a noted Neo-Confucian scholar and philosopher, author of many books, Chinese classic poet, and a generous patron to literati and painters of the time. The inscription on the box indicates that the hand warmer was at one time in the collection of the painter Kojima Shiko (18891960) - a distinguished artist who showed his work at Government-sponsored exhibitions.

£300-600

110 A CHINESE HUANGYANGMU (BOXWOOD) GUANYIN, the deity seated cross-legged with hands together in dhyanamudar, her face with a serene expression and downcast gaze, late MIng - early Qing Dynasty, 24cm high.

ÂŁ1,000-2,000

111 A JAPANESE GILT-LACQUERED WOOD JIZO BOSATSU, the bald-headed figure with long robes, holding a metal staff in one hand and a buddhist jewel in the other, on a lotus base, the face with a composed serene look, Edo period, 17th/18th century, 32cm high. Provenance: Gerard Hawthorn Ltd London 2002

112 A JAPANESE GILT-LACQUERED WOOD STANDING BUDDHA, the right arm raised in amida mudra, the other arm pointing downwards in offering, the serene face with half-closed eyes beneath a crystal usnisa, the long robes draped over the shoulders and hanging in folds with the chest bare, the whole figure covered with extensive incense soot, Edo period, 18th century, 33cm high. Provenance: Gerard Hawthorn Ltd London 2001

ÂŁ500-1,000

113 A CHINESE ROOTWOOD SAKYAMUNI GROTTO, the emaciated deity seated with one knee raised, his wizened face with inlaid eyes, within a gnarled rootwood grotto surround, Qing Dynasty, 17th/18th century, 34cm high. Provenance: Gerard Hawthorn Ltd London 1999

ÂŁ500-1,000

114 A CHINESE HUALI WOOD TABLE BUREAU, the fall-front revealing an arrangement of drawers and cupboards, above two frieze drawers, Qing Dynasty, 18th century; on an English George III mahogany stand, 101cm high x 59cm wide x 36cm deep overall

115 A CHINESE MARBLE-TOPPED HARDWOOD TRIPLE STAND, the square tops above openwork scrolls, Qing Dynasty, 19th century, 49cm long

£300-600

£1,000-2,000

Lot 123 detail 73

116 A CHINESE AGATE CHILONG CARVING, the two creatures facing each other on top of a gourd, Qing Dynasty, 17th/18th century, 4.8cm long. Provenance: Gerard Hawthorn Ltd London 2003

£200-400

£500-1,000

118 A CHINESE SMOKY QUARTZ WATER POT, the vessel of irregular form and carved to the exterior with lingzhi, Qing Dynasty, 18th/19th century, 6.6cm long.

117 A CHINESE AMETHYST MINIATURE EWER with a rodent-form handle, the body carved with a mythical creature, Qing Dynasty, 18th/19th century, 4.7cm long

£300-600

119 A CHINESE SMOKY QUARTZ WATERPOT, the flush opening above a tapering body and short foot, the exterior carved with birds and foliage, Qing Dynasty, 18th/19th century, 6.5cm diameter. Provenance: Spink and Son Ltd London 1954

£500-1,000

120 A CHINESE ROCK CRYSTAL CARVING OF A HORSE AND GROOM, late Qing Dynasty, 11cm high.

121 A CHINESE ‘HAIR’ CRYSTAL WATER POT, in the form of a recumbent horse holding a lingzhi spray, Qing Dynasty, 18th/19th century, 7cm long.

Provenance: Spink and Son Ltd London 1990

£200-400 74

£300-600

122 A MINIATURE CHINESE YELLOW PEKING GLASS MYTHICAL CREATURE, crouching on all fours with its mouth open, the details finely modelled and the vertebrae and rib cage visible, possibly Imperial, Qianlong, 5.5cm long. Provenance: Spink and Son Ltd London 1989

£1,000-2,000

123 A RARE CHINESE SOAPSTONE ‘CHILONG’ BOULDER, the warm stone of amber-yellow tone, carved with five writhing chilong dragons, late Ming - early Qing Dynasty, 9cm long. Provenance: Spink and Son Ltd London 1975.

For a comparable carving see Sotheby’s New York, 17th September 2013, lot 117

£3,000-6,000

124 A CHINESE SOAPSTONE SEAL, carved with lotus flowers, the stone of rich amber tones, late Ming - early Qing Dynasty, 5.5cm high. Provenance: Spink and Son Ltd London 1980

£800-1,500

125 A LARGE CHINESE SOAPSTONE ‘CHILONG’ BOULDER, carved with four chilong dragons among lingzhi and bats, the stone of mottled amber tones, late Ming - early Qing Dynasty, 14.5cm long.

£500-1,000

126 A CHINESE SOAPSTONE ‘CHILONG’ WEIGHT, the two creatures crouching low and facing each other on a square base, late Ming - Qing Dynasty, 7cm x 7cm.

£800-1,500

127 A CHINESE SOAPSTONE RECUMBENT ELEPHANT, the creature reclining to one side with its eyes closed and a peaceful expression, its head turned slightly to the right, Qing Dynasty, 17th/18th century, 7cm long.

£500-1,000

128 A SMALL CHINESE AMBER WATER COUPE, carved in the form of a lotus leaf, the underside with a lotus bouquet, Qing Dynasty, 18th/19th, 6cm long.

129 A CHINESE AMBER PENDANT, carved on each side with figures in a landscape, the material of variegated caramel and honey tones, Qing Dynasty, 18th/19th century, 5.5cm high.

Provenance: Spink and Son Ltd London 1975.

£500-1,000

130 A CHINESE PRESSED AMBER WATER COUPE, the exterior with five chilong dragons peering over the rim, late Qing Dynasty - Republic period, 8cm long.

£1,000-2,000

£500-1,000

131 A SET OF THREE CHINESE SOAPSTONE SEALS, each with a dragon finial, the box with a label inscribed ‘Du ling keng long niu yin’ (duling stone seals with dragon finials, three pieces), the smaller seal 7cm high, the larger seals 8cm high, late Qing Dynasty - Republic period.

£500-1,000

132 A CHINESE AMBER DOUBLEDRAGON PENDANT, carved in the form of two writhing creatures chasing a pearl, with later gold mounts, 7cm wide. Provenance: Spink and Son Ltd London 1983

£1,000-2,000

133 A CHINESE AMBER WATER COUPE, of irregular form, the exterior carved with three lively chilong dragons, the material of an even translucent reddish tone, late Ming - early Qing dynasty, 8cm long. Provenance: Roger Keverne Ltd London 2000

£1000-2000

135 A CHINESE PALE CELADON AND BLACK JADE GROUP, carved as a monkey climbing on a recumbent horse, late Ming - early Qing Dynasty, 4.7cm long. 134 A CHINESE PALE CELADON AND RUSSET JADE GARMENT HOOK, the tapering curved body terminating in a dragon head, Song - Ming Dynasty, 8.4cm long.

Provenance: Spink and Son Ltd London 1981.

A monkey climbing on a horse (mashang hou) forms the rebus “May you be immediately appointed to the rank of marquis”.

£1,000-2,000

£500-1,000

136 A CHINESE MOTTLED JADE BIRD, the creature with its head turned backwards and carved feather details, the underside also carved, Ming Dynasty, 4.4cm long.

137 A CHINESE OPAQUE WHITEISH JADE PENDANT SECTION, in the form of a dragon, the tail area with darker markings, probably Han Dynasty, 5.5cm long.

£500-1,000

138 A CHINESE YELLOWISH-CELADON JADE GOOSE, the bird with its neck coiled and head turned slightly to the left, the feathers finely carved, the feet in relief underneath, the warm-coloured stone with some dark russet markings, Ming Dynasty, 7.7cm long. ÂŁ3,000-6,000

139 A CHINESE OPAQUE PALE CELADON JADE RECUMBENT LION, the creature with its’ head turned to the rear, the vertebrae, tail and mane finely detailed, late Ming - Qing Dynasty, 7.9cm long

140 A CHINESE CELADON JADE RECUMBENT BUFFALO, the animal lying flat with its’ head turned to the right, Ming Dynasty, 9.5cm long £300-600

£1,000-2,000

141 A LARGE CHINESE CELADON RECUMBENT DEER, of compact form, the well-modelled creature with its’ head looking upward and turned slightly to the left, the stone with some darker horizontal markings on the body, late Ming - early Qing Dynasty, 13.5cm long. Provenance: The Oriental Art Gallery London 1994

£6,000-12,000

142 A CHINESE CELADON JADE RECUMBENT HORSE PENDANT with its’ head turned to one side, the mane with finely carved details, the stone with some darker markings, Song - Ming Dynasty, 5.2cm long. Provenance: Spink & Son Ltd London 1961

143 A CHINESE GREEN JADE WATER POT, the exterior carved in relief with three chilong dragons around the pronounced lip, the base with four naturalistic feet, the stone with some fine and pronounced markings, Ming Dynasty, 7cm long.

£1,000-2,000

£800-1,500

144 A CHINESE WHITE JADE DOUBLEQUAIL GROUP, the two birds with finely detailed feathers, both holding the same branch of millet in their beaks, the stone with some russet markings, Qing Dynasty, 17th/18th century, 7.5cm long.

The combination of two quails with grain (anchun sui) forms a rebus conferring the wish “May there be peace and a good harvest”.

£5,000-10,000

145 A CHINESE TRANSLUCENT WHITISH JADE FITMENT of ruyi form, with a lobed border, carved on each side with flowers, one side with a suspension loop, Qing Dynasty, 18th century, 5.5cm long

£1,000-2,000

146 A CHINESE PALE CELADON AND RUSSET JADE LION AND CUB of curved form, the adult creature crouching on waves and playfully grasping the young with its’ mouth, the underside with a russet skin, Qing Dynasty, 18th century, 9cm long

£2,000-4,000

147 A CHINESE WHITE AND RUSSET JADE CARVING OF TWO CAT FISH, the creatures facing each other and surrounded by lingzhi, Qing Dynasty, 18th/19th century, 7.5cm long

Two catfish with sacred fungus (nianyu lingzhi) forms a rebus “May your wishes come true year after year”.

£800-1,500

148 A CHINESE PALE CELADON AND RUSSET JADE RECUMBENT BUFFALO of compact form with its head turned to one side, the body with a central aperture, late Ming Qing Dynasty, 5.7cm long £500-1,000

149 A CHINESE MARBLE BUDDHA FRAGMENT, the deity with an expression of deep peace and warmth, wearing flowing robes draped and tied at the chest, the left hand pointing downwards and open in offering, probably Tang Dynasty, 28cm high; on a modern stand Provenance: John Sparks Ltd London (label). ÂŁ1,000-2,000

LOT 150

CONVEYOR OF PEACE AND STRENGTH: AN IMPORTANT LARGE GREEN JADE RECUMBENT HORSE

“… among the most ambitious and monumental examples of jade ever worked in China; and perhaps all of them once had their place in the pavilions of the various palaces in Peking.”

These are the words of Jessica Rawson and John Ayers describing the important and rare group of large Chinese jade carvings of horses and buffalo to which the present lot belongs. They are from the catalogue to the 1975 exhibition ‘Chinese Jade Through the Ages’ organised by the Arts Council of Great Britain and the Oriental Ceramic Society and held at the Victoria and Albert Museum (see pages 118-120 of the text). The exhibition included no fewer than eight examples from this group – surely the largest number ever exhibited together, and gathered from important collections, including Mr and Mrs John D. Rockerfeller, Somerset de Chair, and the Fitzwilliam Museum Cambridge. In discussing the horses, the authors continue: “The horses in particular are remarkable for their intense observation and their powerful stylisation of artistic form, by means of which the artist has succeeded wonderfully in conveying the alert strength of the animal despite its fundamental attitude of repose.”

Jade horse (31.5cm long) formerly in the Cunliffe Collection sold by Bonhams in 2002 The form of the horse is also of great interest and appears unique on this scale. Other examples have a raised head whereas this one has its head low. This position seems to emphasise the sense of peace and confidence which the carver has captured on the horse’s face and which expresses so clearly the significance of the animal in Chinese culture. In doing this the artist has shown exceptional creativity, transforming the natural limitations of the boulder into such a successful composition.

It is difficult to imagine what better words could summarise the achievement of the anonymous Chinese jade carvers who created these magnificent works of sculpture. Although the details of their commissioning are unclear, it is likely that they were made for Imperial consumption, as the quote above suggests. Connoisseurship in this area has its own criteria and cannot be compared to the standard imposed upon later Qing Dynasty jade carvings where purity of stone is so critical. Generally thought to have been made in the 17th century, when there was a paucity of purer stone, it is the way in which the carver worked with the available material that counts. In this context, natural flaws are transformed and celebrated. For instance, on this horse the sea-green stone with its lighter opaque markings evokes a wonderful sense of depth which expresses the mysterious beauty of the stone. Also, the artist has left areas of the stone’s skin exposed on the back of the horse, no doubt caused by the constraints of the boulder but also appearing as an act of reverence to the material. The contrast of exquisite carving with the natural roughness of the stone’s skin is part of the object’s beauty and rewards handling.

Pair of jade horses (26.7cm long) exhibited in Chinese Jade Through the Ages in 1975 At 23.5cm long the present lot is towards the lower end of the size range within the group, with most falling between 20cm and 35cm in length. It is very rare for examples to appear on the market. A larger horse (31.5cm) from the Collection of Lord Cunliffe was sold by Bonhams London on 11th November 2002, lot 9. More recently a smaller example (19.5cm) was offered at the same salerooms on 10th November 2011, lot 349. This horse is an exciting discovery, having remained in a private collection since its purchase from Spinks in 1961. It now joins the group of published examples and thus adds to our understanding of these important jade sculptures.

150 AN IMPORTANT LARGE CHINESE GREEN JADE RECUMBENT HORSE, the animal reclining to one side, itsâ&#x20AC;&#x2122; head turned to the right with ears pointed forward and mane finely carved, the face with a serene and confident expression communicated through the crisply-defined mouth, nostrils and eyes, the front legs tucked under the body, the finely-detailed tail swept around and tucked between the back leg and generous hindquarters, the underside showing the four folded legs, the stone of sea-green tones with lighter and darker markings, the back area with some russet and brown skin remaining, late Ming - early Qing Dynasty, 17th century, 23.5cm long; in a custom-made fitted box with integral hardwood stand and wood outer case. Provenance: Spink & Son Ltd London 1961

ÂŁ50,000-100,000

151 ZHU XU (Qing Dynasty) A mountain landscape with two figures crossing a bridge approaching a pavilion, on the far side of the river scholars discourse in a retreat set behind two large trees nestled under a rocky outcrop, further mountain ranges stretch into the distance; signed Shisun di Zhu Xu and sealed Xian-gu and Xiao-shan; titled and inscribed ‘Willow Tree and High Buildings, in the (lychee) summer of the year of ding-hai (1827 or 1887), two days after the beginning of Autumn, painted in the manner of Li Sixun, whilst staying at the Palace of Mo Ruyi’, ink and colour on paper, framed in the round, 23.5cm diameter.

Zhu Xu was a noted Qing Dynasty painter, poet, seal and ink stone carver, who studied with Zhang Qian. Li Sixun (651-716) was a famous Tang Dynasty general, politician and painter who developed a style of painting which became popular among some Qing Dynasty artists reacting against more modern styles.

£500-1,000

152 A CHINESE PAINTED STUCCO PANEL showing a reclining female figure holding a lily, with her hair tied up and wearing a red robe, Tang - Song Dynasty, 19cm x 21cm Provenance: John Sparks Ltd London 1955. Formerly in the H. Oppenheim Collection. £300-600

Lot 151 detail

153 QIAN WEICHENG (1720-1772) An extensive mountain landscape, the foreground with a group of buildings nestled amongst trees beside a river and bridge, beyond this two scholars are seated in an open pavilion under rocks, above a deep ravine divides the composition with further mountains beyond, signed, sealed, dated and inscribed, ink and colour on paper, 145cm x 48.5cm; mounted as a hanging scroll

The right inscription, signed Chashan, mentions a painting in the residence of the Grand Councillor Yu Minzhong (1714-1799) in the style of the Four Masters of the Yuan Dynasty which inspired the artist. The left inscription, signed Weicheng and dated Winter 1766, discusses a plan to give the picture to his brother the following year.

Qian Weicheng was a leading Orthodox School painter of the 18th century. He had a distinguished official career, rising to the rank of Vice President of the Board of Works. At the same time the Qianlong Emperor considered him to be one of the outstanding painters of the age. In over twenty years service at court he produced more than 275 paintings for the Emperor. The reference in the inscription on the right of this painting to Yu Minzhong (1714-1799) is interesting. He was a contemporary of Qian Weicheng in the court of Qianlong and several extant works by the artist are inscribed by him.

ÂŁ5,000-10,000

154 TSURU GASSAKU, ICHIJIKU (A COLLABORATIVE WORK OF CRANES) by Tosa Mitsuzane (1780-1852), Yokoyama Seiki (1792-1864), Kishi Gangku (1749/56-1836), Mori Tetsuzan (1775-1841), Kish Gantai (1782-1865) Maruyama Oshin (1790-1838), Matsumura Keibun (1779-1843), Okamoto Toyohiko (1773-1845), Tanaka Nikka (d.1845), and Nagasawa Roshu (17671847), the composition showing six cranes in the foreground with five above in flight, ink and colour on silk, signed and sealed, 97cm x 37.5cm; mounted as a hanging scroll, with a softwood box

ÂŁ300-600

155 TANKE GESSEN (1721-1809) ‘Shoshi san’ en no zu, Gessen-ga’ (pine trees, three gibbons) signed Gessen, and sealed Shozan sha and Jakusho shujin, ink on silk, 91cm x 37cm; mounted as a hanging scroll with a patterned silk border in an inscribed softwood box

Gessen is recorded in Roberts ‘Japanese Painters’ page 31. He was a priest and resided at the Jakusho-ji Temple, whose ‘mountain name’ is Ei-Shozan, Ise.

£400-800

156 YOKOYAMA KAZAN (1784-1837) A scenic view of a mountain in spring; and an old Shinto shrine in a snowscape (a pair), signed Kazan, ink and colour on silk, 49.5cm x 30.5c;, mounted as hanging scrolls with patterned silk borders, in an inscribed softwood box (2)

See Roberts ‘Japanese Painters’ page 74 for a note about the artist.

£200-400

157 KISHI CHIKUDO (1826-1897) ‘Fuyu’ (Winter), the scene depicting a wolf in winter moonlight between two trees, signed Chikudo and also with collectors seal, ink and colour on silk, 116cm x 42cm; mounted as a hanging scroll with a patterned silk border, in a softwood box

Kishi Chikudo was a leading Meiji painter who was appointed as an Imperial Craftsman. A comparable painting of a howling wolf in the moonlight is in the collection at the Shiga Prefecture Museum of Modern Art (J-114).

£1,000-2,000

158 RICHARD BLOME (1635-1705) ‘A New Mapp of Ye Empire of China’, 1682, colour engraving, 30.5cm x 39.5cm (plate size)

£400-800

159 BY OR AFTER ZHOU PEI CHUN an official funeral procession, ink and colour on silk, 32cm x 68cm

£200-400

100

CHINESE CERAMICS FROM THE COLLECTION OF THE LATE DENIS ALFRED BARNHAM (1920-1981) Denis Barnham was a prominent figure in the Chinese art market in the 1940’s and 50’s, who sold many pieces to Bluett & Sons. See ‘Provenance: Collectors, Dealers and Scholars: Chinese Ceramicsin Britain and America’ by Roy Davids and Dominic Jellinek, 2011, page 61. The following 10 lots were all aquired prior to 1955.

160 A CHINESE YAOZHOU BOWL, the exterior carved with stylised flowers and foliage beneath an olive-green glaze, Northern Song - Jin Dynasty, 11cm diameter

Provenance: Dennis Alfred Barnham (1920-1981), acquired prior to 1955, and thence by descent.

£300-600

162 A CHINESE EARLY YUEYAO FOOTED BOWL, the tapering rounded upper body with a cross-hatched band near the top rim, above a tall conical foot, 3rd/4th century, 18cm. diameter

Provenance: Sir Herbert Ingram (label). Dennis Alfred Barnham (1920-1981), and thence by descent.

161 A CHINESE QINGBAI ‘RICE’, the slightly-flared upper body above a band of phosphatic spots, the lower body gently rounded, Song - Yuan Dynasty, 10.5cm diameter; with a fitted box and stand

Provenance: Dennis Alfred Barnham (1920-1981), acquired prior to 1955, and thence by descent.

£500-1,000

163 A CHINESE CIZHOU DEEP BOWL of rounded form, the top of the interior and most of the exterior body covered in a creamy glaze, Northern Song - Yuan Dynasty, 14.5cm diameter.

Provenance: Dennis Alfred Barnham (1920-1981), acquired prior to 1955, and thence by descent.

£300-600

£300-600 101

164 A CHINESE LONGQUAN CELADON MEIPING VASE decorated with an arrangement of leaves on a ground of fine lines above a lappet band, Ming Dynasty, 20cm high Provenance: Dennis Alfred Barnham (1920-1981), acquired prior to 1955, and thence by descent.

£500-1,000

165 A CHINESE LONGQUAN CELADON BOWL of rounded form with an everted rim, the interior well moulded with a flower motif, Ming Dynasty, 17cm diameter.

Provenance: Dennis Alfred Barnham (1920-1981), acquired prior to 1955, and thence by descent.

£300-600

166 A CHINESE GREEN-GLAZED CYLINDRICAL TRIPOD VESSEL, the exterior decorated with a relief-moulded band of tigers and other animals, the base with three animalform feet, Han Dynasty, 20cm diameter. Provenance: Dennis Alfred Barnham (1920-1981), acquired prior to 1955, and thence by descent.

102

£500-1,000

167 A CHINESE GEYAO SQUARE VASE, the stepped top above a long neck with mask handles, the broad lower body above a spreading foot, the rich light glaze with evenly spread dark and lighter crackles, Qing Dynasty, 18th/19th century, 23.2cm high. Provenance: Dennis Alfred Barnham (1920-1981), acquired prior to 1955, and thence by descent.

ÂŁ500-1,000

103

168 A PAIR OF CHINESE BLUE AND WHITE SMALL BALUSTER VASES, the lappet-decorated necks with mask handles, the tapering rounded bodies with flaming spiral motifs and leafy tendrils above spreading concave bases, Ming Dynasty, circa 1450, 20cm high (2) Provenance: Dennis Alfred Barnham (1920-1981), acquired prior to 1955, and thence by descent.

169 A CHINESE BLUE AND WHITE DISH, the central well with an ogee-bordered design showing five cranes amongst lotus flowers, within a plain rounded cavetto and broad rim with flower panels on a diaper ground, the underside with flower scrolls and other motifs, the base with a double circle mark, Jiajing Wanli, 26.8cm diameter. Provenance: Dennis Alfred Barnham (1920-1981), acquired prior to 1955, and thence by descent.

ÂŁ300-600

104

ÂŁ500-1,000

170 A CHINESE JUNYAO CUP STAND, the slightly rounded upper body above a wide tray and unglazed foot , the light-blue glaze suffused with opaque lighter particles and pooling in places, Northern Song Jin Dynasty, 9.8cm diameter. Provenance: The Montagu Meyer Collection, Christieâ&#x20AC;&#x2122;s April 14th 1980, lot 222.

Private collection, West Dorset.

ÂŁ1,000-2,000

105

171 A CHINESE QINGBAI BOWL of gently-rounded conical form with a foliated rim, the interior carved with stylised scrolls, probably Song Dynasty, 20.5cm diameter.

£300-600

173 A CHINESE WHITE-GLAZED BOWL of Qingbai type, the unglazed rim slightly everted, the interior with moulded flower designs, probably Yuan Dynasty, 15.5cm diameter.

£200-400

172 A CHINESE QINGBAI SHALLOW BOWL of plain gently rounded form with a foliated rim, Song Yuan Dynasty, 19.5cm diameter.

£300-600

174 A CHINESE DING STYLE BOWL, the interior incised with five flowers, the exterior plain except for a lappet band above the foot, the milky glaze with some fine crackling, the foot and top rims unglazed, probably Ming Dynasty, 19cm diameter.

106

£500-1,000

175 A CHINESE WUCAI BALUSTER JAR, the central body decorated with four ogee panels with fish on a diaper ground beneath a band of flowers and foliage on the shoulder, Chongzhen, 32cm high. Provenance: The collection of the late Eric North. . Private collection, North Dorset.

Eric North was a significant collector of Chinese art who gave much of his collection to the Ashmolean Museum, Oxford. He was a regular client of Bluett & Son, purchasing some 234 pieces from the dealers between the mid-1940’s and 1970’s. He was also a member of the Oriental Ceramic Society for more than 30 years, making many loans to the Society’s exhibitions. The present lot and the following three lots were gifted by North to the vendors mother, who was a very good friend of his.

£2,000-4,000

176 A CHINESE WUCAI BOWL, the everted rim above the tapering rounded body decorated with two dragons chasing a pearl amongst cloud scrolls, on a tall foot, Chongzhen, 16cm diameter. Provenance: The collection of the late Eric North. Private collection, North Dorset.

177 A CHINESE SANCAI BRINJAL BOWL of shallow form, the slightly-everted rim above a gently rounded body decorated with three groups of flowers and foliage, on an aubergine ground, Kangxi, 21cm diameter. Provenance: The collection of the late Eric North. Private collection, North Dorset.

178 A CHINESE WUCAI JAR, the neck with a lappet bound above the tapering rounded body with four panels of flowers, on a diaper ground, Chongzhen, 18.5cm diameter. Provenance: The collection of the late Eric North. Private collection, North Dorset.

£800-1,500

179 A CHINESE FAMILLE ROSE CAFEAU-LAIT COVERED JAR, the baluster-shaped body decorated with three leafshaped panels of flowers surrounded by peaches, Qing Dynasty, 18th century, 36cm high.

£200-400

108

£500-1,000

180 A CHINESE BLUE AND WHITE ‘IMMORTALS’ CENSER of baluster form, decorated with the Eight Immortals in a heavenly landscape beneath a border of auspicious objects and cloud scrolls, Qing Dynasty, 24.5cm diameter. Provenance: Private collection, North Dorset.

£2,000-4,000

182 A CHINESE BLUE AND WHITE KRAAK DISH, the central well decorated with chrysanthemums and other flowers within an ogee-panel border of birds, flowers and fruit, Wanli - Tianqi, 36cm diameter.

£300-600

181 A CHINESE BLUE AND WHITE OVOID JAR decorated with groups of different flowers between ornate lappet bands, Kangxi, 24.5cm high; with an 18th century ormolu cover, 30cm high overall. Provenance: Private collection, North Dorset.

£2,000-4,000

183 A CHINESE BLUE AND WHITE ‘PHOENIX’ SAUCER, the interior with a central phoenix surrounded by flowerheads and leafy tendrils, the exterior similarly decorated with two further birds, the base with a Xuande mark, Kangxi, 15.5cm diameter.

109

£300-600

184 A CHINESE BLUE AND WHITE KRAAK DISH, the centre with an octagonal panel decorated with birds in a garden landscape, within a border of ogee panels decorated with peaches and other auspicious motifs, Wanli, 35.5cm diameter.

£300-600

185 A CHINESE BLUE AND WHITE KRAAK DISH, the centre with an octagonal panel decorated with birds in a garden landscape, within a border of ogee panels decorated with peaches and other auspicious motifs, Wanli, 36cm diameter. £300-600

186 A PAIR OF CHINESE BLUE AND WHITE CHARGERS decorated with birds perched on rocks in garden landscapes, within borders with ruyi-shaped panels on scroll grounds with peacocks, Kangxi, 38.5cm diameter (2).

£400-800

110

187 A LARGE CHINESE BLUE AND WHITE YEN YEN VASE decorated with panels of figures and stylised characters on a diaper ground, Kangxi, 44.4cm high Provenance: John Sparks Ltd. London (label). Private collection, North Dorset.

ÂŁ4,000-8,000

111

188 A CHINESE WUCAI ‘KYLIN AND PHOENIX’ VASE, the baluster-form body decorated with a scaly kylin pursuing a phoenix in flight above a heavenly landscape with rocks and trees, all on a ground of repeating tri-part motifs, 17th century or later, 27.5cm high. Provenance: John Sparks Ltd. London (label). Private collection, North Dorset.

189 A LARGE CHINESE SWATOW DISH, the centre decorated with two European ships and a large sea creature within a border of alternating panels on a diaper ground, Wanli - Chongzhen, 50cm diameter.

The decoration in the centre of this large dish is of some interest. It is unusual to find Swatow wares with European-inspired decoration. Also the presence of a large sea creature, probably a shark or whale, adds interest to the scene.

£2,000-4,000

112

£1,000-2,000

190 A CHINESE FAMILLE ROSE BLACKGROUND SMALL DISH finely potted with gently-rounded sides, the exterior decorated with four different types of flowerheads amongst further flowers and leafy tendrils, all reserved on a black ground, the foot with a scroll band, the base with a six-character Yongzheng mark within a double circle in underglazed blue and probably of the period, 11.6cm diameter. Provenance: Deceased estate, West Dorset.

This finely potted and enamelled dish belongs to a relatively rare group of wares exhibiting the same decoration on a variety of objects. A small dish of this size does not seem to have been recorded. For a larger example see Christieâ&#x20AC;&#x2122;s London, 8th November 2011, lot. 433.

ÂŁ1,000-2,000

191 A CHINESE FAMILLE ROSE SAUCER DISH, the wide everted rim above the rounded tapering body and short foot, the fine porcelain translucent when held to the light, the interior decorated with a figure holding a large peach in a garden landscape and a child attendant holding lingzhi, the border with prunus blossom, Yongzheng, 16.4cm diameter. Provenance: Manuel Espirito Santo, 1976. Private collection, West Dorset.

£600-800

192 A CHINESE ENAMELLED BRUSH POT, the cylindrical body decorated with Shoulao and his entourage, the base with a Qianlong sealmark, Republic period, 13.2cm high.

£300-600

193 A LARGE CHINESE FAMILLE ROSE ‘LUOHANS’ VASE, the slender tapering body decorated with the Eighteen Luohans and attendants with a dragon above, the slightly irregular neck decorated with further figures, late Qing - Republic, 46cm high.

114

£500-1,000

194 A CHINESE FAMILLE ROSE BALUSTER VASE decorated with a five-clawed dragon amongst clouds attacking a fish amongst waves below, the body moulded with a honeycomb pattern and lappet bands, the base with a Qianlong sealmark, late Qing - early Republic, 30cm high

£300-600

195 A PAIR OF CHINESE FAMILLE ROSE YELLOW-GROUND WALL VASES of baluster form, each decorated with a central landscape panel within a yellow ground decorated with flowerheads and leafy tendrils, the bases with Qianlong sealmarks, Republic period, 25cm high (2)

£1,000-2,000

196 A CHINESE ENAMELLED BALUSTER VASE, the neck with shou characters amongst flames and cloud scrolls with lappet and ruyi bands below, the body finely painted with three horses in a landscape, the base with a Yongzheng seal mark in blue enamel, Republic period, 37.3cm high

£400-800

115

197 A CHINESE GEYAO BALUSTER VASE, the light greyish glaze with dark and lighter crackles, the base with a Chenghua seal mark, Qing Dynasty, 24.5cm high.

£1,000-2,000

198 A CHINESE YIXING TEAPOT of rounded form with gold mounts and ball feet, probably made for the Thai market, late Qing - early Republic, 12.5cm long

£200-400

199 A JAPANESE SATSUMA DRAGON EWER, the cover with a securing flange, the neck and shoulders sculpted with a dragon, above the globular body with two mon and an arrangement of fans amongst stylised waves, signed Yushin, Meiji period, 26cm high.

200 A CHINESE YIXING TRIPOD VASE, the straight neck with a rounded rim above a ruyi-band shoulder, the segmented body with incised decoration of a bird on a branch and bamboo, one panel with an inscription, the base with three elephant-mask feet, Republic period, 20.2cm high

For a very similar ewer by the same artist see Bonham’s London 15th May 2014 lot 461

£500-1,000

116

£500-1,000

201 A LARGE CHINESE YELLOWGROUND GU VASE, the flared neck with a ruyi band above tall lappets, the central body with relief characters above a conforming lower section, Daoguang - Guangxu, 58.5cm high. Provenance: Octave du Sartel Collection (see label). More recently in a Somerset private collection.

Octave du Sartel was a 19th century French collector and author. He wrote La Porcelaine de Chine which was published in 1881. Much of the O du Sartel Collection was sold at auction in 1894

ÂŁ2,000-4,000

202 TWO KOREAN CELADON BOWLS, the larger example with an even greyish-celadon glaze and gently rounded sides, Koryo Dynasty, 20cm across; the other bowl inlaid with stylised flowers, Choson Dynasty, 18cm dia. (2)

ÂŁ500-1,000

117

203 A PAIR OF CHINESE FAMILLE ROSE HEXAGONAL GARDEN SEATS, with pierced sides and tops, decorated with narrative panels of figures on a foliate scroll ground, Qing Dynasty, 19th century, 46.5cm high (2). Provenance: Private collection, East Dorset.

204 A MASSIVE CHINESE FAMILLE ROSE ‘LANDSCAPE’ FISH BOWL, the exterior decorated with a continuous mountain landscape narrative scene with numerous figures and warriors on horseback, one side with a dignitary and attendants in a pavilion defended by a warrior, Qing Dynasty, 19th century, 63cm diameter.

£1,000-2,000

118

£2,000-4,000

205 A PAIR OF MASSIVE CHINESE FAMILLE ROSE VASES of baluster form, the necks with panels of figures flanked by gilt lion and cub handles, the lower bodies with similar larger panels showing numerous figures in garden landscapes, Qing Dynasty, 19th century, 89cm high; on European carved hardwood foliate stands, 115.5cm high overall (2) Provenance: Formerly in a Portuguese collection.

ÂŁ8,000-12,000

206 A PAIR OF CHINESE FAMILLE ROSE BALUSTER VASES, of tapering cylindrical form, decorated with mythical narrative figure scenes, Qing Dynasty, 19th century, 43.5cm high (2)

£800 – 1,500

120

207 A MASSIVE CHINESE BLUE AND WHITE COVERED VASE of baluster form, the neck decorated with a landscape scene between a diaper band, the shoulder with a ruyi band above the lower body painted with beasts under auspicious trees, the cover with a biscuit lion finial, Qianlong, 133.5cm high Provenance: A West Dorset manor house.

ÂŁ4,000-8,000

121

210 A CHINESE SILK AND GOLDTHREAD EMBROIDERED WAISTCOAT AND SKIRT, decorated with ogee figure panels surrounded by flower and character roundels, all within polychrome flowers on a red ground with waves below, late Qing - early Republic, the jacket circa 73cm long, the skirt circa 85cm long (2). Provenance: Lt. Col. Samuel Chaplin Kirke (1911-1995), and thence by descent.

£500-1,000

211 A CHINESE SILK AND GOLDTHREAD EMBROIDERED SKIRT decorated with bands of fruit and flowers on a blue ground, with attachable tassels, late Qing - Republic, circa 91cm long. Provenance: Lt. Col. Samuel Chaplin Kirke (1911-1995), and thence by descent.

£300-600

212 A CHINESE SILK AND GOLDTHREAD EMBROIDERED BLUE ROBE with yellow sleeve edges and a ruyi border at the hem, late Qing - early Republic, circa 97cm long

122

£200-400

213 A LARGE CHINESE SILK AND GOLD-THREAD EMBROIDERED PANEL, the centre with twenty four Immortals standing within a scroll border on a gold ground, the outer border with similar panels of flowers, late Qing - early Republic, circa 201cm x 164cm. Provenance: Lt. Col. Samuel Chaplin Kirke (1911-1995), and thence by descent.

ÂŁ500-1,000

123

214 FIVE CHINESE INK RUBBINGS including three calligraphic examples - one after Mi Fu (1051-1107); another by or after Ma Dezhao (18241890) showing a large central ru character; and another - the other two rubbings showing Buddhist figures and probably taken from a Tang sauce (5) Provenance: The Estate of Philip S. Rawson (1924-1995), author, scholar and founding curator of The Gulbenkian Museum, Durham.

£200-400

215 WU XIN (20th century) ‘Winter in Xiang Hiu, Wu Zi year’, ink on paper laid on board, 95cm x 50cm. Provenance: A gift from the Hong Kong Jockey Club to the vendor’s father in 1955 after he won a bet at the Happy Valley Race Track. This painting was formerly in the Stanton Box.

124

£200-400

216 YU ZHIXUE (b.1935) Birds on a thawing branch, signed and sealed lower right, ink and colour on paper, 89.5cm x 66.5cm Provenance: Christieâ&#x20AC;&#x2122;s London, 3rd July 1997, lot.283. Private collection, Hampshire. ÂŁ2,000-4,000

125

217 QU YINGSHAO (1778-1849) A study of chrysanthemums and other flowers, signed, sealed and inscribed, ink and colour on silk, 23.5cm x 34cm; and a companion picture, probably by the same hand, showing flowers amongst rocks, ink and colour on silk, 26.5cm x 19.5cm (2)

Qu Yingshao was a literati artist who excelled in literature, painting, calligraphy, seal carving, pottery and bamboo craft.

ÂŁ500-1,000

126

218 CHINESE ARTIST, 18th century A female musician reclining beside a low table with a musical instrument, ink and colour on paper, oval, 23cm x 19cm

£200-400

219 A CHINESE CARVED STONE HEAD OF AN OFFICIAL, wearing a hat and with pendulous ears, the face with a serene downcast expression, Ming Dynasty or earlier, 25cm high; on a later stand Provenance: Private collection, North Dorset. Acquired in the 1970’s.

127

£1,000-2,000

220 A CHINESE BRONZE ARCHAISTIC GU VASE with extensive patination and old repairs, formed as three registers of scroll decoration terminating in upper lappets, each register with relief ridge spacers, the interior floor with a pictogram, probably Ming Dynasty, 32cm high

£500-1,000

221 A CHINESE ARCHAISTIC BRONZE TRIPOD CENSER with a broad rim and swept handles, the body with a band of shallow scroll decoration above three masktopped legs, the interior wall with a pictogram, probably Ming Dynasty, 25.8cm wide

128

£700-1,000

222 A CHINESE BRONZE ‘CHILONG’ TRIPOD CENSER, the waisted neck and flattened rounded body with two handles formed as chilong dragons peering over the rim and facing each other, the base with a three-character relief mark ‘Qian-qing-gong’, Ming Dynasty, 29cm wide

For a comparable bronze censer with dragon handles see ‘The Second Bronze Age: Later Chinese Metalwork’, Sydney L Moss Ltd, 1991, no. 43.

£800-1,500

223 A CHINESE BRONZE ‘GARLICHEAD’ VASE, the swept top with an angled opening above a long neck with central hand grip, the rounded body over a gently spreading foot, the patina of complex chestnut tones, probably Han Dynasty, 35cm high Provenance: Private collection, London.

£1,000-2,000

129

224 A CHINESE WARRING STATES STYLE SILVER AND GOLD INLAID TIGER, the roaring feline crouching low with a forward motion and head raised, the body covered with gold and silver stylised designs terminating in spiral motifs, two scrolls extending from the front elbows curl backwards to form a handle on the back of the animal, the long tail curled at the end, 34cm long.

The function of this unusually large and impressive sculpture is unclear. It may have been intended as a handle or support for a large vessel. This possibility is supported by the presence of a hole which has been filled close to the aperture on the underside of the creature’s stomach and also by the scrolls extending from the feline’s elbows, which form a kind of ring on its back. Examples of gold and silver inlaid sculpture of this size are rare. For a large garment hook see ‘Das Alte China von den Anfangen zur Tang Dynastie’ by Maurizio Scarpair, 2008, pp. 140-141. A similar-sized garment hook was also sold by Bonhams New York on 16th March 2015, lot 2008. Also, a very large screen stand modelled as a tiger devouring a deer, is illustrated in ‘The Arts of China to AD 900’ by William Watson, 1994, pl. 91 pg. 48.

£5,000-10,000

225 AN UNUSUAL CHINESE BRONZE DEEP BOWL of tapering rounded form, the silvery surface over-run in places with complex patination, probably Han Dynasty, 23cm diameter. Provenance: Private collection, London.

130

£500-1,000

226 A CHINESE PEWTER-ENCASED YIXING TEAPOT by Yang Pengnian (1796-1850), of square form, the handle, finial and spout in jade, one side of the vessel with a poetic inscription, probably by Zhu Yin, the other side decorated with flower blossoms, signed on the interior base Yang Pengnian, Qing Dynasty, 19th century, 13.5cm long.

£500-1,000

227 A CHINESE DARK GREEN GLAZED FIGURE OF GUANYIN, the deity with a serene expression, holding a rosary in one hand with the other raised, seated cross-legged on a lotus base, Qing /Dynasty, 18th/19th century, 19.5cm high. Provenance: Hy Duke and Son, Dorchester, 24th January 2002, lot 554. Private collection, West Dorset.

£2,000-4,000

131

228 A CHINESE CELADON JADE WATER COUPE, the petal-form bowl surrounded by open-work prunus twigs and blossom forming the handle on one side, Qing Dynasty, 18th/19th century, 15.5cm long

£500-1,000

229 A CHINESE PALE CELADON JADE CEREMONIAL DAGGER, the handle with a ruyi-scroll terminal, the hand guard with archaic scrolls before a tapering blade, Qing Dynasty, 29cm long; contained in a fitted Cartier case

132

£1,000-2,000

230 A CHINESE CELADON JADE RECUMBENT HORSE, the animal with its’ head turned to the rear with legs tucked under the body and tail curled back around the hind quarters, the mane and tail with fine detailing, early Ming Dynasty, 7cm long. Provenance: Christie’s London 15th June 1998, lot 233. Private collection, West Dorset.

£1,000-2,000

231 A CHINESE MOTTLED GREEN JADE CONG VASE, the short neck with a rounded rim above the square body, each facet with four archaic scrolls, Qing Dynasty, 19th century, 13.5cm high; on a hongmu stand Provenance: Private collection, North Dorset.

£2,000-4,000

133

232 A CHINESE MOTTLED JADE ‘DOUBLE-FELINE’ PENDANT, the two animals facing each other with expressive faces and detailed vertebrae, the tails curled backwards, Ming Dynasty, 4.8cm across

£300-600

234 A CHINESE MOTTLED BROWN JADE FELINE, the plump animal crouched low with its’ tail over the back, Ming Dynasty, 6cm long

£200-400

233 A CHINESE CELADON AND BLACK JADE RECUMBENT HOUND PENDANT, the compactly-formed animal with its’ head turned to the rear, Ming Dynasty, 4.3cm long

£200-400

235 A CHINESE MOTTLED JADE FELINE BEAD, the animal of flattened rectangular form, the underside with an inscription, Ming Dynasty or earlier, 6.4cm long

134

£200-400

236 A CHINESE CELADON JADE ‘LION AND CUB’ PENDANT, the animals facing each other in opposite directions, the larger holding a ball, Ming - early Qing Dynasty, 3cm wide

£300-600

237 A CHINESE WHITISH-CELADON JADE FELINE, the creature reclining on a banana leaf and holding a butterfly in its mouth, the stone with an even tone and soft polish, late Ming - early Qing Dynasty, 6.7cm long Provenance: The Old Vicarage, Powerstock, Dorset. £500-1,000

238 A CHINESE CELADON JADE SWORD SLIDE of curved form carved with a chilong dragon and scrolls, the stone of mottled tones, late Ming - early Qing Dynasty, 8.7cm long

£200-400

239 A CHINESE PALE CELADON JADE PENDANT, one side carved with a flower, the other with a central roundel among scrolls, the stone with fine russet markings, Qing Dynasty, 18th/19th century, 4.8cm long £300-600

135

240 A CHINESE AMBER SNUFF BOTTLE of rounded rectangular form, the amber of mottled opaque butterscotch tones, the stopper in clear amber, Qing Dynasty, 19th century, 7.5cm high overall Provenance: Private collection, North Dorset.

ÂŁ1,000-2,000

241 A CHINESE PUDDINGSTONE SNUFF BOTTLE of rounded rectangular form with a tapering neck, the stone with evenly arranged features, jade stopper, Qing Dynasty, 19th century, 7.5cm high overall Provenance: Private collection, North Dorset.

136

ÂŁ600-1,200

242 A CHINESE CHALCEDONY SNUFF BOTTLE of rounded rectangular form, one side carved with a cockerel beside a flower and lingzhi, the stopper of compressed form, Qing Dynasty, 19th century, 7.5cm high overall Provenance: Private collection, North Dorset.

ÂŁ600-1,200

243 A CHINESE CHALCEDONY SNUFF BOTTLE of rounded rectangular form, carved on one side in opaque stone with three figures, the other side carved with a man in a wagon pulled by a horse, soapstone stopper, Qing Dynasty, 19th century, 7.8cm high overall Provenance: Private collection, North Dorset.

ÂŁ800-1,500

137

244 THREE CHINESE ENAMELLED PORCELAIN SNUFF BOTTLES including two cylindrical examples decorated with boys in a garden and birds, the other of flattened form decorated with a dragon, late Qing - early Republic, the largest 7.5cm high (3) £200-400 245 THREE CHINESE ENAMELLED METAL SNUFF BOTTLES of rounded form, one showing cats amongst flowers with an inscription and seal, another decorated with boys in a garden, and another with a female portrait and calligraphy, Republic period, the largest 6.5cm high (3)

£200-400

246 THREE CHINESE CLOISONNÉ SNUFF BOTTLES including a cylindrical example decorated with hares in a landscape, a rounded example with phoenix, and a globular example with long neck, late Qing - Republic, the largest 7.5cm high (3)

138

£150-300

247 TWO CHINESE FAMILLE ROSE SNUFF BOTTLES, one of cylindrical form decorated with a narrative mythical scene, the other of covered baluster form decorated with a narrative scene with figures in a landscape, late Qing Dynasty, 6.5cm and 8.5cm high (2)

£200-400

248 THREE CHINESE PORCELAIN CYLINDRICAL SNUFF BOTTLES, one showing a bird perched on a rock beside a tree, Yongzheng mark, another showing boys chasing birds, Yongzheng mark, and another of Shou Lao and a child attendant, late Qing - early Republic, the largest 7.5cm high (3)

£200-400

249 THREE CHINESE FAMILLE ROSE ROUNDED SNUFF BOTTLES including two of flattened form decorated with figures, the other with figures and horses in a landscape, the latter with a Qianlong mark, late Qing - early Republic, the largest 6.5cm high (3)

£200-400

250 A GROUP OF CHINESE MINIATURE JADE AND OTHER ORNAMENTS including an archers ring, a cylindrical pendant, a coquilla nut and other pieces, late Qing - early Republic

£100-200

139

The vendor’s family have understood by tradition that the soldier in question was a British Cavalry Sergeant called William Murphy. K J Asplin’s ‘China Medal Roll 1856-60’, 2004 vol. 2 only includes one person who could possibly fit that description - Sergeant William Murphy (1833-1885) of the (King’s) 1st Dragoon Guards. This unit was heavily involved in the action in Peking in 1860 and in the lamentable sacking of the Summer Palace. For an account of Murphy’s life and military career see the Journal of the Orders and Medals Society of America, vol. 60, no. 3, May-June 2009.

Interestingly, a hand-written family note about the watch, states that it was given to Cheney by ‘his sergeant’. It seems clear from this that Cheney was well-acquainted with Murphy. Given the dangerous conditions in China at the time, it may well be that the British army provided some protection to the American businessman during his activity there.

After returning to the United States in 1861, F.W. Cheney became a lieutenant colonel of the 16th Connecticut Volunteers. In September 1862 he led his men in the Battle of Antietam, the first battle of the American Civil War and the bloodiest single-day battle in US history. He was severely wounded in combat and following his recovery he returned to the family silk business.

Chinese Imperial taste for European watches, particularly by the Qianlong Emperor, is welldocumented. Given the 18th century date of this watch it seems likely that it entered the Palace complex during Qianlong’s reign.

£10,000-20,000

F. W. Cheney in 1862

251 A FINE GOLD OPEN-FACED KEY-WIND POCKET WATCH, probably Swiss, second half of the 18th century, the white enamel dial with inner Roman numerals and outer Arabic seconds chapter, with gilt hands and centre-sweep seconds hand, the fusee movement with filigree and engraved cock plate, the interior back cover inscribed “The Emperor Watch, Loot from the Summer Palace of the Emperor of China, Pekin, October 1860, Frank W. Cheney”, the interior of the inner case with a coronet mark and numbered 10824, the dial 5cm diameter, the watch 8cm high overall

Provenance: Almost certainly taken from the Summer Palace (Yuanmingyuan) in 1860 by Sergeant William Murphy (1833-1885) of the (King’s) 1st Dragoon Guards and acquired from him shortly after by Frank Woodbridge Cheney (1832-1909), and thence by descent.

F. W. Cheney was descended from the pioneering American clockmaker Benjamin Cheney. In 1855 he was made a director of the historic Cheney Brothers Silk Company, co-founded by his father. Frank later became the firm’s general manager and under his guidance it became an international leader in the silk manufacturing business.

Between 1859 and 1861 F.W. Cheney was sent by the company to buy raw silk in the Orient and to study the Chinese silk industry. It was during this period that he acquired what the Cheney family have always referred to as ‘The Emperor Watch’. This period in his life is recorded in ‘Frank Woodbridge Cheney: Two Years in China and Japan’ by Antoinette Cheney Crocker, 1970. On page 13 the author specifically refers to Cheney acquiring the watch from soldiers involved in action at the Summer Palace in 1860.

Sergeant William Murphy in 1871

140

141

252 A JAPANESE BRONZE OKIMONO in the form of an oni carrying a sack, Meiji, 10.2cm long; and a bronze shishi water dropper, late Edo - Meiji, 9cm long (2)

£150-300

253 A JAPANESE BRONZE FROG OKIMONO, the creature with a gnarled back and smooth underbelly, a smaller animal climbing on its back, late Edo - Meiji, 14.7cm wide

£200-400

254 A LARGE JAPANESE BRONZE HERON by Masatoki of Kyoto, the bird stepping forward with its head turned upwards to the right, the body with finely modelled overlapping feathers, signed underneath the hind quarters, Meiji, 111cm high Provenance: Private collection, East Dorset.

142

£1,000-2,000

255 A SET OF EIGHT JAPANESE IVORY GEESE of varying sizes and postures, the feathers finely carved and the eyes inlaid, Meiji period, the largest 15.8cm high (8) Provenance: Private collection, North Dorset.

ÂŁ1,000-2,000

256 A PAIR OF CHINESE PIERCED AND CARVED MOTHER OF PEARL ORNAMENTS, each showing Immortals amongst cloud scrolls with waves below, late Qing - Republic, on carved wood stands, 22.5cm long (2)

£800-1,500

257A A JAPANESE IVORY OKIMONO, of a man carrying a sack of toads, with a boy below, Meiji, 10cm high

257 A JAPANESE IVORY SMALL OKIMONO AND A MINIATURE SCREEN, the okimono of a rat catcher with the creature escaping over his shoulder, Meiji, 9.5cm long; the miniature screen with shibyama style inlay, Meiji period, 9.8cm high (2)

£300 – 600

£300-600

258 A CHINESE GILT-LACQUER OCTAGONAL TEA CADDY, the cover and sides decorated with figures in pavilions amongst woodland landscapes with dragon borders, the base with dragon-form feet, the interior with original pewter canisters, Qing Dynasty, 19th century, 26.5cm long

144

£400-600

259 A JAPANESE IVORY OKIMONO of a man holding a basket, the figure wearing a finelycarved fur cape, Meiji period, 15cm high; on a later stand

£200-400

260 A CHINESE IVORY CARD CASE of ogee form, one side carved in high relief with a central roundel surrounded by sea creatures, the other side carved in shallow relief with figures amongst buildings in a woodland, late Qing Dynasty - early Republic period, circa 1900-1920, 11.6cm high £500-1,000 261 A CHINESE IVORY FEMALE IMMORTAL, the slender figure holding a vase of flowers, a crane below holding lingzhi, late Qing - early Republic, 21cm high, on a hardwood stand Provenance: Acquired by the vendor’s grandfather, Mr James Southworth, whilst living and working in Shanghai between 1925 and 1938

£150-300

145

262 TWO JAPANESE FIGURE NETSUKE, one in ivory showing Hotei with a boy, signed underneath, Meiji period, 3.8cm high; the other in stag antler of a performer, late Edo - Meiji, 4.5cm high (2)

£100-200

263 A JAPANESE STAG ANTLER OX NETSUKE, the recumbent animal turned to the left and with a rope over its back, late Edo - Meiji, 5.5cm long

£150-300

264 TWO JAPANESE FIGURE NETSUKE, one in ivory of a boy on top of a sack of money, Meiji period, 3.5cm long; the other in wood of Shoki with a bowl and gourd flask, signed underneath, late Edo Meiji, 3.5cm high (2)

146

£100-200

265 A JAPANESE IVORY OX AND BOY NETSUKE in the style of Garaku, signed Tomotada, the recumbent animal with finely carved details, its head turned to the left, the tongue extended, the boy climbing on its back holding onto a rope, late Edo - early Meiji period, 6.5cm long

£1,000-2,000

266 A JAPANESE IVORY FIGURE NETSUKE the emaciated ascetic seated on rocks with one leg pendant, late Edo - early Meiji period, 5cm high

£300-600

267 A JAPANESE IVORY NETSUKE OF A FOREIGNER, the standing figure with curled hair and holding a ram’s horn, his coat buttons inlaid, late Edo period, 6.4cm high

It is possible that this figure, holding a ram’s horn which resembles a shofar, may have been inspired by a JewishDutch trader.

£800-1,500

147

268 A LARGE CHINESE MARBLETOPPED STAND, the foliate-form top above an ornate carved frieze and legs united by cross-stretchers, late Qing, 80cm high

£400-600

270 A CHINESE HARDWOOD DISPLAY STAND with stepped shelves and a drawer and cupboard below, maker’s plaque for George Zee & Co. Ltd, 20th century, 114.5cm high

£200-400

269 A CHINESE MARBLE-TOPPED HARDWOOD STAND of rectangular form, with a lower shelf, late Qing - early Republic, 79cm high

£300-600

271 A CHINESE HARDWOOD KANG TABLE with a burrwood-panelled top above a waisted frieze and corner legs, late Qing Dynasty, 89cm long

148

£500-1,000

272 A CHINESE CARVED HARDWOOD FOUR-FOLD SCREEN, the front carved in high relief with panels of figures in rocky garden landscapes, beneath top panels of flowers and foliage, the back carved in shallow relief with top panels of bats around characters with further panels of fruit and bats below, late Qing - early Republic, 188cm high x circa 180cm long. Provenance: Private collection, North Dorset.

ÂŁ2,000-4,000

273 A LARGE JAPANESE TWO-FOLD SHIBAYAMA STYLE SCREEN, one panel decorated with cranes perched on a branch, the other with cranes in flight, Meiji, 184.5cm high x circa 172.5cm long

£400-600

274 A CHINESE RUG, the central area with a flower roundel and spandrels on a russet ground, within a foliate border with blue edging, late Qing Dynasty, circa 271cm x 185cm

150

£500-1,000

275 A SET OF FOUR JAPANESE LACQUERED WOOD PRICKET CANDLESTICKS, the thin long shafts between gilt-metal mounted ends of foliate form, late Edo period, 54cm high (4) Provenance: Private collection, London.

£1,000-2,000

276 A CHINESE HARDWOOD BARREL SEAT, the burrwood-panelled top above an openwork lower area carved to simulate rope, late Qing Dynasty, 47cm high

£300-600

277 A CHINESE HARDWOOD SIDE TABLE with dragon scroll ends and straight legs, late Qing Dynasty, 83cm high x 118cm long

£500-1,000

151

ASIAN ART REFERENCE BOOKS

278 SCHROEDER, ULRICH VON, ‘Indo-Tibetan Bronzes’, First Edition, 131/500, Hong Kong 1981

£300-600 279 Weber, George W. Jr., The Ornaments of Late Chou Bronzes, New Brunswick, Rutgers University Press, 1973. 631pp; Rawson, Jessica, Chinese Bronzes: Art & Ritual, London/Norwich, British Museum/University of East Anglia, 1987. 104pp. (2)

£100-200

281 Ribeiro, Susan/The Oriental Ceramic Society of Hong Kong, Arts from the Scholar’s Studio, Hong Kong, 1986. 287pp; Fry, Roger & Binyon, Laurence, Rackham, Bernard et al, Chinese art: an introductory handbook to painting, sculpture, ceramics, textiles, bronzes & minor arts, Lonodn, Batsford, 1935/1949. 86pp; Lin Yutang, Imperial Peking: Seven Centuries of China, London, Elek Books, 1974. 227 pp. (3)

£80-150

282 Transactions of the Oriental Ceramics Society: 13 bound volumes from Vol. 38 (1969-71) to Vol. 50 (1985-86).

£100-200

£50-100

280 National Palace Museum, Chinese Cultural Art Treasures: National Palace Museum Illustrated Handbook (12th edition), Taipei, 1977. c.200pp; Hearn, Maxwell K., Splendours of Imperial China: Treasures from the National Palace Museum, New York/Taipei, Rizzoli International Publications Inc., 1996. 144pp; Segalen, Victor, Chine ou le pouvoir dans l’entendue, London, Taranman, 1978, 132pp; Arts of China, London, Cardinal, 1973. 256pp; Segalen, Victor, The Great Statuary of China, Chicago & London, The University of Chicago Press, 1978. 192pp; Sullivan, Michael, The Arts of China, London, Cardinal, 1973. 256pp. (6)

283 Perry, Lilla S, Chinese Snuff Bottles: The Adventures & Studies of a Collector, Rutland Vermont, Charles E. Tuttle Company, 1960/1969. 158pp; The Oriental Ceramic Society, Chinese Jade Through The Ages, London, OCS, 1975. 153pp; The Oriental Ceramic Society/The British Museum, Chinese Ivories from the Shang to the Qing, London, OCS & BM, 1984. 200pp; Medley, Margaret, The Chinese Potter, Oxford, The Phaidon Press, 1976. 288pp (4).

£50-100

284 Siren, Osvald, The History of Chinese Art (four volume set), London, Ernest Benn Limited, 1929/1930. Comprising: A history of early Chinese art: the prehistoric and preHan periods, 73 pp. text & 108 plates + descriptions; A history of early Chinese art: the Han period, 87 pp. text & 120 plates + descriptions; A history of early Chinese art: sculpture, 75 pp. Text & 128 plates + descriptions; A history of early Chinese art: architecture, 77 pp. text & 120 plates + descriptions. (4)

£200-400

285 Audsley, George A. & Cutler, Thomas A., The Grammar of Japanese Ornament, (reprint from 1882 & 1880 respectively), London, Studio Editions, 1989. 248 pp text + plates; Hillier, J., Utamaro: Colour Prints and Paintings, London, Phaidon Press Ltd., 1961. 162 pp; Baekeland, Frederick, Imperial Japan: the Art of the Meiji era (1868-1912), Ithaca, Herbert F. Johnson Museum of Art, Cornell University, 1980. 232 pp; Mino, Yutaka (ed.), The Great Temple: Treasures of Japanese Buddhist art from Todai-Ji. Chicago, The Art Institute of Chicago, 1986. 180 pp. (4)

£80-150

286 Gompertz, Godfrey, St. G.M., Chinese Celadon Wares, London, Faber & Faber, 1980 (2nd edition). 216 pp; Arts Council of Great Britain/ Oriental Ceramic Society, The Ceramic Art of China, London, OCS/V & A, 1971. c.130 pp; Du Boulay, Anthony, Chinese Porcelain, London, Octopus Books, 1973. 95pp; Gordon, Elinor, Collecting Chinese Export Porcelain, London, John Murray, 1978. 160 pp; NeaveHill, W.B.R., Chinese Ceramics, Edinburgh & London, John Batholomew, 1975. 176 pp; Howard, David & Ayers, John, Masterpieces of Chinese Export Porcelain, London, Sotheby Parke Burnet, 1981. 80 pp. (6)

152

£100-200

287 Wirgin, Jan, Sung Ceramic Design, London, Han-Shan Tang Ltd., 1970. c.320 pp text, figures & plates; Fahr-Becker, Gabriele (ed.), The Art of East Asia, Koln, Konemann, 1999. 738 pp. (2) £50-100 288 Soame Jenyns, R., Watson, W., Lion-Goldschmidt, D., Moreau-Gobard, J-C., Chinese Art, (Three-volume set published by Phaidon, Oxford, 1981). Comprising: Bronze, jade, sculpture, ceramics; Gold, silver, later bronzes, cloisonne, Cantonese enamel, lacquer, furniture, wood; Textiles, glass & painting on glass, carvings in ivory and rhinoceros horn, carvings in hardstones, snuff bottles, inkcakes and inkstones.(3) £100-200 289 Xin Zhongguo chutu wenwu [‘New China’s excavated archaeological finds’], Beijing, Waiwen Chubanshe, 1972. 217 pp; Huang Mengtian (ed.), April 1978 Hong Kong (the) exhibition of archaeological finds of the People’s Republic of China, Hong Kong, 1978 (in Chinese, with some English). Circa 100 pp; Watson, William (ed.), The genius of China: an exhibition of archaeological finds of the People’s Republic of China, London, Times newspapers Ltd, 1973. 160 pp; Rawson, Jessica, Ancient China: art and archaeology, London, The British Museum, 1980. 240 pp. (4)

290 Claudel, Paul & Hoppenhot, Helene, Chine, Paris, Editions D’art Albert Skira, 1946. 83 pp; Beers, Burton F., China in Old Photographs 1860-1910, Milton, Mass, Museum of the American China Trade, 1978. 160 pp; Goodrich, L. Carrington & Cameron, Nigel, The Face of China as Seen by Photographers and Travelers 18601912, Millerton, N.Y., 1978. 157 pp; Worswick, Clark & Spence, Jonathan, Imperial China: Photographs 18501912, New York, Penwick/Crown, 1978. 151 pp. (4)

£100-200

291 Cheng, Francois, L’espace du reve: mille ans de peinture chinoise [‘Space for dreams: a thousand years of Chinese painting’], Paris, Phebus, 1980. 243 pp; Binyon, Laurence (ed.), Art of the Far East: landscapes, flowers, animals, London, B.T. Batsford Ltd., 1947. c. 20 pp; Hejzlar, Josef, Chinese Watercolours, London, Cathay Books, 1982. 71 pp text + c.100 pages plates; Sullivan, Michael, An Introduction to Chinese Art, London, Faber & Faber, 1961. 223 pp. text + c.50 pp plates. (4)

£80-150

153

£80-150

ISLAMIC AND INDIAN ART

292 INDIAN ARTIST (CIRCA 1800) Company School, Delhi, the Mughal prince Mirza Nili Sahib Bahadur seated with his sons Mirza Kamran Bahadur and Mirza Humayun Bahadur in a palace chamber, nastaâ&#x20AC;&#x2122;liq inscriptions of identification on painted surface, gouache on paper, 27cm x 18.5cm Provenance: Private collection, North Dorset.

Mirza Nili Sahib Bahadur (1762-1825) was a son of the Mughal Emperor Shah Alam II (1728-1806) and produced six sons and three daughters. Two of his sons are depicted above. He is buried in the Tomb of Jahan Ara Begum in Delhi.

ÂŁ3,000-5,000

154

293 INDIAN ARTIST (EARLY 19TH CENTURY) Company School, Delhi, A European gentleman seated at a doorway, an attendant standing waving a cauri, European style furniture and paintings in the background, nasta’liq inscription on painted surface ‘Nawab al-Daulah Sithon Sahib Bahadur”, mounted on an album page with gilt-decorated borders, gouache on paper, 30.2cm x 23.5cm overall. Provenance: Private collection, North Dorset.

£3,000-5,000

155

294 AN ISLAMIC MINAI WARE POTTERY BOWL of deep conical form, the interior decorated in polychrome with four figures and a central horse and rider, Iran, 12th - 13th century, 20.5cm diameter.

£500-1,000

296 A QAJAR LACQUER CIRCULAR BOX densely decorated with flowers, second half of 19th century, 8.5cm diameter.

295 AN IZNIK POTTERY DISH, the centre decorated with carnations, within a scroll border, Turkey, 16th - 17th century, 34cm diameter.

£300-600

297 A KASHAN POTTERY EWER, the upper body decorated with blue streaks, the lower body and foot unglazed, Iran, 12th - 13th century, 14cm high Provenance: Bluett & Sons Ltd London 1964.

A comparable ewer formerly in the Havemeyer Collection is extant in the Metropolitan Museum of Art, New York (29.160.1)

£300-600

156

298 A KASHAN POTTERY LUSTRE BOWL decorated with figure roundels and scrolls on a blue ground, Iran, 12th - 13th century, 20.5cm diameter.

299 A LARGE ISLAMIC POTTERY DISH covered in a bluish-green glaze with a moulded calligraphy border, probably Iranian 12th - 13th century, 37.5cm diameter.

Provenance: Spink & Son Ltd London 1970

£800-1,500

300 AN ISLAMIC POTTERY BOWL, the interior decorated with radiating bands on a dark ground, probably Iranian 12th - 13th century, 20.3cm diameter.

£500-1,000

£300-600

301 AN ISLAMIC POTTERY CALLIGRAPHIC BOWL, the interior rim with a band of script, probably Iranian 12th - 13th century, 20cm diameter.

157

£200-400

Lot 157 detail

Lot 218 detail

Duke’s AUCTIONEERS SINCE 1823

Glossary of Cataloguing Terms The auctioneers are always pleased to discuss individual lots with prospective purchasers prior to the auction and will provide condition reports on request. If you require clarification of any terms employed in the catalogue please do not hesitate to seek advice. The auctioneers are also pleased to discuss lots which may have been altered, repaired, or restored. The term basically used in conjunction with a date (ie. basically 18th century) indicates that, in our opinion, the item may have undergone restoration, repair, or alteration. It also indicates that only an element of the piece may date from the period stated in the description. The absence of the term basically does not imply that an item is without restoration, repair, or alteration. The use of inverted comas around a word or phrase (ie. “pearl”) indicates that the piece, or object, may not be what it is purporting to be. (ie. a simulated pearl). If you are in doubt our specialists are available prior to the auction to offer guidance and advice. With Chinese ceramics and works of art, if the catalogue states that the object in question bears a mark, but it does not state “and of the period” it indicates that we believe the lot in question may not date from the period suggested by the mark. Clearly, references to the colour of jade are subjective and again buyers are advised to inspect personally any items on which they intend to bid to ensure the colour meets with their expectation. Care is taken to ensure that any statement as to authorship, attribution, origin, date and provenance is reliable and accurate, but all such statements of opinion and are not to be taken as statement or representations of fact. Duke's reserve the right, in forming their opinion, to consult and rely upon any expert or authority reasonably considered by them to be reliable. Descriptions of property in this catalogue do not always indicate condition, repair or damage. Buyers are earnestly advised to inspect personally any lot they intend to purchase. Weights and measurements are approximate and should be verified by intending purchasers

Paintings, Drawings and Prints A work catalogued with the forename(s) and surname or recognised designation of an artist is, in our opinion, a work by the artist, e.g. NICHOLAS CHEVALIER Attributed to NICHOLAS CHEVALIER ... in our opinion a work of the period of the artist which may be in whole or in part the work of the artist.

Manner of NICHOLAS CHEVALIER ... in our opinion a work executed in the style of the artist but of a later date.

Studio of NICHOLAS CHEVALIER ... in our opinion a work by an unknown hand, which may have been executed in the studio of the artist.

After NICHOLAS CHEVALIER ... in our opinion a copy of any date after a work by the artist.

Circle of NICHOLAS CHEVALIER ... in our opinion a work from the period of the artist and showing his influence. Follower of NICHOLAS CHEVALIER ... in our opinion a work executed in the style of the artist but not necessarily by a pupil.

Signed/inscribed/dated NICHOLAS CHEVALIER ... in our opinion the work has been signed/inscribed/dated by the artist. Bears signature/inscription/date NICHOLAS CHEVALIER ... in our opinion the signature/inscription/date are probably not by the. hand of the artist.

The addition of a question mark after any of the cataloguing terms in the above glossary indicates an element of doubt. The term 'ascribed to' may in certain cases be used to denote a traditional attribution based on style. A work catalogued as 'School' accompanied by the name of a place or country and a date mean that in our opinion the work was executed at that time and in that location, e.g. Dutch School, circa 1700. All reference to signatures, inscriptions and dates refer to the present state of work, i.e. as at the time of inspection for the purpose of cataloguing.

The use of onverted comas around the name of an artist, or date, in connetion with a signature, or inscription (ie. signed “Nicholas Chevalier”) indicates that the signature, or inscription, may have been added by another hand.

Artist’s Resale Right From mid February 2006 living artists are entitled by law to receive a resale royalty each time their work is resold by or to an art market professional. From 1st January 2012 the Right has been extended to include sales of works by artists who have died within the last 70 years (following the existing term of copyright). Royalties will be payable to the families and beneficiaries of these artists. An art work must be resold for more than 1,000 Euros to qualify for the right. The rates payable are calculated as a percentage of the hammer price and are set out in a sliding scale from 4% to 0.25%. The charge is exclusive of VAT. The auctioneers reserve the right to pass all of the cost to the person buying the qualifying art work

JEWELLERY The contents of any gemmological certificates accompanying lots in this sale are not guaranteed by Duke’s Auctioneers and we cannot be held responsible for any disagreement over the contents of the certificates after the sale, or for a retrospective change in opinion by the certificate issuer. All weights and measurements provided are approximate only. Prospective purchasers should assume that all coloured stones sold by Duke’s Auctioneers have been treated unless otherwise stated to the contrary in the catalogue description. Stones are commonly treated to enhance their colour and clarity. Sapphires and rubies are commonly heat treated and emeralds commonly oiled. Jade/jadeite is often bleached, polymer/resin filled or dyed. Please contact Duke’s for more clarification on treatment in individual lots. Items containing rubies or jade/jadeite of Burmese origin are not permitted for import by the USA.

Duke’s AUCTIONEERS SINCE 1823

CONDITIONS OF SALE Duke’s carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

(2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions

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

2 BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Once made, no bid may be withdrawn. (e) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

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

3 INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4

THE PURCHASE PRICE The buyer shall pay the hammer price together with a premium thereon of 22% plus VAT on the premium at the rate imposed by law.

VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. *VAT payable at 5.00% on the hammer price and 20% on the buyers premium.

6 PAYMENT (1) Immediately a Lot is sold you will: (a) give to us, if requested, proof of identity, and (b) pay to us the total amount due in cash or in such other way as is agreed by us. (2) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. (3) The Auctioneer may require a deposit of 5% of the hammer price immediately. If the buyer is unable to meet this requirement to the Auctioneer’s satisfaction they reserve the right to cancel the sale immediately. 7 TITLE AND COLLECTION OF PURCHASES (1) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and insurance charges. (3) No purchase can be claimed or removed until it has been paid for. 8 REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (1) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) to proceed against you for damages for breach of contract; (b) to rescind the sale of that Lot and/or any other Lots sold by us to you; (c) to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (d) to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; (e) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (f) to retain that or any other Lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied.

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

10 COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11 WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

13 TERMS OF SALE The seller acknowledges that Lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the Lot. 14 DESCRIPTIONS AND CONDITION (1) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”. (2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 15 FORGERIES Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale. 16 GENERAL We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (1) any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (2). Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. (3) Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. (4) Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue. (5) Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. (6) English law applies to the interpretation of these Conditions. 16 DEBIT AND CREDIT CARDS Due to problems with fraudulent debit and credit card transactions payments over the telephone cannot be made for invoices totalling more than £200 unless the Buyers are known to Duke’s. Payment can be made in person using a chip and pin number, bank transfer, cash up to £9,000, or cheque (allow six working days for clearance).

Duke’s AUCTIONEERS SINCE 1823

CONDITIONS OF SALE (continued) CHEQUES The Auctioneers regret that they are unable to accept cheques in payment for purchases, except where arrangements have been made beforehand, well in advance of sale day. Intending purchasers are asked to instruct their bank to contact the Auctioneer’s bank (Natwest, 49 South Street, Dorchester) as early as possible, to confirm clearance in writing up to a stated maximum amount to ensure that a cheque will be accepted on sale day. A Banker’s Draft, a Building Society cheque or cash will be required to allow removal of goods on sale day. Purchasers may not otherwise remove goods until their cheques are cleared by the Auctioneers’ bank. Live Bidding Duke’s Auctioneers offer an online bidding service via the-saleroom.com for bidders who cannot attend the sale. In completing the bidder registration on www.the-saleroom.com and providing your credit card details (unless alternative arrangements are agreed with Duke’s Auctioneers) you: 1. authorise Duke’s Auctioneers, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the-saleroom.com, and 2. confirm that you are authorised to provide these credit card details to Duke’s Auctioneers through www.the-saleroom.com and agree that Duke’s Auctioneers are entitled to ship the goods to the card holder name and card holder address provided in fulfilment of the sale. Please note that any lots purchased via the-saleroom.com live auction service will be subject to an additional 3% commission charge + VAT at the rate imposed on the hammer price. Clicking the bid button is a commitment to buy. THIRD PARTY LIABILITY Any person or his personal property at or on the auctioneers premises, before, during, or after the auction, shall be deemed to be there at their own risk and will have no claim against the auctioneers in respect of any injury sustained, or accident which may occur. IMPORTANT NOTICE TO BUYERS OF FURNITURE All items are held at the risk of the Buyer. If they are not removed within 5 working days of the sale the Auctioneers will instruct a carrier to remove them to storage. The Buyer will be responsible for paying the aforementioned carrier all charges incurred and for making arrangements in advance for the removal of items from their store after payment of their charges on production of our reciept for the items. IMPORTANT NOTICE TO BUYERS OF WILDLIFE MATERIAL Property made of or incorporating (irrespective of percentage) endangered and other protected species of wildlife, including but not limited to, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone and certain species of coral, together with Brazilian rosewood, may require permits or certificates (e.g. a CITES permit) from the relevant regulatory agencies to be exported or imported. Prospective purchasers are also advised that some countries prohibit altogether the importation as well as exportation of such materials. Accordingly, clients should familiarise themselves with the relevant customs laws and regulations prior to bidding on any property with wildlife material if they intend to import the property into another country. Please note that it is the client’s responsibility to determine and satisfy the requirements of any applicable laws or regulations applying to the export or import of property containing endangered or protected wildlife material. The inability of a client to export or import property containing endangered or protected wildlife material is not a basis for cancellation or rescission of the sale.

Duke’s AUCTIONEERS SINCE 1823

Bidding Form I hereby instruct Duke’s to bid the following amounts on the lots stated, without any legal obligation on their part. I agree that these bids are subject to buyers premium and VAT as applicable, and to the conditions of sale printed in the auction catalogue. Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Tel ...................................................

Address .............................................

Mobile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

.......................................................

Signed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

.......................................................

Email . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Lot No:-

£’s

Grove Auctions Telephone: (01305) 257544 Facsimile: (01305) 259953

Lot No:-

£’s

Lot No:-

£’s

The Fine Art Salerooms Telephone: (01305) 265080 Facsimile: (01305) 260101

Duke’s AUCTIONEERS SINCE 1823

Tel ...................................................

Address .............................................

Mobile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

.......................................................

Signed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

.......................................................

Email . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Lot No:-

£’s

Grove Auctions Telephone: (01305) 257544 Facsimile: (01305) 259953

Lot No:-

£’s

Lot No:-

£’s

The Fine Art Salerooms Telephone: (01305) 265080 Facsimile: (01305) 260101

Duke’s

In Pursuit of the Scholar’s Spirit 12th November 2015

In Pursuit of the Scholar’s Spirit

AUCTIONEERS SINCE 1823

12th November 2015

Duke’s

Duke’s AUCTIONEERS SINCE 1823