Roseberys London

CHINESE, JAPANESE & SOUTH EAST ASIAN WORKS OF ART Tuesday 21 May 2019

CHINESE, JAPANESE & SOUTH EAST ASIAN WORKS OF ART Tuesday 21 May 2019 Starting at 11am VIEWING

Friday 17 May 1pm-5pm Sunday 19 May 10am-2pm Monday 20 May 9.30am-5.30pm Tuesday 21 May 9.30am-10.45am Head of Department: Bill Forrest Please note the conditions of sale at the back of this catalogue Buyer’s Premium 25% + VAT (30% inclusive of VAT) Condition of items: a catalogue description does not state the condition of the item Catalogue Price £10 (£12 by post) Front Cover: Lot 257 Back Cover: Lot 394 Inside Front Cover: Lot 240 Inside Back Cover: Lot 469

70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 auctions@roseberys.co.uk www.roseberys.co.uk

Online bidding available at:

RoseberysLive BID ONLINE

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BUYING AT ROSEBERYS The following is intended to serve as a useful quick reference to buying at Roseberys.

Prior to bidding please familiarise yourself with our full conditions of sale which are applicable when bidding at one of our auctions. Our staff are available to assist you with any questions you may have.

Viewing Catalogues are available from reception and all lots are listed and illustrated at www.roseberys.co.uk Condition is not stated in the catalogue description and buyers are encouraged to view lots in person prior to bidding to satisfy themselves as to the accuracy of the description and condition of lots.

New Bidders New buyers are required to register before bidding. This can be done in person at reception, or via email to clientservices@roseberys.co.uk.

Photographic identification, full contact details and proof of address are required. Roseberys cannot accept bids from unregistered buyers. Once registered you will be provided with a paddle which states your bidding number for the auction.

New International Bidders

Alternatively, online bidding is available through www.thesaleroom.com and www.invaluable.com, successful online bidders are charged an additional premium of 5% + VAT. Bidders must register by 9am on the morning of the auction to be able to buy online. You will be asked to complete the registration process prior to approval.

• Telephone bidding: A limited number of phone lines for lots in the auction are available for bidders subject to a minimum threshold. A member of staff would telephone you during the auction and bid live on your behalf. Please contact reception if you would like to enquire about booking a phone line.

The number of lines is limited so we would urge serious telephone bidding only and ask that you be prepared to bid over the top estimate.

Buyer’s Premium The buyer shall pay the hammer price together with a premium thereon of:

In addition to providing proof of identity, new international bidders must leave a £500 deposit the first time they register and before bidding.

Successful bidders will be refunded their deposit once they have paid for their lots. Unsuccessful bidders will automatically be refunded within a week of the auction.

25% up to £250,000 (30% inclusive of VAT), 20% from £250,000-500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT)

Methods of bidding

VAT

• In person: at the auction room.

VAT is not charged on the hammer price unless it is stated that there is ‘VAT applicable on the hammer price’ at the end of the description. Buyer’s premium is subject to VAT.

• Commission bid: If you are unable to attend the auction, commission bids may be left indicating the maximum amount to be bid excluding the buyer’s premium. All bids must be received at reception at least one hour before the start of the auction. Clients are also able to leave a commission bid via our website on individual lot pages. These bids are actioned on your behalf by our in-house bidding software RoseberysLive, and are not visible to the auctioneer.

• Online bidding: You can follow all our auctions live online and bid via the internet using RoseberysLive, our in-house live bidding platform.

RoseberysLive is a secure online bidding platform provided by Roseberys to enable our clients to bid online from anywhere in the world. You can register to use the service or view the auction through our website www.roseberys.co.uk.

There is no charge to use this service.

The premium price is subject to VAT at the standard rate.

(ARR) – ARTIST’S RESALE RIGHT Qualifying living artists and the descendants of artists deceased within the last 70 years are entitled to receive a re-sale royalty each time their work is bought through an auction house or art market professional.

It applies to lots with hammer value over €1,000 as follows: 0 to €50,000 - 4%, €50,000.01 to €200,000 - 3% €200,000.01 to €350,000 - 1%, €350,000.01 to €500,000 - 0.5% Exceeding €500,000 - 0.25% ARR is capped at €12,500 Please note ARR is calculated in euros.

Auctioneers will apply current exchange rates.

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Payment Payment is required immediately after the auction and can be made in the following ways: • Cash: up to the sterling equivalent of 10,000 Euros on the day of the transaction.

• Debit and Credit cards: excluding American Express. To protect against card fraud we are unable to make ‘card not present’ transactions online or over the phone for amounts over £1000.

To make a payment of over £1000 please make a bank transfer or visit the auction house in person.

• Bank transfer: Payment is accepted via bank transfer to the following account, (International bank transfers are subject to a £25 administration fee.)

Natwest Bank plc, Bloomsbury Parr’s branch, Sort Code 60-30-06, Account number 36952613, Swift code NWBKGB2L, Iban GB80NWBK60300636952613.

• Online via www.roseberys.co.uk (up to £1,000) Clearance of Goods Roseberys requests all lots are collected within five working days following the auction. After this, storage charges of £2 + VAT per lot will apply. Please contact our Client Services team should you be unable to collect your purchases within this time and we would be happy to discuss alternative arrangements.

Delivery Roseberys is unable to pack and ship items but can suggest the following companies: London/Surrey • Capital Fine Art Move: +44 (0) 7957 209523 • Bernard Thornton: +44 (0) 7970 118762 Nationwide/International • Mail Boxes Etc: +44 (0) 20 8649 9777 Specialist Packing • Pack and Send: +44 20 8392 6990 In order to release to a third party carrier you must inform Roseberys in writing of the lot number and carrier name. Please email clientservices@roseberys.co.uk Export of goods Buyers intending to export goods should ascertain whether an export licence is required before bidding.

Export licences are issued by Arts Council England and application forms can be obtained from its Export Licensing Unit. Details can be found on the ACE website www.artscouncil.org.uk or by phoning ACE on 020 7973 5188. The need for import licences varies from country to country and you should acquaint yourself with all relevant local requirements and provisions before bidding. The refusal of any such licences shall not permit the cancelling of any sale nor allow any delay in making full payment for the lot.

Lot 128

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1 A Chinese pottery painted figure of a horse and rider, Sui dynasty, the horse standing four square, the rider with right arm across body and with clenched fist, 31cm high An Oxford Authentication Thermoluminescence Analysis Report, confirming the suggested period of manufacture, accompanies this figure, no. C118s5 £500-800* 2 Chinese pottery amber glazed figure of a foreign groom, Tang dynasty, with fists clenched, wearing short robes, 27cm high, on fitted hardwood stand, silk box An Oxford Authentcation Thermoluminescence Analysis Report, confirming the suggested period of manufacture, accompanies this figure, no. C118s4 £500-800* 3 A Chinese grey stoneware fragmentary model of a horse, Han dynasty, traces of white painted bridle and saddle, 28cm long £400-600*

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4 A Chinese grey stoneware fragmentary model of a horse, Han dynasty, traces of red painted saddle, 28cm long £400-600*

5 A Chinese pottery figure of a court lady, Han dynasty, modelled standing wearing flowing robes with hands together concealed by long sleeves, 34cm high £250-350* 6 A Chinese pottery model of a caparisoned camel, Tang dynasty, the camel modelled resting on its front legs, 22cm high £600-1,200*

7 A Chinese pottery female figure and associated pottery stand, Tang dynasty, the figure stands with right foot raised, with painted eyes and traces of pigment to robes, 20cm high 6 4

£80-120* www.roseberys.co.uk

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8 A Chinese pottery model of a well, Han dynasty, with dragon-head terminals, a jar surmounted on edge of well, and traces of green glaze with iridescence, 36.5cm high £400-600* 9 A Chinese grey stoneware jar, Tang dynasty, with wide mouth and two lug handles to shoulders covered in a dark brown glaze stopping above the footrim, 13cm high Provenance: Ex. John Walden Collection £80-120* 10 A Chinese Yingqing pottery funerary vase and cover, Song dynasty, applied to the ribbed neck with a coiled dragon, above a row of standing figures to the shoulder, 54cm high £300-500* 11 A Chinese junyao bowl, Yuan/early Ming dynasty, of ovoid form, with thick blue-lavender glaze thinning to mushroom tone around the rim, straight broad footrim, 9.5cm high Provenance: Mrs O. Harrison collection label to base Private English collection, acquired from a London estate in 2015 £1,500-2,500* 12 A Chinese Yaozhou conical bowl, carved in low relief to the interior with two entwined flowering peony stems, with wrythen fluting to the exterior, all covered in a deep olive glaze, 19cm diameter

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£3,000-5,000* 13 A Chinese Yaozhou celadon glazed conical bowl, carved to the inside with meandering flowering lotus stems, decorated with spiral fluting to the exterior, 11cm diameter £200-300* 14 A Chinese Longquan celadon bowl, Ming dynasty, with steep sides and raised central reserve to interior, recessed base with unglazed firing ring revealing burnished body, 13.5cm diameter Provenance: Private English collection, acquired from William Beatty, a Protestant missionary in Beijing in the 19th century, then by descent

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£200-300*

12 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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15 A Chinese Longquan celadon tripod censer, Ming dynasty, the everted rim above band of incised scrolling lotus flowers, the feet modelled as mythical beast masks, unglazed base, 27cm diameter 17

£500-800* 16 A Chinese Longquan celadon tripod censer, Ming dynasty, imitating bronze examples, with loop handles and bellied body, unglazed circular base, 13cm diameter £1,200-1,800*

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17 A Chinese Longquan celadon bowl, Ming dynasty, with shaped rim and impressed floral motif to central reserve, unglazed footrim, 13cm diameter £300-500* 18 A Chinese Longquan celadon waterdropper, Ming dynasty, modelled as a recumbent Buddhist lion, 7cm long £300-400* 19 A pair of Chinese stoneware candlesticks, late Yuan/ early Ming dynasty, of two-tiered circular form, covered in a pale Qingbai glaze, 15.5cm high £200-300* 20 A pair of Chinese pottery figural roof tiles, Ming dynasty, each depicting a Daoist immortal, glazed in tones of brown, green and turquoise, 40cm and 38cm high £600-800*

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21 A Chinese Changsha ewer, Tang dynasty, 9th century, covered in a pale olive green glaze, with lobed body, faceted spout, and applied loop handle, moulded with twin fish beneath the spout, 22cm high Note: Changsha was an important kiln area situated in South China during the Tang Dynasty. Also called Tongguan Kiln due to its discovery in today’s Wazhaping, Tongguan Town, Changsha City in Hunan Province.

Changsha was active by the end of the Tang Dynasty (618907), peaked from late Tang to Five Dynasties, and declined after Five Dynasties. Its main products were wares with a greyish-green glaze, but all iron based earth colours occur. £400-600* 22 A Chinese grey stoneware ‘hare’s fur’ tea bowl, 11.5cm diameter, and a black glazed conical bowl decorated to the interior with celestial motifs, 16cm diameter (2) £200-400*

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23 A Chinese pottery ‘hare’s fur’ teabowl, Song style, 20th century, 9cm diameter, with Japanese wood box £100-150*

24 A Chinese porcelain wucai jardiniere, late Ming dynasty, painted to the exterior with with two dragons pursuing the flaming pearl amid clouds and flames, 22cm diameter £2,000-3,000* 25 A pair of Chinese pottery Cizhou incense holders, Ming dynasty, modelled as tigers seated on a drum, 27cm high Provenance: Paper labels for L.Wannieck Paris, to base £1,500-2,500* 26 A Chinese porcelain wucai saucer dish, late Ming dynasty, 17th century, painted with three panels of dragons around a central dragon medallion, unmarked, 17.5cm diameter

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£600-800* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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27 27 A Chinese porcelain wucai dish, 17th century, painted to the central reserve with figures travelling through a wooded landscape, a man on horseback, and a woman in a sedan chair, inside a floral border, the exterior painted with auspicious objects, unmarked, 28cm diameter

28 A Chinese porcelain wucai baluster vase, Ming dynasty, 17th century, painted with two Buddhist lions amid meandering flowering chrysanthemums, flat, unglazed base, 17.5cm high £400-600*

£400-600*

29 A Chinese porcelain ‘lotus pond’ bowl for the Tibetan market, Lança symbol mark to base, possibly Chenghua period, finely painted in underglaze blue to the interior with a fish in a lotus pond, painted to the exterior with meandering flowering lotus scrolls, 19cm diameter £5,000-10,000*

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30 A Chinese porcelain square baluster vase, Jiajing mark and of the period, painted in underglaze blue to each side with a sage and an attendant in a wooded landscape beneath a scrolling peony border to shoulder, underglaze blue six-character mark within a double square to base, 11.5cm high £4,000-6,000* 31 A Chinese export porcelain charger, 18th century, painted in underglaze blue with birds amid flowering branches, unmarked, 32cm diameter £100-200* 32 A pair of Chinese porcelain ogee bowls, 19th century, painted to the exterior with floral sprays, underglaze blue six-character mark to base, 12.5cm diameter £300-500* 33 A Chinese porcelain celadon yen yen vase, Kangxi period, painted in underglaze blue and copper red with deer and cranes amid pine trees and lingzhi sprigs, underglaze blue double circle to base, 47cm high £4,000-6,000*

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34 A Chinese porcelain bowl, Kangxi period, painted in underglaze blue to the interior with a floral sprig inside a floral border to the rim, and to the exterior with butterflies amid bamboo, chrysanthemum and peony sprays, underglaze blue floral mark to base, 18cm diameter £200-300*

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33 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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35 A Chinese porcelain ‘Phoenix’ tea bowl, Yongzheng mark and of the period, painted in underglaze blue to the exterior with two phoenixes amid meandering lotus scrolls, underglaze blue six character mark to base within a double circle, 10cm diameter £2,000-3,000* 36 A pair of Chinese porcelain square tulip vases, 18th century, painted in underglaze blue to the main body with four panels depicting a cherub amid floral sprays, unmarked silver mounts to rim, 21cm high £400-600* 37 A rare Chinese porcelain bottle vase, Kangxi period, the slender, narrow neck painted in underglaze blue and copper red with a chi-long dragon striding forward, above a cafe-au-lait band, the body with allover blue glaze, over incised lotus flower medallions beneath a ruyi-head border to shoulder, underglaze blue seal mark within a double circle to base, 25cm high. £10,000-15,000*

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38 A large Chinese porcelain dish, Yongzheng mark and period, painted in underglaze blue with a scene from ‘Romance of the Western Chamber’, in which the scholar Zhang bids Yingying farewell at the Ten-Mile Pavilion before departing for the capital to take his imperial examinations, underglaze blue sixcharacter mark within a double circle to base, 26.5cm diameter Cf: Similar examples can be seen in the Victoria & Albert Museum, as a Kangxi-period plate, V&A Collections, no. C.735-1910; and as a panel on a Kangxi-period rouleau vase, V&A, Salting Bequest, C.859-1910. £3,000-5,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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39 A large Chinese porcelain ginger jar, Kangxi mark, 19th century, painted in underglaze blue with a continuous scene depicting women and children, including two women engaged in a game of wei qi, underglaze blue six-character mark to base, 23cm high £300-500* 40 A Chinese porcelain lobed tea cannister and cover, mid-19th century, painted in underglaze blue with butterflies and birds amid floral sprays, 20cm high £120-180* 40

41 A Chinese porcelain tea bowl and saucer, 18th century, painted in underglaze blue with pine trees, excavated from the Nanking shipwreck, 12cm diameter of saucer, and an 18th century porcelain teabowl (3) £80-120* 42 A pair of Chinese porcelain famille verte cafe au lait ground plates, Kangxi period, painted with floral sprays and rockwork, underglaze blue lotus mark within a double ring to base, 20.5cm diameter £500-800*

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43 A Chinese porcelain shallow dish, Kangxi period, painted in famille verte enamels to the central reserve with two red-crested cranes, inside a border with alternating panels of flowers and ducks, unmarked, 22cm diameter £300-500* 44 A Chinese porcelain dish, Kangxi period, painted in famille verte enamels with an official with guards and attendants beneath a pagoda, underglaze blue apocryphal seal mark within a double-circle to base, 35cm diameter Provenance: Two Bernheimer collection labels to base £500-800*

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45 45 A Chinese porcelain jar, 18th century, painted in underglaze blue to the body with a continuous leafy flowering peony scroll, underglaze blue double ring mark to base, 22cm high, later hardwood cover

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£400-600* 46 A Chinese porcelain doucai ‘lotus pond’ dish, Kangxi, the interior delicately enamelled with a flying duck and ducks swimming in a lotus pond, inscribed with a band of stylised Shou character beneath the rim, underglaze blue floral seal mark within a double ring to base, 16cm diameter

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£2,000-4,000* 47 A pair of Chinese porcelain famille verte tile fittings, Kangxi period, each painted to the central reserve with a boy holding a flowering lotus stem, inside a geometric floral border, 18cm x 18cm Provenance: Private English collection, acquired from William Beatty, a Protestant missionary in Beijing in the 19th century, then by descent £600-800* 48 A Chinese Dehua porcelain ‘European puppet’ whistle, Kangxi period, depicting a European man beside a bird and a vase of flowers, 6.5cm high Cf. Blanc De Chine, New York, 1969, P.J. Donnelly, no.120, B, P.193 £600-800* 49 A Chinese Dehua porcelain rouleau vase, late Qing dynasty, unmarked, 46cm high £500-800*

48 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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50 A Chinese Dehua porcelain Guanyin figure group, 17th century, depicting Guanyin seated in front of a blessing bowl and two standing attendants, 25.5cm high £200-300* 51 A Chinese Dehua porcelain small vase, tianqiuping, late Qing dynasty, moulded with vertical stiff leaves to neck above a band of flowering lotus scrolls to body, unmarked, 19cm high £200-400*

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52 A pair of Chinese porcelain models of cranes, late Qing dynasty/Republic period, each modelled standing on a pierced rockwork base, 37cm high £300-500* 53 A Chinese porcelain polychrome figure of a lion, c.1800, modelled in recumbent pose, 14cm long £600-1,000*

54 A Chinese export porcelain monochrome figure of a horse, late Qing dynasty, in recumbent pose with head turned back towards its body, with allover aubergine glaze, 22cm long, on fitted hardwood stand Provenance: Label for Elinor Gordon, Villanova PA to base £2,000-3,000* 55 A Chinese porcelain archaistic vase, late Qing dynasty, moulded with archaic panels depicting stylised geometric birds, 25cm high £200-400*

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56 56 A Chinese porcelain Ge type archaistic censer, 18th/19th century, of bombe form, the exterior with ‘bronze’ colour glaze, suffused with black crackle, with paler glaze to interior and base, 12cm wide £600-800* 57 A large Chinese monochrome porcelain baluster vase, late 19th century, with allover turquoise glaze, 60cm high £400-600* 58 A Chinese porcelain monochrome ginger jar, 19th century, with allover turquoise glaze, 21cm high £200-300* 59 A large Chinese monochrome porcelain vase, hu, 19th century, with allover powder blue glaze, and stylised elephant mask handles, 38.5cm high £200-400* 57

58 59 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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60 A Chinese porcelain sang-de-boeuf glazed parrot, late Qing dynasty, on pierced rocky base, 24cm high, and a flambé glazed cockerel, 24.5cm high (2) £600-800* 61 A Chinese porcelain flambé glazed bottle vase, 19th century, with rich, cherry glaze suffused with vibrant purple streaks, unmarked, 21cm high £300-500* 62 A Chinese flambé glazed vase, hu, 19th century, of flattened form with elephant mask and ring handles to neck, the glaze of mushroom tone around the rim changing to a rich purple tone streaked with red, unglazed base, 16.5cm high 63

£300-500* 63 A Chinese porcelain flambé glazed vase, 19th century, of lobed form, with flared rim, covered in a rich purple and red streaked glaze, unmarked white-glazed base, 19.5cm high £300-500* 64 A large Chinese sang-de-boeuf water pot, 20th century, of compressed form, 20cm diameter Provenance: Eisenbach-Erie Collection, according to paper label to base £400-600* 65 A Chinese porcelain flambé glazed Cadogan teapot and ovoid vase, early 20th century, the teapot formed as a peach, 15cm high, the vase 22.5cm high £300-500* 66 A Chinese porcelain sang-de-boeuf bottle vase, Qianlong mark, early 20th century, the body covered with a rich cherry-tone glaze, white-glazed to the interior and base, impressed seal mark, 32cm high

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£300-500* www.roseberys.co.uk

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67 67 A Chinese porcelain sang-de-boeuf bottle vase, 19th century, with flared rim and bulbous body, indistinct underglaze blue seal mark to base, later gilt metal base and mount to rim for lamp conversion, 36cm high £200-400* 68 A Chinese porcelain sang-de-boeuf saucer dish, Yongzheng mark, 19th century, with slightly everted rim and straight footrim, white glaze to interior and base, underglaze blue six-character mark within a double-circle to base, 16cm diameter

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Provenance: Bernheimer Collection label to interior £500-800* 69 A large Chinese porcelain flambé glazed vase, hu, late Qing dynasty, with deer mask handles, unmarked, 34cm high £500-800* 70 A Chinese porcelain claire-de-lune baluster vase, 19th century, incised with three phoenixes to body, unmarked, 28cm high £300-500* 71 A Chinese porcelain vase, meiping, 19th century, with allover ‘bronzed’ crackle glaze, 15cm high £150-250*

72 A pair of Chinese monochrome porcelain vases, Yongzheng mark, 20th century, with allover dark green glaze suffused with black crackle, underglaze blue six character mark within a double circle to base, 13cm high £200-300*

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* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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75 73 A Chinese porcelain famille rose vase, late 19th century, painted with warriors in a continuous landscape, with mythical beast mask handles, apocryphal incised seal mark to base, 46cm high £200-300* 74 A Chinese porcelain famille verte beaker vase, late 19th century, painted with birds and insects amid rockwork issuing peonies and chrysanthemum, flat, unglazed base, 40cm high £600-800*

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75 A large Chinese famille rose porcelain four-section temple offering box, late Qing dynasty, modelled as four fruits including a pomegranate and a peach, on four bat-shaped feet, 22cm wide £200-400* 76 A Chinese export porcelain armorial octagonal plate, 18th century, painted in famille rose enamels with an armorial crest inside a border of floral festoons, 22.5cm diameter £120-180* 77 A Chinese famille rose porcelain dish for the Islamic market, 18th century, centered with a panel of Persian script inside a border of floral sprays, the inside of rim painted with panels of floral sprays and a puce scale border, 25cm diameter £500-800*

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78 A Chinese export porcelain canted rectangular platter, late 18th century, painted in famille rose enamels with floral motifs, 32.5cm wide £300-500*

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79 79 A Chinese export porcelain famille rose dish, 18th century, painted to the central reserve with floral sprays inside a puce scale border with floral festoons, 27cm diameter £200-400* 80 Two Chinese porcelain famille rose jars and covers, late 19th/early 20th century, one painted with a ceremonial scene, 22cm high, the other with children playing in a landscape, 18cm high

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£200-300* 81 A Chinese porcelain jar and cover, late 19th century, painted in famille rose enamels with boys playing a garden landscape, 22cm high, on pierced hardwood stand £150-200* 82 A pair of Chinese porcelain Batavian ware vases and covers, 18th century, each painted in famille rose enamels on a cafeau-lait ground with leaf-shaped panels enclosing peonies, divided by pairs of peaches, 36cm high £200-400* 83 A Chinese porcelain barrel-form garden seat, early 20th century, the dished top pierced with a cash symbol, painted in famille rose enamels with birds perched on flowering wisteria, 48cm high Provenance: Sothebys London, Alexander Iolas, 25th May 2017 lot 140 £1,500-2,500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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84 A Chinese wucai porcelain gu vase, late Qing dynasty, painted to the neck and base with dragons amid clouds and flames, unmarked, 24cm high £600-800*

85 A set of six Chinese porcelain rectangular plaques, late Qing dynasty, painted in famille rose enamels on a yellow ground with scenes of boys playing and studying in garden landscapes, each 34cm x 24cm, mounted in two hardwood frames £2,500-3,500*

86 Eight pieces of Chinese famille rose porcelain, early 20th century, comprising hat stand, two cricket cages, a snuff bottle, teapot, large baluster vase, ewer, and charger, each painted with ‘precious objects’, height of vase 61cm £1,200-1,800*

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87 87 A Chinese porcelain lobed jardiniere and stand, 20th century, painted in famille rose enamels on a turquoise ground with lotus flowers and red bats, the rim painted with flowering lotus scrolls on a red ground, raised on ruyi-shaped feet, 16.5cm diameter, the stand 18.5cm diameter

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£500-1,000* 88 A pair of Chinese porcelain jungle fowl, mid-19th century, each perched on a tree stump issuing lingzhi sprigs, 19cm high £400-600* 89 A Chinese export porcelain bowl and a Canton porcelain square dish, 18th-19th century, the bowl with applied decorated and painted in famille rose enamels with butterflies amid floral sprays, 20cm diameter, the dish 22cm wide (2) £150-200* 90 A large Chinese porcelain famille rose baluster vase, late 19th century, painted with two ladies in a garden landscape amid blossoming trees, on French gilt bronze stand, 66.5cm high £800-1,200*

89 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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91 A Chinese porcelain famille rose bowl and cover, Daoguang mark and of the period, painted with figures dancing before an official in a garden landscape, iron red seal mark to cover and base, 10cm high, and a Republic porcelain brush pot, 12cm high (2)

94 A Chinese porcelain ogee bowl, Xianfeng mark but 20th century, painted in famille rose enamels with a fruiting peach tree, 9cm diameter, and a Japanese eggshell porcelain cup and saucer (3)

£300-500*

95 A Chinese porcelain vase, hu, Jiaqing seal mark, Republic period, painted in famille rose enamels with two bats in flight and a bird perched on a blossoming prunus branch, 21cm high

92 A pair of Chinese export porcelain baluster vases and covers, late 18th century, painted in famille rose enamels and underglaze blue with attendants and landscapes beyond, 21cm high 150-250* 93 A pair of Chinese sancai biscuit porcelain chickens, mid-19th century, 11.5cm high £80-120*

£200-300*

£100-200* 96 A Chinese export porcelain dish, 18th century, painted in underglaze blue with peony sprays on a fish roe ground, 32cm diameter, and a 19th century porcelain blue and white jar and cover, 24cm, on later hardwood stand £150-250* 97 A collection of Chinese porcelain and two snuff bottles, 18th-early 20th century, to include five famille rose sparrow beak jugs, a Yongzheng saucer dish, and a Canton enamel decorated mug (13) £300-500* 98 A pair of Chinese Canton porcelain baluster vases, 19th century, painted in famille rose enamels with panels of women at leisure on a ground of flowers and auspicious objects, 23cm high

96

£80-120* 99 Two Chinese porcelain tea bowls and covers, 18th-19th century, each painted in underglaze blue, 8cm and 7.5cm high, an 18th century Chinese porcelain bowl, and a miniature Yixing teapot (4) £200-300* 100 A Chinese porcelain Yongzheng style brush pot, 20th century, painted in famille rose enamels with a woman and two children reading a scroll, 12.5cm high 100

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103 104 101 A Chinese Canton porcelain dish and box, 19th century, painted with panels of figures on a ground of birds and butterflies, 26.5cm diameter of plate, the box 13.5cm wide £100-150* 102 A collection of Chinese miniature tea bowls, covers, and saucers, 20th century, each painted in underglaze blue with phoenixes, birds, and floral sprays, the cups, 7cm-4.5cm high £600-800* 103 A Chinese export porcelain bowl and dish, 18th century, each painted with floral sprays, 22.5cm and 20cm diameter (2) £100-200* 104 A Chinese porcelain ‘Jesuit’ baluster vase, Jiaqing period, painted in underglaze blue with a cross and monogram ‘IHS’, 12.5cm high

105

£600-800* 105 A pair of Chinese famille rose porcelain candle holders, Qianlong period, modelled as crouching Lohan, 21.5cm high £200-400* 106 A Chinese porcelain vase, hu, late Qing dynasty, painted in famille rose enamels to one side with scholars engaged in a game of wei qi, and with a scholar and two attendants amid bamboo to the other, the sides inscribed with poetry, 19cm high £200-400* 106 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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107 A Chinese porcelain circular inkstone, Xuande mark, 18th century, the sides painted in underglaze blue with crashing waves, underglaze blue six character mark within a double circle to recessed base, 12.5cm diameter Provenance: Private Edinburgh collection £2,000-4,000* 108 A collection of Chinese and Japanese underglaze blue painted porcelain, 19th-early 20th century, to include a jar painted with children, 12.5cm high, a pair of sleeve vases, and a baluster vase £300-500* 110

109 A Chinese porcelain Thai market Bencharong bowl and cover, early 20th century, painted in enamels with floral motifs, 15cm high £100-200* 110 A Chinese porcelain guan, Transitional style, late 19th century, painted in underglaze blue with meandering flowering lotus scrolls, flat, unglazed base, 27cm high £200-400* 111 A Chinese porcelain ginger jar and cover, late 19th century, painted in underglaze blue with panels of ‘precious objects’ on a prunus blossom ground, 26cm high £300-500*

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112 112 Two Chinese export porcelain mugs, 18th century, one of bell-form painted in famille rose enamels with a ceremonial gathering, 13.5cm high, the other of cylindrical form painted in underglaze blue with a landscape, 15.5cm high (2) £120-180* 113 A collection of Chinese porcelain, Ming-late 19th century, comprising a Kangxi famille verte saucer dish, 13cm diameter, an iron red painted wine cup, 4.5cm high, an 18th century porcelain dish, 11.5cm diameter, a Ming porcelain circular box and cover, and 18th century porcelain coffee cup, two snuff bottles, and a famille rose dish (8) £200-400* 114 A Chinese porcelain model of a dragon, 20th century, striding forward on a base of waves, with incised and underglaze blue decorated scales, on hardwood stand, 26cm high £200-300* 115 A Chinese porcelain tea bowl, 20th century, painted in underglaze copper red with birds amid bamboo and bullrushes, 6cm high £200-300*

114

116 A large Chinese porcelain canister, early 19th century, painted in underglaze blue with a continuous landscape, 35cm high £80-120* 117 Ten Chinese porcelain bowls, 18th-19th century, including three painted with Buddhist lions, Daoguang marks and of the period, 10cm diameter (10) £300-500* 118 Two Chinese porcelain qingbai glazed snuff bottles, Republic period, modelled as boys holding a string of coins, 6.5cm high £80-120*

117 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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119

119 A Chinese grey stoneware black-glazed teabowl, Song dynasty, with light brown tones to glaze around ridged rim, fading to black with brown spots, the rim with kintsugi repair in the form of a cloud, 10cm diameter £300-500* 120 A Chinese Yixing pewter encased lobed bowl, mid-19th century, white glazed to the interior, engraved to the exterior with a landscape and a pine tree, inscribed with poem, 21cm diameter £600-800* 121 A Chinese Yixing small teapot, 19th century, 11.5cm long £200-300*

121

122 A Chinese pewter incased Yixing teapot, mid-19th century, with jade finial and hardwood handle, engraved with a poem and a floral spray, seal mark to interior, 17cm long £200-300* 123 Three Chinese Yixing teapots, early 20th century, one double-section, with lion finial to cover, 21cm long (3) £200-300*

122

124 A pair of Chinese pewter encased jadehandled Yixing lobed cups, 19th century, glazed white to the interior and inscribed to the exterior, 8cm long £300-400*

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125 Two Chinese porcelain brushwashers, Republic period, one painted in famille rose enamels with vases of flowers, the other painted with a woman seated in a garden, 10.5cm and 13cm diameter £100-200* 126 A Chinese porcelain cylindrical vase, Republic period, painted in underglaze blue with a butterfly in flight over chrysanthemum blossom issuing from a rocky outcrop, unmarked, 19cm high £150-200* 127 A Chinese porcelain Qianjiang cai square vase, signed Huang Yeah Theng, Republic period, c.1930, painted in enamels with two panels of mountainous landscapes, inscribed to sides with colophon and seals, 15cm high

126

£500-800* 128 A Chinese porcelain brush pot, mark of Wang Bu, Republic period, painted in underglaze blue with a sage, signed with seal, 12.5cm high Provenance: Eisenbach-Erie collection label to base £400-600* 129 A Chinese porcelain brush pot, Republic period, painted with a boy resting in a garden landscape, inscribed with colophon, indistinct iron red seal mark to base, 11cm high £100-150*

127

128

129

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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130 130 A pair of Chinese egg-shell porcelain bowls, Republic period, painted in famille rose enamels to the exterior with flowering chrysanthemum, inscribed with poem and colophon, painted to the interior with a dragon medallion and a ruyilappet border to rim, blue enamel mark to base, 13cm diameter Provenance: Private English collection, acquired from William Beatty, a Protestant missionary in Beijing in the 19th century, then by descent £400-600* 131 A Chinese porcelain transfer decorated Cultural Revolution teapot and figure group, 1960s/1970s, the figure group modelled as two young figures wearing green uniform and holding a red flag, 34cm high (2) £200-300* 132 A pair of Chinese export porcelain octagonal jardinières, Qianlong period, painted in famille rose enamels to the exterior with alternating panels of lotus ponds, plum blossom, and magnolia and chrysanthemum blooms, 38cm diameter £2,000-4,000* 131

132

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134

133 A Chinese porcelain ‘phoenix medallion’ bowl, Guangxu period, the exterior puce enamelled with four phoenix medallions, unmarked, 12.5cm diameter £300-500* 134 A pair of Chinese porcelain bowls, Guangxu period, painted in famille rose enamels with four circular panels decorated with ‘precious objects’, on an incised ruby ground decorated with flowering lotus stems, apocryphal seal mark to base, 12cm diameter, 7cm high £1,000-2,000* 135 A Chinese porcelain brush pot, Qianlong mark and of the period, set with two panels on a turquoise glazed sgraffito ground, each painted en grisaille with an expansive mountainous landscape, signed ‘by the brush of Mo Fu’, iron-red seal mark to base, 9cm high £3,000-5,000*

135

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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136 136 A pair of Chinese porcelain vases, Tongzhi period, painted in famille rose enamels to two circular panels with roosters and partridges amid peonies, bamboo sprays, and chrysanthemum, on a lime green ground painted with floral motifs, turquoise glazed to interior and base, traces of iron red Qianlong seal mark to base, 20cm high, on later wood stands

137 A Chinese ivory figure of a fisherman, Ming dynasty, carved seated on a base of stylised clouds, 6cm high

£1,000-1,500*

£100-200*

£500-700* 138 A Chinese ivory miniature table screen, late 19th century, carved in low relief with a scholar and attendant in a mountainous landscape, 10.5cm high

139 A Chinese ivory tusk carving, 19th century, the full tip tusk profusely carved with a multitude of Daoist immortals on a pine raft, 53.5cm long Provenance: Bonhams, 6th November 2017, Lot 249 £1,000-1,500*

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141

140 A Chinese Canton ivory and paper fan, 19th century, carved, pierced and parcel-gilt painted with figures in a garden landscape, 28.5cm long £500-800* 141 A Chinese Canton ivory brise fan, mid-19th century, carved to each side with figures in an expansive village landscape, 18.5cm long £400-600*

142 A Chinese ivory figure of Shoulao, Ming dynasty, modelled standing, holding a staff in his right hand and a fan across his body in his left hand, 25cm high, later wood stand £4,000-6,000* 143 A Chinese ivory figure of Guanyin, late Ming dynasty, carved standing, holding a child who is clutching a ruyi-sceptre, 25.5cm high, later stand £2,000-3,000*

142 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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144 A Chinese ivory figure, Ming dynasty, carved as a standing woman wearing flowing robes, 14.5cm high, hardwood stand £500-800* 145 A Chinese ivory figure of Guanyin, Ming dynasty, 16th century, carved seated, wearing long flowing robes draped in a rosary, 10cm high £3,000-5,000* 146 A rhinoceros horn-handled parasol, early 20th century, with bamboo shaft and buffalo horn ferrule, length of handle 25cm 144

145

£500-700* 147 A Chinese four-panel lacquered, painted, and inlaid screen, 20th century, inlaid with soapstone, depicting ladies in an expansive landscape playing wei qi, strolling, and playing musical instruments, above four panels of precious objects, 183cm x 160cm £600-1,000* 148 A Chinese lacquer and hardstone inlaid four-panel screen, early 20th century, inlaid with soapstone, mother of pearl, bone, hardstone, lacquer and lapis, depicting a busy garden landscape in which figures are taking tea, playing instruments, and writing verse, beneath panels of precious objects, and above panels of Buddhist lions, painted to the reverse with exotic birds amid flowering foliage, 170cm x 144cm £500-800*

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150

149 A Chinese carved and gilt wood panel, Ming dynasty, Yongle period, decorated with a five-clawed dragon set on a ground of clouds, 32cm x 65cm £2,000-3,000* 150 A Chinese carved wood rectangular furniture panel, late Qing dynasty, carved with soldiers, some on horseback, in a wooded landscape, 25cm x 120cm £200-300* 151 Four Chinese carved wood Cultural Revolution workers, 1960s/70s, each depicting a standing labourer, 25cm-31cm £200-300* 152 A pair of Chinese carved hardwood figures of Guanyin, early 20th century, modelled standing holding a jar and cover wearing long flowing robes, 59cm high £300-500* 153 A large Chinese hardwood and wire inlaid lamp, early 20th century, carved as Shoulao clutching a scroll and his gnarled staff, standing beside a crane and deer, 78cm high

152

£80-120*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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154

154 Four Chinese carved figures of Daoist immortals, early 20th century, each standing, on fitted hardwood bases, 13cm high £80-120* 155 A Chinese lacquered sandalwood domed box, early 20th century, decorated to the cover with roundels of figures in a landscape and a dragon medallion, the front painted with two oval panels depicting tigers, 26.5cm wide £80-120* 156 A pair of Chinese bamboo root carvings, late Qing dynasty, depicting Shoulao holding a fruiting peach branch, and Liu Hai goading his three-legged toad, 23cm high £300-500* 156

157 A Chinese hediau fruit nut bead necklace, early 20th century, each bead carved as a monk holding an offering, each 2.5cm long £300-500* 158 A Chinese coral snuff bottle, mid-19th century, carved as two boys beside a vase, on fitted hardwood stand, 9.5cm high £600-800*

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159 159 A Chinese lacquered wood octagonal box and cover, late 19th century, with gilt and carved panels depicting figures, flowers, and auspicious objects, 26.5cm high £100-150* 160 A Chinese amber vase, early 19th century, carved with a crane beneath a pine tree, on carved and pierced hardwood stand, 8cm high

161 162 Two Chinese amber snuff bottles and an amber carving, late 19th- early 20th century, the carving decorated with two figures beside a dragon and a horse, 6.5cm high, the snuff bottles carved with a deer and a crane, and Hotei, 7cm and 6.5cm high

£1,500-2,500* 161 A Chinese amber vase and cover, late Qing dynasty, carved with grapes and squirrels, on hardwood stand, 11.5cm high £500-800*

£100-200*

162 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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164

163 A Chinese Mandarin court necklace, c.1900, composed of 108 turquoise beads, with lapis and quartz pendants £400-600* 164 A Chinese Mandarin court necklace, c.1900, composed of 104 coral beads, lapis and jadeite spacers, and turquoise and quartz pendants, in cloth covered box £400-600*

£400-600* 166 A Chinese Mandarin court necklace, c.1900, comprising 108 amberoid beads, jadeite spacers, and lapis and quartz pendants, in lacquered box £500-800*

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165 A Chinese Mandarin court necklace, c.1900, consisting of carved bone floral beads, lapis beads, and quartz and jadeite pendants, silk covered box

166 www.roseberys.co.uk

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168

167 A Chinese Lingbi scholar’s rock, 19th century, the dark smooth stone suffused with white veins, on fitted hardwood stand, 27cm high £300-500* 168 A large Chinese huali wood scroll pot, 18th/19th century, with trompe l’oeil painted decoration to simulate ‘ghost’ grain figuring, 24cm high £3,000-4,000* 169 A large Chinese tielimu (ironwood) scroll pot, 19th/20th century, of plain cylindrical form, 27cm high £300-500*

170 A large Chinese tielimu (ironwood) brush pot, 20th century, of plain cylindrical form, 22cm high £100-200*

169

171 A Chinese huanghuali wood brush pot, 18th century, finely carved to simulate bamboo, 15cm high £2,000-3,000*

170 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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175 A set of four Chinese liu qing bamboo ‘four seasons’ wrist rests, late Qing dynasty, each carved in low relief with representative plants, each 28cm x 6.5cm (4) £300-500*

172 172 A Chinese bamboo brush pot, early 20th century, carved with three scholars and a boatman in a wooded river landscape, 11.5cm high

174

150-250* 173 A Chinese carved bamboo brush pot, 20th century, decorated with scholars, attendants, and children in a wooded landscape, bears inscription to reverse, 16.5cm high

174 A Chinese bamboo elephant carving, late 19th century, the elephant standing beside a trainer and surmounted with a boy, 25cm high

176 A Chinese bamboo liu qing wrist rest, signed by Man Sheng, dated to the Genwu year of Qianlong (1790), finely carved with archaistic motifs, inscribed to the reverse with a reference to a poem to Qin Shi Huang’s administrator Li Si, 24cm long Provenance: Private London collection £1,000-2,000*

£400-600*

£80-120*

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177 A Chinese liu qing bamboo brush pot, 18th century, finely carved with a scholar crossing a bridge in an expansive continuous landscape, inscribed ‘Qing Quan Liu Xiang’, signed Zhang Wenyou, 14.5cm high £4,000-6,000* 178 A Chinese carved huali wood rectangular panel, 19th century, carved and pierced with celestial rams amid foliage, 9cm x 11cm £200-300* 179 A Chinese three-colour cinnabar lacquer lozenge shaped box, early 19th century, the cover carved in deep relief with a scholar and two attendants in a wooded landscape, 15cm wide £1,500-2,500*

177

179

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180 A Chinese two-colour cinnabar lacquer box, 18th century, carved to the cover with two pomegranates, and to the sides with fylfot diaper, 11.5cm wide 1,800-2,500*

180

181 A Chinese two-colour cinnabar lacquer box, 18th century, the cover carved with a fruting branch, the sides with fylfot diaper, 12cm wide 1,800-2,500*

181

182 A Chinese cinnabar lacquer circular seal paste box and cover, late Qing dynasty, carved to the base with a phoenix inside floral scrolls, and with lotus flowers to the base, black lacquered to the interior, 25.5cm diameter ÂŁ80-120*

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183 184 A large Chinese cinnabar lacquer octagonal box, 18th century, finely carved to the cover with three carp thrashing in waves, the sides carved with floral diaper band between a Greek key border, 21.5cm wide

183 A Chinese cinnabar lacquer pentafoil box and cover, Qianlong period, the central reserve of the cover carved with a scholar and two attendants contemplating a lotus pond and mountainous landscape beyond, the sides carved with five panels of floral sprays on a flowering lotus ground, interior and bas applied with black lacquer, 25cm diameter

Provenance: Private London collection ÂŁ8,000-12,000*

Provenance: Spink & Son Ltd. paper label to base ÂŁ6,000-8,000*

184 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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185 A large Chinese cinnabar lacquer lobed box, 18th century, finely carved to the cover with an attendant and two scholars contemplating an expansive mountainous landscape, 18.5cm diameter Provenance: Private London collection Spink & Son paper label to base ÂŁ10,000-15,000*

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190 186 A Chinese wood panel set with four marble dreamstone panels, early 20th century, each depicting a landscape and inscribed with colophon, 115cm x 24cm £300-500* 187 A Chinese hongmu octagonal jardinière stand, late 19th century, carved to the frieze with the Eight Buddhist Emblems, on cabriole legs, 44cm high £150-250*

192

191

192 A Chinese banded blue agate snuff bottle, late 19th century, carved with a scholar, attendant, and a crane in a pine forest, 9cm high £300-400* 193 A Chinese porcelain reticulated monochrome snuff bottle, early 20th century, decorated with a dragon and phoenix amid clouds, ivory stopper, 8cm high £150-250*

188 A Chinese hardwood and rouge marble inset jardinière stand, 19th century, profusely carved throughout with blossoming prunus, 81cm high £300-500* 189 A Chinese hardwood and rouge marble inset jardinière stand, late 19th century, the circular top above carved and pierced frieze decorated with blossoming prunus, 91cm high £200-300* 190 A Chinese porcelain famille rose moulded snuff bottle, late 19th century, decorated with figures in a landscape, green hardstone stopper, 9cm high £150-250* 191 A Chinese agate ovoid snuff bottle, mid19th century, the brass mounts decorated with ruyi-shaped motifs and Buddhist lion masks, 6cm high £300-500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

193

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195

194 A Chinese pink glass snuff bottle, early 20th century, carved in low relief to each side with a yin and yang motif, the sides carved simulating bamboo, gilt mounted glass stopper, 8cm high

195 A Chinese Peking glass cameo snuff bottle, late Qing dynasty, carved in green over blue with a rabbit to one side and a cricket with a lingzhi sprig to the other, with carved Buddhist lion mask handles, gilt metal mounted coral stopper, 7.5cm high

£80-120*

196 196 A Chinese Peking cameo glass snuff bottle, early 20th century, carved in low relief with a fruiting gourd tree, 7cm high £100-200*

£120-180*

197

198

197 A Chinese glass ovoid snuff bottle, early 20th century, of mottled brown and yellow tones, coral mounted stopper, 6.5cm high

198 A Chinese peking glass enamel painted snuff bottle, Qianlong mark, late Qing dynasty, painted to each side with vessels of flowers, pink quartz stopper, 6.5cm high

199 A Chinese Peking glass famille rose snuff bottle, early 20th century, finely painted in enamels with fish and insects in a lotus pond, four-character mark to base, 6cm high

£200-300*

£300-500*

£80-120*

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201

200 A Chinese Peking glass five-colour cameo snuff bottle, late 19th century, carved with meandering blossoming branches, gilt metal mounted coral stopper, 9cm high

201 A Chinese cameo glass snuff bottle, 19th century, carved in red over clear glass with two figures beside a pine tree, and a crane flying over a mountain, 7.5cm high

£300-500*

£150-250*

203 203 A Chinese Peking glass snuff bottle, 19th century, of midnight blue tone, with slender tapering neck and broad body, to base, 5.5cm high £200-300*

202 202 A Chinese glass overlay snuff bottle, 19th century, decorated in red over clear glass with two chi-long dragons, 7cm high £150-250*

204 204 A Chinese Yixing snuff bottle, 19th century, painted in famille rose enamels to one side with Shoulao beside a deer, and two scholars beneath a pine tree to the other, 8cm high £300-500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

205 205 A Chinese simulated realgar snuff bottle, 18th century, of flattened ovoid form, 6cm high, coral stopper, hardwood stand £300-500*

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206 206 A Chinese pale green jadeite snuff bottle and stopper, late Qing dynasty, of flattened ovoid form, the stone of mottled pale green tone suffused with apple-green inclusions, 6.5cm high, later wood stand £300-500*

207 Seven Chinese snuff bottles, 18th-early 20th century, to include two porcelain blue and white snuff bottles and a cinnabar snuff bottle, 7cm-8.5cm high, a 17th/18th century Chinese ivory stand, and a 19th century Canton tortoiseshell snuff box (9) £600-800* 208 Four Chinese Peking blue glass ‘lotus’ dishes, late 19th century, each moulded as a lotus flower, 19cm diameter £100-200* 209 A Chinese soapstone brush pot, early 20th century, inscribed with poem, signed, 11cm high £100-200*

210 Ten various Chinese hardstone carvings, 20th century, to include cicada pendants and a bi disc (10) £150-200* 211 A Chinese Neolithic style green hardstone ceremonial axe head, 20th century, 18.5cm x 15cm £800-1,000*

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219 212 A Chinese marble mortar, Ming dynasty, 19.5cm diameter £200-400* 213 A Chinese carnelian agate twin handled censer, early 20th century, of quatrilobe form, with two loose ring handles, 15cm wide £200-400* 214 A Chinese jade ceremonial axe head pendant, Ming dynasty, of mottled grey/black tone, 6.5cm long

212

£400-600*

215 A Chinese agate brushwasher, early 20th century, carved as a lotus with seed pod and two frogs, 9cm long £100-150* 216 A Chinese carnelian agate water pot and cover, late 19th century, carved with three chi-long dragons, with mandarin duck finial, 8cm diameter, and an agate oval bowl, 8.5cm long (2) £120-180*

213

217 Four Chinese seals, 19th-early 20th century, to include a square wood seal encased in bronze, hardstone, soapstone, and ivory, 3.5cm-4.5cm high (4) £200-300* 218 A Chinese green hardstone square seal, early 20th century, with square handle, inscribed ‘Tai Shi Shi’, 4.5cm high £200-300* 219 Three jade/jadeite bead necklaces, 20th century, all in tones of green, one with variegated green/brown beads £300-500* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

214

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223 220 A Chinese spinach green hardstone horse, late Ming dynasty, carved as a recumbent horse with flames issuing from its saddle bag, 11cm long £600-800* 221 A Chinese white jade archaistic belt mount, 18th/19th century, carved to the upper surface in low relief with archaic motifs, 11cm wide £600-800* 222 A Chinese pale green hardstone pendant, late Qing dynasty, carved as a finger citron, 7cm long £500-800* 223 A Chinese pale celadon hardstone oval plaque, late Qing dynasty, carved with a phoenix amid flowering stems, 6cm x 7cm £800-1,000* 224 A Chinese spinach jade tripod censer, 19th century, the cover surmounted with carved Buddhist lion finial, the body carved with mythical beast mask and loose ring handles raised on Buddhist lion mask capped legs, 16cm high

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225 A Chinese pale celadon carving of a boy, 18th century, carved standing, holding a lingzhi sprig over his left shoulder, 6cm high £3,000-5,000* 226 A Chinese pale celadon jade snuff bottle, late Qing dynasty, carved as a lotus flower bud, metal and red hardstone stopper, 7cm long

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£200-300* 227 A Chinese spinach jade ceremonial bi disc, Ming dynasty, 16th/17th century, each side carved with two concentric circles, 5.8cm diameter £800-1,200* 228 A Chinese pale celadon jade cats group, late 19th century, carved as two coiled cats with a butterfly in their mouths, 4.5cm wide

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£200-300* 229 A Chinese celadon jade carving of two cats, early 19th century, each cat seated, clasping a butterfly in their mouths, one cat of even celadon tone, the other of mottled dark green tone, 6.5cm wide £500-800* 230 A Chinese white jade archaistic buckle, 18th century, finely carved as to chi-long dragons atop a bi disc, 7cm wide £4,500-5,500* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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231 A Chinese celadon jade oval plaque, 17th/18th century, carved in low relief with a bat and a fruiting peach branch, 7.5cm x 9.5cm £150-250* 232 A Chinese white jade ‘mountain’ carving, 20th century, carved to one side with two scholars walking across a bridge in a mountain underpass with pine trees, and with a deer amid pine trees beneath a gilt inscription to the reverse, 13.5cm high, silk covered stand £2,000-3,000* 233 A Chinese celadon jade archaistic gu form vase, 17th century, of compressed hexagonal form, with elongated flared neck, faceted knop, and flared base, with short straight footrim, the stone of mottled green tone with russet veining, 11.5cm high £3,000-5,000*

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234 A Chinese white jade scholar’s brush rest, 18th century, finely carved as a mountain, with a lingzhi sprig to one side, 7.5cm long, on fitted hardwood stand £3,500-4,500* 235 A fine Chinese white jade vase, Qianlong period, carved to the long slender neck with two peonies, the compressed body carved in low relief with tao-tie, 12cm high £12,000-18,000*

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THE ART OF SYMBOLISM

236 236 A Chinese porcelain wucai basin, Wanli mark, 18th century, painted to the central reserve with a five-clawed dragon amidst clouds and flames, and to the rim with the Eight Buddhist Emblems, underglaze blue six-character mark to recessed base, 40cm diameter Notes: One of the defining styles of the Wanli era (1573-1620) is wucai (five colours), which combines underglaze blue and overglaze enamels to create vibrant, striking decorations. The technique began in the Jiajing era (1522-1566), before reaching its peak during the Wanli, and are regarded as belonging to most sumptuous group of wares of the Ming Dynasty. After a decline in the porcelain industry at the end of the Ming dynasty, the Qing dynasty saw a resurgence in quality, with new forms combining with earlier innovations, as seen on the present basin.

A particularly powerful symbol that has a profound influence even to this day, the dragon was often used as a symbol of imperial power in China; from at least the 14th century, five-clawed dragons were used in ceramics and the decorative arts to represent the emperor. A symbol of imperial authority and strength, the dragon is used as a way of expressing accomplishment and excellence, for instance the phrase ;89= (‘hoping one’s son will become a dragon’) is just one of many Chinese proverbs and idioms that refers to the dragon as an aspirational symbol.

The Eight Auspicious Symbols -. that are found on the rim of the basin first appear on Chinese porcelain made during the Yuan dynasty (1279-1368), and consist of the wheel of the dharma, conch shell, victory banner, parasol, lotus flower, treasure vase, fish pair and the endless knot. The symbols are found in this order during the early Qing dynasty, and each emblem is rich with symbolic meaning. For example, the lotus flower symbolises faithfulness, fertility and purity, due to the fact its blossoms emerge pure and beautiful out of muddy waters. The treasure vase represents endless treasure and wealth, and the parasol signifies spiritual authority. ÂŁ1,500-2,500* 52

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237 A Chinese porcelain doucai ‘dragon and phoenix’ lantern handle, late Daoguang, Qing dynasty, painted in underglaze blue and overglaze enamels with a dragon and phoenix amid clouds, each end terminating in a dragon with a flaming pearl in its mouth, and a phoenix, 39.5cm long Notes: The phrase ‘long feng cheng xiang ( )’, which translates as ‘Dragon and Phoenix bring Auspiciousness’, is a good luck wish that is given during wedding ceremonies.

The central depiction here of the dragon and phoenix, a motif often used to represent the Emperor and Empress, is one that depicts harmony and bliss; the phoenix embodies the warmth of the sun and helps to produce male offspring. These two auspicious symbols combine to represent marital harmony and good omen, and therefore objects with this motif are often given as wedding gifts. £4,000-6,000*

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238 A Chinese bronze ‘dragon carp’ censer, Ming dynasty, modelled as a leaping carp with detachable dragon’s head, issuing a cord tied in a ribbon, 28cm high Notes: On the Yellow River at Hunan is a waterfall called the Dragon Gate, and it is said that if carp called Yulong can climb this waterfall they will transform into dragons. The motif of the carp jumping over the gate is an old and enduring Chinese symbol for courage, perseverance, and accomplishment.

Historically, the dragon was the exclusive symbol of the emperor of China and the five-character expression, lǐ yú tiào lóng mén , was originally used as a metaphor for a person’s success in passing very difficult imperial examinations, required for entry into imperial administrative service.

Throughout China there was a common saying that: ‘a student facing his examinations is like a carp attempting to leap the Dragon Gate’, and more generally the expression is used to communicate that hard work will one day be rewarded with success. £1,500-2,500*

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239 A Chinese porcelain ‘dragon and carp’ saucer dish, Kangxi period, painted to the central reserve with a dragon and carp thrashing in waves, unmarked, 21cm diameter £800-1,200*

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240 240 A large Chinese porcelain famille rose oval straining dish, Jiaqing period, the dish painted with a seated scholar and attendant in an expansive river landscape, inside a border of bats and flowering lotus scrolls, painted to the rim with butterflies, peonies, lingzhi, chrysanthemum, and lotus, the straining plate painted with a similar scene, 44.5cm x 37cm Provenance: Private London collection Notes: The flared rim of this dish is finely painted with butterflies and a host of different flowers, each bearing auspicious connotations. Sprigs of purple lingzhi can be seen. Often considered by Daoist mystics to be the food of the gods, the lingzhi fungus is a symbol of longevity. Painted beside the lingzhi sprigs are a number of pink hibiscus flowers known as jushuanghua (resisting frost flower) which again, symbolise longevity. Chrysanthemums are a prominent flower painted to the rim. The word for chrysanthemum, ju, sounds similar to the work jiu, meaning ‘long enduring’, another flower associated with longevity. The red petals painted on the rim are that of a camellia. Their red colour is associated with joy and protection, and its blossoms are sometimes used to decorate homes around the time of Chinese New Year to secure prosperity in the coming year. A variety of butterflies are exquisitely painted around the rim. Butterflies are symbolic of happiness in marriage, and everlasting romantic love. £2,000-3,000* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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241 241 A Chinese porcelain ‘nine peaches’ jardiniere, mid-19th century, painted in famille rose enamels with a fruiting peach tree issuing nine peaches, with lingzhi sprigs at the foot of the tree, 35cm high Notes: The peach is one of China’s most auspicious fruits, and has a rich, enduring association with longevity, and also as a harbinger of happiness. In the Shi Jing, edited by Confucius (551-479 BC) and the oldest existing collection of Chinese poetry, the peach is used as a metaphor for thriving marriage and family. In the mythology of the Queen Mother of the West, the ‘peaches of immortality’ are said to grow in the garden of Xi Wangmu. These peaches flower once every three thousand years, take three thousand years to bear fruit and another three thousand years to ripen, after which they are offered in a banquet to the immortals.

The number nine , is an auspicious number, the word jiǔ being a homophone with a word that means ‘long lasting’ and ‘eternity’. The nine peaches in combination with the lingzhi sprigs at the base of the fruiting tree create a powerful motif, evoking a wish for longevity.

242

£300-500* 242 A rare Chinese porcelain bottle vase, Kangxi period, painted in underglaze blue with a ‘love chasing’ scene, 15cm high Note: A similar love chasing vase is illustrated by Sir Harry Garner in ‘Oriental Blue and White’, London, 1973, pl. 69A. Garner described the bottle vase as ‘a man and woman hunting a hare, which for some reason is generally described as a “love chase”’, and going on to describe it as an example of ‘K’ang Hsi blue and white at its most glowing…’ (p.46). A further example may be found in the Frick Collection, see ‘The Frick Collection, An Illustrated Catalogue, Volume VII, Porcelains’, Princeton University Press, 1974, p.30, inventory number 65.8.191 £4,000-6,000*

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243 A Chinese carved wood ruyi sceptre, late Qing dynasty, profusely carved throughout with bats, fruiting peach branches, and pine trees, 38cm long £800-1,200*

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244 A pair of Chinese porcelain moulded saucer dishes, 17th century, painted in underglaze blue to the central reserve with a lingzhi sprig and two deer in a pine forest, inside a moulded chrysanthemum border, 21cm diameter Notes: The deer motif is one rich with symbolic meaning. The word for deer & (‘lu’) shares the homophone of good fortune (‘lu’), which can also refer to a civil official’s attractive salary. Furthermore, in Chinese idioms, political power is compared to deer, and chasing deer implies fighting for the sovereign. The pine trees in the background also contain symbolic meaning, as their evergreen state implies longevity. Unlike most other trees, pine does not wither during the winter seasons, and therefore is representative of noble endurance in the face of adversity, a popular and auspicious motif in the decorative arts.

Deer were considered supernatural creatures in premodern China, and appear frequently in scenes of immortals and magical lands. Deer were also believed to live to a very great age, and therefore symbolized longevity. It was also thought that they were the only animal capable of finding the sacred fungus of longevity, the lingzhi. The deer is also symbolic of filial piety, which originates from the folk tale of Zhou Yanzi. The story tells of a young boy who tries to get milk from a deer to cure his ailing father, and to achieve this goal he wears deer skin and joins a deer herd to gather milk. £400-600*

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245 245 A large Chinese porcelain famille verte charger, Kangxi period, painted to the central reserve with a phoenix in flight above a kylin, inside a border decorated with alternating panels depicting mythical beasts and floral sprays, underglaze blue seal mark (Haoyang) inside a double circle to base, 36cm diameter The kylin and the phoenix are two of the ‘Four Benevolent Creatures’, both auspicious symbols that feature in an old Chinese saying: ‘When the world was born, the phoenix led all winged animals, the kylin ruled all terrestrial beasts; both the first of these species.’ The appearance of the kylin conveys good wishes, in particular the wish for many children, and the phoenix symbolises longevity and prosperity.

The tree peony has been known in China since at least the 9th century BC, and was considered ‘the king of flowers.’ The flower held associations with the imperial family, who as early as the Tang dynasty (618-907) grew it in the palace gardens. It is known as the flower of ‘wealth and honour’, and was traditionally a token of love and exchanged as a farewell gift. Chrysanthemums are associated with longevity and wealth, owing to the name sounding similar to the word + (‘jiu’), which means ‘long enduring’. Chrysanthemums represent autumn and, like peonies, are mentioned in Chinese literature as early as the 9th century BC. £3,000-4,000*

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246

246 A Chinese porcelain teadust glazed double-gourd vase, Qianlong mark but later, painted in gilt with bats in flight amid meandering floral scrolls issuing leaves and gourds, 13cm high ÂŁ800-1,200*

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247 247 A rare and large Chinese porcelain circular basin, 18th century, painted in underglaze blue to the central reserve with a scene from Roman mythology depicting Neptune holding a trident and riding dolphins with a group of Nereids and Tritons, inside a honeycomb diaper border, unglazed base, 42cm diameter Notes: The scene illustrates an episode told by Virgil in the Aeneid (book I, lines 124-143), in which Neptune calms the waves after Juno, the chief Goddess, unleashes a ferocious storm to combat the retreating Trojan army. This scene is taken from from a print made by Dutch artist Frederick Bloemart (1610-1669), who used the left half of a composition from a copy book by Abraham Bloemaert (1564-1651), which is preserved in the Metropolitan Museum of Art, New York (Le Corbeiller, 1974, no. 28).

Mythological scenes such as the one depicted here were popular with buyers of Chinese export porcelain from the mid-18th century onwards. In 1778, the Dutch East India Company sent a chocolate cup with this particular design to Canton to be copied onto dishes, although later the order was cancelled due to the high cost of Chinese porcelain bearing European decorations, much to the chagrin of Dutch merchants.

Similar examples can be seen in major collections, such as a plate in the Metropolitan Museum of Art, New York (Le Corbeiller, 1974, no. 28), a cup and saucer at the Victoria and Albert Museum (C.39&A-1909, The Curtain Foundation Gallery) and at the British Museum (Krahl, Regina; Harrison-Hall, Jessica, Ancient Chinese Trade Ceramics from the British Museum, Taipei, 1994).

Provenance: Sotheby’s London, Fine Chinese Export Porcelain, The Hervouet Collection, 3rd November 1987, Lot 337 With Emery & Cie paper label to base £800-1,200*

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248 A Chinese porcelain dish, Kangxi period, painted in underglaze blue to the central reserve with a dancing boy, inside a reserve decorated with auspicious objects, unmarked, 22cm diameter Notes: The dancing boy at the focal point of this design is a motif that stems back to ancient times, and is connected with New Year’s Eve celebrations and rituals. Throughout Chinese history there has been an ardent desire for sons, who were needed to perform ancestral sacrifices and ensure the continuation of the family line. By the Ming dynasty, however, the birth of sons was not enough; families hoped for sons who would excel in their studies and take top honours in the civil examinations, bringing wealth and honour to the family. The boy here is surrounded by auspicious objects that hold different symbolic meaning, including aspirations for wealth (coins), knowledge (books), purity and honesty (lotus flowers), and longevity (ribbons).

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£200-300*

249 A Chinese porcelain famille rose dish, Yongzheng period, painted to the central reserve with Ma Gu standing on a giant leaf beside a vase containing lingzhi sprigs, inside a border of flowering lotus stems, 22.5cm diameter Ma Gu <7 (“hemp maiden”) is a popular Taoist immortal symbolising the elixir of immortality and a protector of the females in China. Depicted in the classic Ming dynasty novel ‘Journey to the West’ by Wu Cheng’en, Lady Ma brewed a concoction of wine and cannabis for a birthday banquet hosted by the ‘Queen Mother of the West’. Ma Gu attended the peach banquet and gave this drink to the Queen Mother Xi Wang Mu, and the image of this scene is known as Ma Gu Xian Shou <7 1 (“Ma Gu Offers Longevity”).

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The portrait of Ma Gu and her fawn was a very popular birthday motif with women in Imperial China, owing to her association with beauty and longevity. Porcelain and other works of art bearing her likeness is often given to married couples on auspicious occasions, such as wedding anniversaries.

An example of a portrait of Ma Gu can be found on a Qing dynasty hanging scroll at the National Museum in Warsaw. A blue and white example can be found in David S. Howard, The Choice of the Private Trader, The Private Market in Chinese Export Porcelain illustrated from the Hodroff Collection, 1994, page 283 item 342. £800-1,200* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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250

250 Two Chinese bronze figures of Li Tieguai, Ming dynasty, 17th century, each modelled standing, supported by an ‘iron crutch’, holding a gourd in his left hand, 19cm and 16cm high Notes: Li Tieguai is one of the eight Daoist immortals (baxian), and is identified by the ‘iron crutch’ and doublegourd which he usually carries. He is depicted as an emaciated man who walks with the assistance of his crutch, as tradition dictates that he descended from the realm of the immortals by entering the body of a handicapped man.

He is said to be a provider of medicine, which he carries in the gourd. £1,000-1,500* 251 A Chinese porcelain famille verte figure of Li Tieguai, Kangxi period, the bearded immortal standing with his crutch and holding a gourd, 30cm high £800-1,000*

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252 A Chinese sancai pottery figure of an Earth spirit, Tang dynasty, the seated figure with leonine horned head and mouth open in a warning roar, 34.5cm high, later wood stand Notes: These magnificent hybrid animals were placed in the entrances of tombs in pairs not only to repel any hostile beings who dared to trespass, but to keep the occupant of the tomb from disturbing the living. Known as ‘zhenmushou’, (grave-quelling beasts) these guardians started to be manufactured in greater numbers for northern China tombs during the 5th century AD and continued to play an important part through the Tang dynasty.

Cf. A similar piece was exhibited in The University of Michigan Museums of Art and Archaeology Bulletin, Vol XVI, 2005-2006. £3,000-4,000*

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253 253 A Chinese bronze ‘Guanyin’ censer, Ming dynasty, modelled as Guanyin seated in front of three mountain peaks, pierced to the reverse to release incense, with a Buddhist lion approaching Guanyin, 18cm high Notes: Guanyin >?, from the Indian Bodhisattva Avalokitesvara, is one of the most popular and most favoured Buddhist deities in China, and is therefore frequently depicted in sculptural form.

Bodhisattvas are enlightened beings who have delayed entering paradise in order to assist others in attaining enlightenment. Originally a male figure, the image of Guanyin underwent much evolution in China, and the idols of Guanyin in Chinese Buddhist temples were moulded after the Yuan Dynasty, almost all of them with female appearances. Guanyin is also known as Guanshiyin, with ‘guan’ meaning "contemplate", shi meaning "world" and yin meaning "sounds", with a combined meaning of "[The One Who] Perceives the Sounds of the World". £3,000-4,000*

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254 254 A Chinese pottery cizhou figure group of Shoulao, Henan province, Ming dynasty, Shoulao modelled seated beside an attendant with a crane at his feet, and a deer approaching from behind, 26cm high Notes: Shou Lao, recognised by his prominent forehead and flowing beard, is the Daoist God of Longevity, representing wisdom and long life. Depictions of Shou Lao bearing these distinctive features were first developed during the Ming dynasty, and often include deer, peaches of immortality, cranes and a staff, all of which are abundant in symbolic meaning. The peach is a reference to the story of the Queen Mother of the West, and it is said that Shou Lao acquired the fruit in Xi Wangmu's magical garden in Heaven, which is referred to in the catalogue note for Lot 249.

The crane stood at Shou Lao’s side is a creature that plays an important role in Chinese mythology. The crane is venerated as the prince of all feathered creatures, and symbolises longevity and peace. It also represents high status, as the crane is regarded as ‘a bird of the first rank’ in the imperial hierarchy, and crane motifs were used on the robes of civil officials to denote their rank £600-800* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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255

255 A pair of Chinese porcelain ‘magpies and plum blossom’ bowls, Jiaqing mark but Tongzhi period, painted in famille rose enamels with twelve magpies amidst flowering plum blossom sprays on a yellow ground, iron-red four character marks to base, 14cm diameter, 6.5cm high, on carved and pierced hardwood stands Notes: Twelve different versions of this design were produced in huge numbers for the wedding of the Tongzhi emperor.

The combination of magpies amidst plum blossoms alludes to the rebus sixi shangmei (four magpies settle on the branches of the plum tree) and represents the wish for ‘may four-fold joy shine on you’.

Provenance: Private English collection, acquired from William Beatty, a Protestant missionary in Beijing in the 19th century, then by descent £2,000-3,000*

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256

256 A Chinese porcelain saucer dish, Wanli mark and of the period, painted to the central reserve with three lingzhi clouds inside a double circle, and to the exterior with two five-clawed dragons in pursuit of the flaming pearl amid cloud scrolls, underglaze blue six-character mark within a double circle to base, 18cm diameter Notes: This design was frequently commissioned by emperors throughout the Ming dynasty, here favouring the simplicity of the three lingzhi on the interior and the busier arrangement of two dragons chasing flaming pearls on the exterior. The five-clawed dragon is a symbol of imperial power, and the flaming pearl it pursues represents wisdom, enlightenment and spiritual essence. The three lingzhi cloud scrolls symbolize great health and longevity, with the number three being an auspicious one. Excellent and outstanding people are compared to a dragon, and the phrase ;89= (‘wàng zǐ chéng lóng’) means ‘hoping one’s son will become a dragon’.

For a similar example, see Sotheby’s, London, Fine Chinese Ceramics & Works of Art, 11th May 2010, Lot 52; a Hung Chih period dish of the same design is illustrated in Oriental Blue & White, London, 1973, fig. 39c; a smaller Hongwu period dish of the same design is illustrated in The Complete Collection of Treasures of the Palace Museum, Blue and White Porcelain with Underglazed Red, vol. I, Beijing, 1995, col. pl. 23. £18,000-22,000*

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257

257 A Chinese cinnabar lacquer ‘Seven Sages of the Bamboo Grove’ lobed box, 18th century, finely carved to the cover with ‘The Seven Sages of the Bamboo Grove’, depicting two scholars playing weiqi while another watches, two scholars are discussing a Daoist scroll, and two are crossing a bridge with an attendant, engaged in discussion, all inside a Greek key border, the sides carved with floral motifs, 14cm wide Provenance: Private London collection Notes: The period of some 400 years following on from the fall of the Han dynasty in AD 220 was marked by political and social turmoil, especially during the bloody Three Kingdoms period. The Seven Sages of the Bamboo Grove 6' were a group of scholars that had become disillusioned with governmental service during this time, instead choosing to dedicate their time to poetry, music, Daoist-inspired discussions, and sometimes heavy drinking. The Seven Sages have become emblematic of the retreat from public life, and of the struggle of scholars against corrupt political practices and restrictive Confucian rules.

References to the Seven Sages are found throughout Chinese and Japanese art and literature, and were particularly popular during the late Ming (1368-1644) and Qing (1644-1911) dynasties. The rise in popularity during this time can be attributed to the social and political upheavals experienced during the transition between the two dynasties, in which many officials faced the difficult decision of whether to serve the new Qing dynasty. The motif of the Seven Sages retreating from the pressure of governmental service would therefore have appealed greatly to these yimin (leftover subjects) £4,000-6,000*

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258

258 A Chinese two-colour cinnabar lacquer ‘sanduo’ circular box and cover, 18th century, finely carved to the central reserve with the ‘Three Abundances’, sanduo, peaches, pomegranates, and finger citron, decorated with the same fruit to the border and base, black lacquered interior, 18cm diameter Provenance: Private London collection Notes: The Buddha’s Hand Citron, peach and pomegranate together form the Three Abundances (sanduo), symbols of blessing, long life and many sons. The Chinese for Buddha’s Hand Citron (foshou) is the homophone for ‘blessing’ (fu) and ‘longevity’ (shou) together. The peach has long been associated with Shoulao, the God of Longevity. The idea conveyed in the sanduo design is a blessing of long life and prosperity with many generations of descendants to follow. Vases of this type were offered to the emperor and convey a wish of happiness for the emperor who is to enjoy a long reign and remain forever youthful. £3,000-5,000*

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259 A fine white jade carving of a female immortal holding a sprig of lingzhi fungus, 18th century, wearing long, flowing robes, and clutching a lingzhi sprig with both hands, on fitted ivory stand carved with further lingzhi, 8cm high (including base) Notes: The fungus Lingzhi ! , considered by the Daoist mystics as the food of the Immortals, is a symbol of longevity, owing to the fact that when dry the fungus becomes extremely long-lasting. It was believed that lingzhi fungi grew in the home of the Immortals, on the Three Islands of the Blest, and that whoever consumed it attained immortality.

Lingzhi motifs appear frequently in Chinese art throughout history. For example see Lot 256, a Wanli-period blue and white saucer dish that bears three lingzhi scrolls to the interior of the dish; or Lot 225, an 18th century pale celadon carving of a boy holding a lingzhi sprig over his left shoulder. ÂŁ3,000-5,000*

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260 260 A fine Chinese white jade carving of a horse, 18th century, carved in recumbent pose on crested waves, with its head turned back towards the heavenly texts tied to its back with a ribbon, with finely incised mane and tail, and flames issuing from all four legs, 9.5cm long Note: Power, knowledge and imperial authority are the defining symbolic traits of this jade carving.

The horse itself is an enduring symbol of speed, perseverance, imagination and youthful energy, however the motif of riding atop of a horse has another layer of meaning. The phrase â&#x20AC;&#x2DC;mÇ&#x17D; shÇ&#x17D;ngâ&#x20AC;&#x2122; %(, which may be translated as â&#x20AC;&#x2DC;on horsebackâ&#x20AC;&#x2122;, is a metaphor for â&#x20AC;&#x2DC;arrive quicklyâ&#x20AC;&#x2122;. The books, symbols of learning and one of the Four Signs of a Scholar, are therefore indicative of a wish for knowledge to be attained quickly. The tied ribbon holding these books in place is also of symbolic importance, and is representative of longevity, and in combination with the books atop the horse express the wish for not just rapid but enduring, permanent knowledge.

A common motif found in other jade carvings depict a monkey riding atop a horse, which represents the rebus â&#x20AC;&#x2DC;mÇ&#x17D; shÇ&#x17D;ng feng houâ&#x20AC;&#x2122; which may be translated as â&#x20AC;&#x2DC;may you receive a swift promotion to a high rank of officeâ&#x20AC;&#x2122;.

The recumbent form of the horse, with the head rear-facing and four legs tucked under, was popularised in the Song dynasty; however this form with the addition of books or scrolls is less common. This motif could be referring to several narratives-the first being the Han dynasty story of the introduction of the first Buddhist sutras into China. After Emperor Han Mingdi 43 saw a vision of the Buddha in a dream, a mission that included the trusted official Cai Yin was dispatched to the Western regions in search of scriptures and images of this God. The envoys returned to China

with two Indian monks and a bundle of sacred texts, the divine texts mounted atop a white horse.

The emperor subsequently commissioned the construction of the White Horse Temple $2 in the capital of Luoyang, which still stands today.

The swirling waves at the base of the jade could be a reference to an older Chinese narrative: on a mandate from Heaven, a mythical horse was sent by sea carrying divine manuscripts to be delivered to the emperor, ensuring divine rule and solidifying the emperorâ&#x20AC;&#x2122;s connection to heaven. The flames lashing out from the water are symbolic of the emperorâ&#x20AC;&#x2122;s fierce zeal, and a desire to rule wisely.

The waves also bear imperial symbolic connotations. The word for tide, â&#x20AC;&#x2DC;chĂĄoâ&#x20AC;&#x2122; , sounds the same as the word for imperial court 5. This homonym is used frequently throughout Chinese art, with waves symbolising the imperial court or a desire to enter the court, and is often used on gifts given wishing the recipient a job in high office.

CF. An example of a jade horse carved complete with books and waves can be found in the Beijing Palace Museum 1995 publication on jade (:/ () )) plate 90, page 110. Similar examples are illustrated in Fung and Yeung, Exquisite Jade Carving, p. 103; Hartman-Goldsmith, Chinese Jade, no. 34, p. 66, in the collection of the Saint Louis Art Museum; Nott, The Flowery Kingdom, pl. XLIV, p.

99; Tibet Museum, Jade Selections from Yuan, Ming and Qing Dynasties in the Tibet Museum, no. 101, p. 148; and Zhang, Jadeware (II): The Complete Collection of Treasures of the Palace Museum, nos. 149 and 150, p. 189. Two Song dynasty examples of a recumbent horse jade are published in Chinese Jade Animals (*0 : ) 1997, Hong Kong Museum of Art (# ") plates 125 and 127, pages 144-147. ÂŁ18,000-22,000*

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262 262 A Chinese archaic bronze ritual food vessel, li, Shang dynasty, of tri-lobed form, with raised handles to rim, and bowstring bands to shoulder, on tapering legs, 16.5cm high Provenance: Private English collection, acquired in Hong Kong 1980s-1990s ÂŁ1,500-2,500*

261 261 A Chinese archaic bronze ritual wine vessel, gu, Shang dynasty, 13th-11th century BC, cast to the mid section with a pair of taotie masks detailed with raised eyes divided by notched flanges, the spreading foot decorated with taotie masks, all on a leiwen ground, 26cm high

263 Three Chinese archaic bronze vessels, Han dynasty, comprising a tripod brazier with ribbed mid-section and dragon-head handle, 23cm high, a wine vessel with ribbed banding to body and neck, and with dragon decorated handle, 12cm high, perspex stand, and a cylindrical tripod container and cover with taotie mask and ring handles and swing carry handle decorated with dragon masks, 23cm high (3) Provenance: Private English collection, acquired in Hong Kong 1980s-1990s ÂŁ2,000-3,000*

Provenance: Private English collection, acquired in Hong Kong 1980s-1990s ÂŁ3,000-5,000*

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264 264 A Chinese bronze vessel, hu, Shang dynasty, with flared rim and bulbous body to spreading foot, with bowstring bands to shoulder and foot, 14cm high Provenance: Private English collection, acquired in Hong Kong 1980s-1990s £1,500-2,500* 265 A Chinese archaic bronze ritual wine vessel, jue, Shang dynasty, the deep U-shaped body raised on three blade-shaped legs, cast to each side with a taotie mask with rounded eyes, all on a leiwen ground, with single loop handle, 21cm high Provenance: Private English collection, acquired in Hong Kong 1980s-1990s £4,000-6,000*

265 266 A Chinese bronze vase, hu, Han dynasty, fine incised to the neck with vertical lappets of archaistic geometric motifs, above similar bands to the bulbous body, with splayed foot, 31.5cm high Provenance: Private London collection £2,000-3,000* 267 A Chinese bronze ritual ladle, Shang dynasty, mid-Anyang period, with broad bowl and flat handle terminating with a trident, 23cm long Provenance: Private UK collection £300-500*

266 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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269

268 268 A Chinese bronze circular mirror, Warring States period, flat cast with intertwined scrolling dragons reserved on a patterned ground, 17cm diameter Provenance: Private UK collection

269 A Chinese parcel-gilt bronze ‘TLV’ mirror, Western Han dynasty, 2nd-1st century BC, the central knob within a square field surrounded by mythical animals and birds, amidst ‘TLV’ motifs, with a saw-tooth band to rim, 11.5cm diameter Provenance: Private UK collection

£800-1,200*

£4,000-6,000*

271

270 270 A Chinese bronze circular mirror, Han dynasty, the central raised knob surrounded by four characters and abstract floral pattern, 13.5cm diameter

271 A Chinese bronze circular mirror, Warring States period, flat cast with intertwined scrolling dragons reserved on a patterned ground, 16cm diameter

Provenance: Private UK collection

Provenance: Private UK collection

£400-600*

£800-1,200*

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273

272 272 A Chinese bronze shaped mirror, Northern Song dynasty, the central knob within flowerhead field, surrounded by meandering flowering lotus sprays and raised rim, inscribed to rim, 18.5cm diameter

273 A Chinese bronze lobed mirror, Tang dynasty, the central knob surrounded by the phoenixes and two flowering lotus stems, within a floral band, 16.5cm diameter

Provenance: Private UK collection

£2,000-3,000*

£1,000-2,000*

Provenance: Private UK collection

275

274 274 A large Chinese bronze ‘lion and grapes’ circular mirror, Tang dynasty, the central knob surrounded by a band of lions and bunches of grapes, inside a border of butterflies and birds amid grapes, 17cm diameter

275 A Chinese bronze ‘lion and grapes’ circular mirror, Tang dynasty, the central knob encircled by lions and bunches of grapes inside a border of characters, inscribed to rim, 11cm diameter £400-600*

Provenance: Private London collection £700-1,000* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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276

277

276 A Chinese bronze leaf-shaped ‘owl’ mirror, Shang dynasty, decorated with a stylised owl surrounding the central knob, 10cm x 9cm £500-800* 277 A rare Chinese jade-inlaid bronze mirror, Warring States period, the outer concave band surrounding an inset ring of jade incised with diagonal lines to simulate rope, 17.5cm diameter Provenance: Private UK collection

278

Cf. Whilst this form of mirror is very rare, a similar example can be seen in the collection of the Fogg Art Museum, Harvard University, in Hai-wai Yi-Chen: Chinese Art in Overseas Collections, Bronze I, no. 168, p.171 For a similar rope-twist jade disc, see Illustrated Catalogue of Ancient Jade Artifacts in the National Palace Museum, no. 216 £2,000-3,000* 278 A Chinese silvered metal Tang style bowl, applied to the rim with a gilt repousse chi-long dragon and engraved with a floral band beneath rim, 7.5cm diameter £800-1,200*

279

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279 A Chinese bronze bombe censer, Xuande mark, late Qing dynasty, cast with Buddhist lion mask handles, with tall, slightly flared foot, sixcharacter mark to base, 17.5cm diameter £1,000-1,500* www.roseberys.co.uk

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280 280 Chinese bronze censer, Xuande mark, 17th century, of bombe form, cast with Buddhist lion mask handles, broad footrim, cast six-character mark to base, 23.5cm diameter, on hardwood stand £5,000-8,000* 281 Two Chinese polished bronze censers, 19th century, one formed as a peach, 13cm long, the other of typical bombe tripod form, Xuande mark to base, 12cm diameter £500-800* 282 A Chinese cloisonné tripod censer, Qianlong mark, late Qing dynasty, the cover with gilt metal knop finial cast with clouds, above pierced repousse band decorated with scrolling lotus blooms, the body with gilt Buddhist lion mask and ring handles, raised on three gilt legs cast as mythical beasts, 19cm high £500-1,000*

282

283 A Chinese bronze oval censer, apocryphal Xuande mark, 16th/17th century, cast with two chi-long dragon handles, 16cm wide

284 A Chinese brass censer, early 20th century, with Buddhist lion mask handles, unmarked, 10cm high, a hardwood stand, and a rectangular tea block (3)

£3,500-4,500*

£150-200*

283 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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285 286

285 A large Chinese polished bronze tripod censer, Xuande mark, 19th century, of bombe form, with two loop handles, cast apocryphal seal mark, on carved wood lotus base, 24cm diameter £1,000-2,000* 286 A large Chinese bronze oval tripod censer, Ming dynasty, the cover elaborately cast with a tiger confronting a dragon, with two archaistic handles, raised on Buddhist lion mask capped legs, on carved fitted hardwood stand, 33cm high, 33cm wide £800-1,200* 287

287 A Chinese bronze scroll weight, 18th/19th century, finely cast as a recumbent Buddhist lion, 7cm long, on fitted silk stand £800-1,200* 288 A Chinese bronze scroll weight, Ming dynasty, 17th century, modelled as a recumbent Buddhist lion, holding a gourd attached to a ribbon, 5cm long £1,500-2,500*

288

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289 289 A Chinese bronze qilin weight, Ming dynasty, modelled in recumbent pose, 12cm long

290

£150-250*

290 A Chinese bronze scroll weight, late Ming dynasty, modelled as Shoulao atop a buffalo, 8cm high Provenance: Spink & Son Ltd. paper label to base £600-800* 291 A Chinese bronze scroll weight, late Ming dynasty, modelled as a recumbent mythical beast, with traces of gilt paint, 7cm long £400-600* 292 A Chinese gilt bronze lion scroll weight, late 19th/early 20th century, cast in the form of a recumbent lion, with head turned left, with ridged spine and scaley body, 7.5cm long

291

£800-1,200* 293 A Chinese gilt metal and cloisonné circular paperweight, Qianlong mark, 19th century, decorated to one side with a continuous floral scroll on a blue enamel ground, Qianlong fourcharacter mark to reverse, 10.5cm diameter £500-800*

292 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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297 294 294 A Chinese copper alloy spherical repousse lantern, late Qing dynasty, with phoenix-head finial and decorated with dragons amid clouds, 31cm high £200-300* 295 Eight miniature bronze bells, Han dynasty style, each of typical tapering form, two incised with archaistic motifs, 5cm-7.5cm high £200-400* 296 Twelve Chinese bronze mirrors, 19th/20th century, some with handles, to include square examples, 8.5cm-25cm £250-300* 297 A Chinese bronze hand warmer, 19th century, of rectangular form with pierced cover decorated with geometric floral motifs, inscribed to base, 10cm wide £800-1,200* 298 A Chinese bronze incense holder, mid-19th century, modelled as a boy standing beside a twinhandled vase, on petal shaped base, 11cm high £150-250* 299 A Chinese bronze vase, late Ming dynasty, of compressed hexagonal form, applied with chilong dragon handles to shoulder, unmarked, 27cm high £1,800-2,200* 299 80

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301

300 300 A Chinese bronze figure of Lu Xing, early 20th century, standing wearing long flowing robes decorated with clouds, holding a ruyi sceptre, on hardwood base, 29cm high

302 A Chinese bronze silver and gold inlaid Western Han style deer, 19th century, the recumbent deer with head raised, and inlaid in gold and silver with archaistic motifs, 10cm long

£200-300*

£3,000-5,000*

301 A pair of Chinese bronze parcel-gilt garlichead bottle vases, 16th-17th century, each applied with a chi-long dragon to neck, 23cm high Cf. For a similar pair, see Later Chinese Bronzes, Rose Kerr, 1990 P.42 no.29 £500-800*

302

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303 A large Chinese archaistic bronze vase, early 19th century, with three tao-tie mask and loose ring handles to shoulders, the neck decorated with a band of mythical birds, above a band of tao-tie masks and a lappet band to body, apocryphal seal mark to base, 31cm high £2,000-3,000*

303

304 A large Chinese bronze archaistic vase, zun, 19th century, the flared neck with band of lappets decorated with tao-tie masks, with applied Buddhist lion handles, 40cm high £1,500-2,000* 305 A Chinese silver rectangular box, Wang Hing, early 20th century, embossed to the cover with scholars in a wooded landscape, 8.5cm wide, and a silver box with carved mother of pearl cover, 7cm wide (2) £300-500*

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306

307

306 A Sino-Tibetan gilt bronze figure of Green Tara, early 20th century, seated in lalitasana on a lotus base with her pendant foot resting on a lotus flower, her hands in varada and vitarka mudra, her hair in high chignon, 16cm high £600-800* 307 A Chinese gilt bronze figure of Sridevi on horseback, late 19th/early 20th century, Sridevi with fierce expression and arms held aloft, engraved to lotus base with a double-vajra, 16cm high £800-1,200* 308 A Sino-Tibetan gilt bronze figure of Manjushri, late 19th century, seated in vajrasana on a lotus base, his right hand brandishing a sword, the left holding a flowering lotus stem supporting a manuscript, engraved to the sealed base with a double-vajra, 25cm high £1,500-2,000*

308

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309

310

309 A Chinese bronze votive figure of Buddha, Northern Wei dynasty, depicting Shakyamuni Buddha with flame mandala, 9cm high Provenance: Private London collection £1,500-2,500* 310 A South East Asian copper alloy figure of Buddha Muchalinda, 18th/19th century, seated in dhyanasana on a large coiled snake, 25cm high £100-200* 311 A Sino-Tibetan gilt-bronze seated figure of Avalokiteshvara, Kangxi period, seated in lalitasana with the right foot supported on a flowering lotus stem, and with hands in vitarkamudra each holding a lotus stem, wearing a draped dhoti , a beaded sash, necklaces, armlets, and an elaborate tiara with hair in high chignon, engraved with double-vajra to sealed copper base, 21.5cm high Provenance: Private London collection £5,000-8,000* 312 A Chinese gilt metal and cloisonné incense holder, early 20th century, modelled as a recumbent dog with head raised and with gourd suspended from its collar, 10cm long 311 84

£200-300*

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314

313

313 A Chinese gilt metal and cloisonné censer, early 20th century, modelled as a rhinoceros standing four square, on fitted wood base, 13.5cm high £500-800* 314 A pair of Chinese Tibetan-style cloisonné ewers, the globular bodies decorated with Buddhist lions, 26cm high £500-800*

315

315 A Chinese gilt metal and cloisonné ruyi sceptre, Qianlong mark but late 20th century, set with three gilt repousse panels decorated with auspicious objects and animals, 43cm long £150-200*

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316 A Chinese Canton enamel square dish, mid19th century, painted with a scholar and two attendants tending to a garden with mountains beyond, inscribed with colophon, 13cm wide £100-200* 317 A large Chinese gilt metal and enamel twin handled dish, late 19th century, painted to the central reserve with a parrot perched on a flowering magnolia branch, inside a yellow ground border of phoenixes, and a further border of flowering lotus scrolls, the raised handles repousse decorated with archaistic motifs, unmarked, 43cm wide

316

£1,000-1,500*

317

318 A Chinese cloisonné ruyi sceptre, Ming dynasty, 17th century, decorated to both sides with meandering lotus scrolls on a pale blue ground, 39cm long

318

£300-500*

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319

319 A Chinese cloisonné bowl, Ming dynasty, decorated to the exterior with four Buddhist lions amid Buddhist emblems on a turquoise ground, undecorated to the interior, 22cm diameter Provenance: Acquired from the collection of Maurice Stewart Collis (1889-1973) £3,000-5,000* 320 A Chinese painted enamel baluster vase and cover, Qianlong mark, 19th century, painted in famille rose enamels on a white ground with a band of lotus flowers beneath rim, a band of ruyi motifs to shoulder, and scattered flowerheads, blue enamel four character mark to base, 27cm high Provenance: Private London collection £4,000-6,000*

320 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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321

321 A pair of Chinese imperial cloisonné octagonal jardinières, Qianlong period, the flattened rim decorated with scrolling lotus flowers on a pale blue ground, above a Greek key border, the body decorated with panels depicting a bat suspending a Daoist chime above a flowering lotus, raised on eight gilt archaistic feet, 15.5cm high x 30cm wide Cf. For a comparable jardinière see Compendium of Collections in the Palace Museum, Enamels 4, no. 13 £7,000-10,000*

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The following lots (322-350) are from a private UK collection, acquired before 2000.

322

322 A Chinese ceremonial temple sword, early 20th century, with engraved bone grip and engraved brass mounts, the blade damascened with immortals and auspicious characters bearing a Qianlong seal mark, 110cm long, and a similar double sword (shuang jian), 93cm long (2) £200-400* 323 Three Chinese swords (dao), 19th century, each with brass mounted shagreen sheath, one with shagreen grip, 74 and 71cm long (3) Exhibited: British Museum, Chinese Weapons and Armour, 15th December 1994-15th January 1995 (Two from the above lot) £300-500*

323 324 A Chinese willow leaf sabre (liu yue dao), late 18th/early 19th century, with shagreen and brass mounted sheath, 93cm long, and another similar, 74cm long (2) Exhibited: British Museum, Chinese Weapons and Armour, 15th December 1994-15th January 1995 £200-400*

324

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325 325 A Chinese double sword (shuang jian), 19th century, with shagreen and brass mounted sheath and horn handle, foundry mark for Long Qian, 64cm long Exhibited: British Museum, Chinese Weapons and Armour, 15th December 1994-15th January 1995 £200-400*

326 326 Two similar Chinese ceremonial swords (jian), 19th century, each with wooden handles, brass pommel and hilt, with brass and wood sheaths, each blade decorated with the ‘seven stars’, 98 and 95cm long (2) £400-600*

327 327 A Chinese double sword (shuang jian), 19th century, the rosewood sheath with brass mounts engraved with shou characters and bats, 63cm long Exhibited: British Museum, Chinese Weapons and Armour, 15th December 1994-15th January 1995

328 A Butanese sword, 19th century, with string grip, brass pommel, and copper and brass sheath, 66cm long £120-180*

329 Two similar Chinese ceremonial temple swords (jian), 19th century, with leather and brass mounted sheaths, the blades engraved with wrything dragons, 102cm long (2) £200-400*

£300-500* 90

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330 A Chinese wing chun bart cham dao (butterfly sword), 19th century, the wooden grips carved in low relief with foliate motifs, with leather sheath, 52cm long Exhibited: British Museum, Chinese Weapons and Armour, 15th December 1994-15th January 1995 £150-250* 331 A Chinese double sword (shuang jian), 19th century, with green tortoiseshell and brass mounted sheath, 63cm long

330

Exhibited: British Museum, Chinese Weapons and Armour, 15th December 1994-15th January 1995 £200-300*

331

333

332 A Chinese sword (jian), 19th century, with tortoise shell and brass mounted sheath, 61cm long, and a 19th century katana, 88cm long (2) £150-250*

333 A Chinese doublehanded sword (dadao), 19th century, the tapered steel blade inscribed ‘Qing’, 103cm long Exhibited: British Museum, Chinese Weapons and Armour, 15th December 1994-15th January 1995 £300-500*

334 A Chinese ‘scholar’s’ sword, mid-19th century, with hardwood and mother of pearl inlaid grip and sheath decorated with archaistic dragons and motifs, 96cm long Exhibited: British Museum, Chinese Weapons and Armour, 15th December 1994-15th January 1995 £200-300*

334

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335 A Chinese wing chun bart cham dao (butterfly sword), 19th century, the grips carved with dragons, with leather sheath, 59cm long £200-300*

335

337

338

340

336 A Chinese halberd, 19th century, the steel blade protruding from a dragon’s head, the wooden shaft painted and carved with a dragon and floral motifs, 209cm long, and similar polearm, 162cm long (2) £300-500* 337 A Chinese tiger hook, 19th century, with wooden grip, doubleended blade and crescent-shaped blade, 102cm long £100-200* 338 A Chinese execution knife, early 20th century, with broad steel blade, mounted to the wooden handle with a brass plaque inscribed “Execution knife, Nanking, 1927”, 87cm long £150-250* 339 Two Chinese polearms, 19th century, one with trident blade, the other with crescent blade, 288 and 210cm long (2) Exhibited: British Museum, Chinese Weapons and Armour, 15th December 1994-15th January 1995 (trident bladed polearm) £300-500* 340 A set of three Chinese polearms, 19th century, two with steel spearhead, one with broad falchion blade inlaid with the ‘seven stars’ 192-247cm long (3) £300-500*

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344

345

341 Four Chinese bows, early 19th century, three with cow horn mounts, one decorated with auspicious characters, 125-152cm long, a similar folding bow, and a hide quiver containing seven arrows (6)

342

Exhibited: British Museum, Chinese Weapons and Armour, 15th December 1994-15th January 1995 (two bows from the above lot) £400-600* 342 A set of three Chinese ceremonial temple staffs, 19th century, each with simulated bamboo rosewood shaft and brass spearheads, one inscribed ‘to the disciples of Mu Yan respectfully donated by Lo Ding Fan’, 193cm long (3) Exhibited: British Museum, Chinese Weapons and Armour, 15th December 1994-15th January 1995 £800-1,200* 343 A Chinese ceremonial polearm, 19th century, the steel spearhead mounted with a brass dragon-fish, 227cm long Exhibited: British Museum, Chinese Weapons and Armour, 15th December 1994-15th January 1995 £200-400* 344 A Chinese horn powder flask, 19th century, 32cm long

£100-150*

345 A Chinese match-lock rifle, circa 1800, inscription to wooden stock, with brass banding and steel ramrod, 142cm long £300-500* 346 A Taiwanese indigenous match-lock ‘bird gun’, the stock painted with floral panels, 176cm long £200-400*

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347 347 Four Chinese woven soldier’s hats, 19th century, of conical form, 29cm diam.

Exhibited: British Museum, Chinese Weapons and Armour, 15th December 1994-15th January 1995 £200-300* 348 A Chinese ‘tiger-face’ woven shield, early 19th century, the reverse with two loop handles, 83cm diam.

Exhibited: British Museum, Chinese Weapons and Armour, 15th December 1994-15th January 1995 £400-600* 349 A Chinese horn-handled dao, 19th century, the steel blade inlaid with the ‘seven stars’ joined together by inlaid twisted wire, 66cm long Exhibited: British Museum, Chinese Weapons and Armour, 15th December 1994-15th January 1995 £200-300* 350 Two Chinese double-handed swords, 19th century and WWII period, 134cm and 82cm long (2) £150-250* 348

349

350 94

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351

352

353

351 A Chinese dao, 19th century, the shagreen sheath with gilt metal pierced mounts decorated with dragons, 66cm long £200-300* 352 A Chinese willow leaf sabre (liu yue dao), 19th century, with pierced gilt metal simulated bamboo and gilt metal mounted leather sheath, 84cm long £300-500* 353 Three Chinese spears, 19th century, each with steel blade, one with snake spear head (3) £200-300*

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357

359 354 An album of twelve Chinese gouache portrait paintings on rice paper, late 19th century, each depicting a dignitary or attendant, 25cm x 17cm £800-1,200* 355 Early 20th century Chinese School, gouache on paper, pair of ancestor portraits, 160cm x 90cm £300-500* 356 ANONYMOUS, 19th century Chinese School, ink and colour on silk, one a study of chrysanthemum sprays, the other depicting a redcrested crane in flight, 24.5cm x 21cm and 24.5cm diameter, both silk mounted in glazed frames £300-500* 357 An album of fourteen Chinese gouache paintings on rice paper, late 19th/early 20th century, depicting exotic birds amongst foliage, each 18.5cm x 25cm £400-600* 358 19th century Chinese School, ink and colour on silk, study of plum blossom, colophon to upper left, red seal to lower right, framed, 88cm x 43cm £200-300* 359 Early 20th century Chinese School, ink and colour on silk, study of figures taking tea in a garden landscape, 59cm x 35cm, glazed frame £300-500*

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362

360 20th century Chinese school, ink and colour on paper, study of a scholar teaching boys, with landscape in the background, 124cm x 66cm £300-500* 361 Early 20th century Chinese school, ink and colour on paper, fruit and floral study, signed, 40cm x 32cm, glazed frame £200-300* 362 19th century Chinese school, watercolour on paper, set of four, figures in ornamental gardens and landscapes, all mounted in matching glazed frames, each 29.5cm x 49cm (4) £400-600* 363 MANNER OF GIUSEPPE CASTIGLIONE, 19th century ink and colour on silk, study of a court dog, with collector’s stamp, 70cm x 52cm £800-1,200*

363

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365 19th century Chinese School, pair of ink and colour on silk paintings, one depicting the Monkey King, the other depicting an official with attendants in a wooded landscape, 21 x 17.5cm £80-120* 366 19th century Chinese school, set of three ink and colour on silk, scholars with a crane, scholar’s drinking tea, and scholars contemplating a garden, each inscribed and signed, 77cm x 38cm, 62cm x 42cm, and 77cm x 39cm £500-1,000* 367 19th century Chinese school, ink and colour on silk, crane and peonies, signed and inscribed, with colophon above, 60cm x 29cm £200-400* 364 364 STYLE OF FENG ZIKAI (1898-1975), ink and colour on paper, concertina album containing ten leaves, various genre scenes depicting family life, each bearing signature, colophon, and red seals, 32cm x 32cm

368 WANG LI (1813-1879), ink, colour, and gold fleck on paper, study of a bird perched on a drooping branch, signed and inscribed, 84cm x 24cm, glazed huanghuali frame £300-500*

£1,000-1,500*

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369 REN YI (REN BONIAN, Chinese, 1840-1895), ink and colour on paper, hanging scroll, study of cranes and pine, two artist’s ‘Bonian Changshou’, ‘Yi Yi Cao Tang’, and a collector’s seal ‘Tian Jian’, with presentation inscription, 163cm x 93cm

370 20th century Chinese School, ink and colour on paper, hanging scroll, mountainous landscape, 91cm x 33cm

Note: The combination of cranes and pine trees could refer to a Chinese term , which symbolises longevity. The painting is likely to be a birthday gift. The inscriptions were written by He Tianjian (1891-1977) who presented good wishes to Mr. Pei Liang, (possibly referring to Xiang Peiliang (1905-1959), the famous playwright in the first half of the 20th century).

371 20th century Chinese School, ink on gold fleck red paper, hanging scroll, calligraphy, 128cm x 63cm

It seems that He Tianjian gifted this painting to Xiang Peiliang for his birthday. This is also reflected on the ink title at the opening part of the scroll.

£500-1,000*

£1,000-1,500*

£300-500*

£400-600* 372 AFTER QI BAISHI, ink and colour on paper, hanging scroll, insects amid a basket of fruit, 120cm x 33cm

373 WU GUAN DAI (Chinese 1862-1929), ink and colour on paper, set of four hanging scrolls, mountains and figures depicting the four seasons, each 54cm x 24.5cm £500-1,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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374 QIAN HUI AN (Chinese, 18331911), ink and colour on paper, hanging scroll, figures with ox, 100cm x 50cm £300-500* 375 STYLE OF WU YOURU, ink and colour on paper, handscroll, farmers leading a herd of buffalo through a wooded river landscape, 31cm x 281cm £500-800* 376 ZHU ANGZHI (Chinese, 17641841), ink and colour on paper, hanging scroll, study of bamboo, dated to the autumn of 1837, 88cm x 30cm £1,000-1,500* 377 WU GUXIANG (1848-1903), ink and colour on silk, two hanging scrolls, mountain landscapes, 131cm x 31cm £500-1,000* 374

376

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378 19th century Chinese school, ink and colour on paper, handscroll, scholar seated in a hut within a landscape, inscribed with poem, and with colophon to margin by Lan Mengjiu in 1945, 35cm x 102cm Note: Lan Mengjiu was an agricultural scientist who had studied in Europe, and in 1944 had studied at Cambridge University. £800-1,200* 379 AFTER ZHANG DAQIAN, ink and colour on paper, mountain landscape, 90cm x 35cm £150-250* 380 WU QINMU (Chinese, 1894-1953), ink and colour on paper, hanging scroll, scholars in a bamboo forest, 121cm x 32cm £300-500* 381 WU QINMU (Chinese, 1894-1953), ink and colour on paper, hanging scroll, scholar in a hut within a pine forest and mountain landscape, 117cm x 56cm £300-500*

381

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The following nine lots (382-391) form part of a collection assembled by a couple who lived in China as missionaries in the 1890s, and subsequently worked for the British Embassy in Peking. They travelled widely through Asia, visiting China, Tibet, and Japan amongst other countries.

382 ANONYMOUS, 16th/17th century Chinese School, ink and watercolour on silk, study of prunus blossom, inscribed and with one seal, 127cm x 63cm £400-600* 383 ANONYMOUS, 17th century Chinese School, ink and colour on silk, hanging scroll, study of bamboo, inscribed with various colophons, 124cm x 38cm £300-500* 384 ANONYMOUS, 15th-17th century Chinese School, three scrolls, ink and colour on silk, studies of hawks and foliage, 116cm x 68cm, 48cm x 37cm, and 145cm x 88cm (3) £200-400* 385 ANONYMOUS, 17th century Chinese School, ink and colour on silk, hanging scroll, study of seven ladies in a garden landscape, 106cm x 52cm £300-500*

382

383

386 MANNER OF ZHAO MENGFU, ink and colour on paper, large hanging scroll, birds amongst foliage, bearing signature of Zhao Mengfu with colophon, with inscription to mount purporting to be by Song Luo (a scholar and collector in the Kangxi period) and dated 2nd February 1684, collectors’ seals for Bao Family, Weng Fanggang, Lee, with a further inscription to mount stating that this was remounted ‘on Yin day of a good month in the fifth year of Qianlong, recorded by Yun’, 236cm x 113cm £1,000-1,500* 387 LUZHI (1496-1576), ink and colour on silk, hanging scroll, birds amid flowers and rockwork, dated to ‘the spring of Yichou year of Jiajing’s reign’, corresponding to 1565, 139cm x 66cm £800-1,200* 388 MANNER OF GUO XI (1020-1090), ink and colour on silk, hanging scroll, expansive mountain landscape, 148cm x 74cm, with cloisonné scroll ends £1,000-2,000*

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389 FANG SHISHEN (Active late 17th/early 18th century), ink and colour on silk, hanging scroll, birds and prunus, artist’s seal, and dated 11th month of the year corresponding to 1697, 137cm x 69cm £1,000-2,000* 390 YUAN YAO (c.1720-1780), ink and colour on silk, hanging scroll, ‘Spring Dawn in the Han Palace’, dated 1740, 77cm x 105cm £3,000-5,000*

390 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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391 AFTER TANG YIN (1470-1523), 16th century ink and colour on silk, large handscroll depicting Daoist immortals attending the birthday of Xi Wangmu, 454 x 30cm Note: Although the painting is signed Tang Yin, the style of the painting is dated to the late 16th century, slightly later than this well-known literati artist. Instead, the auspicious theme, stylised figural depiction and the use of ink suggest the origin of the painting as ‘Suzhou Pian’, a type of commercial painting after the titles famous art masters produced in the late Ming (c. 16th century) for the flourishing art market at the time.

In the 16th century, the growing economy leads to the growing wealth of Ming people, especially those living the South of Yangtsu River, which further stimulates the consumption of the arts and causes the flourishing art market. To meet the demand, many paintings were produced after infamous artists including Tang Yin who is known for his literati and figural paintings. Although these paintings are not authentic, some of them are far beyond a bad replica but of a very high quality. The present painting is a good example of the top-quality ‘Suzhou Pian’ painting.

Depiction of immortals gathering is a very common theme for these ‘Suzhou Pian’ paintings because it normally infers good blessing of longevity and auspiciousness. In this scroll, immortals of various type, who come from the sea, sky or land, gathered together for celebrating the birthday of the Queen Mother of the West who is guided by the phoenix riding goddess and flanked by a group of her attendants. Although spuriously given to the tile of Tang Yin, the delicate lines and detailed depiction suggest the great skill and attention to detail of the artist or workshop.

A comparable example can be found in the National Palace Museum i.e. Gathering of Immortals Offering Blessings attr. Qiu Ying and Lofty Gathering at Gem Pond attr Zhao Boju.

Further examples and discussions of ‘Suzhou Pian’ paintings can be found in the catalogue of the National Palace Museum exhibition “Suzhou Fakes” and Their Influence In The 16th to 18th Century’. £5,000-8,000*

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* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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392 20th century Chinese school, oil on board, abstract study of a seated female, unsigned, 41cm x 44cm, framed £200-300* 393 KE HEGEN (b.1953), gouache, coloured chalk, and mixed media on paper, study of two Tibetan women in Sichuan province, signed lower left, 77cm x 107cm Provenance: Purchased in 1993 from JR Guettinger gallery, Hong Kong £300-400*

393

394 YAO JUI-CHUNG, (Chinese b.1969), ink and gold leaf on handmade paper, Dreamy Yao & Maggie on You Tube, 2008, 100 x 70cm Provenance: Goedhuis Contemporary, New York Acquired from the above by the present owner Exhibited:New York, Goedhuis Contemporary, Beyond China, The New Ink Painting form Taiwan, October-November 2010 £3,000-4,000*

394

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395 ZHANG ZHIDONG (b.1967), ink and watercolour on paper, ‘Relaxing’, signed and inscribed, 64cm x 64cm £800-1,200* 396 ZHANG ZHIDONG (b.1967), ink and watercolour on paper, ‘Vigor’ signed and inscribed, 67cm x 67cm £800-1,200* 397 JD CHOU (CHINESE, B.1941), ink and colour on paper, study of a buffalo, signed and dated, 58cm x 68cm £800-1,200* 398 JD CHOU (CHINESE, B.1941), ink and colour on paper, Ying Yang cat study, signed and dated, 44cm x 44cm £500-800*

395

399 Seven Chinese art reference books, to include, Hobson, The Later Ceramic Wares of China, and Leigh Ashton and Basil Gray, Chinese Art £800-1,200* 400 The Edward T. Chow Collection, three-volume set of Sotheby’s auction catalogues from 1980/81, to include ‘Part One: Ming and Qing Porcelain’, ‘Part Two: Early Chinese Ceramics and Ancient Bronzes’, and ‘Part Three: Ming and Qing Porcelain and Works of Art’ (3) £400-600* 401 A Chinese silk embroidered sleeve panel, 19th century, decorated with two women in a garden landscape, 63cm x 8cm, glazed frame

396

£80-120*

398 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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402

403 402 A Chinese silk embroidered ruyi collar, 19th century, each of the four panels worked with a figure amongst auspicious plants and animals against a red ground, 38cm wide, glazed gilt frame £200-300* 403 A Chinese silk embroidered panel, late 19th century, centered with a phoenix panel surrounded by chrysanthemum spandrels, 63cm x 71cm, glazed frame £200-300* 404 A Chinese silk embroidered shou character, 20th century, decorated inside the character with cranes, bats, and phoenixes, 68cm x 46cm, glazed frame £200-300* 405 A Chinese silk embroidered ‘immortals’ wall hanging, early 20th century, decorated with the Eight Daoist Immortals interspersed with floral sprays on a red ground, 52cm x 460cm £500-800* 406 A pair of Chinese silk embroidered pictures, late 19th century, one depicting a boy atop a buffalo, the other depicting a scholar and attendant, 35cm x 43cm £400-600*

407

407 A Chinese silk embroidered ‘Immortals’ picture, early 20th century, decorated with The Eight Immortals inside a shou character, inscribed, 125cm x 66cm £600-800*

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408 A Chinese silk embroidered landscape panel, early 20th century, decorated with a rider on horseback and five figures amid bats, butterflies and floral sprays £150-250* 409 A Chinese silk embroidered rectangular panel, early 20th century, decorated with precious objects, 45cm x 36cm, in glazed frame £400-600* 410 A Chinese silk embroidered wall hanging, 19th century, decorated with Shoulao beside a deer, on a ground of auspicious characters, 164cm x 75cm £500-800* 411 A Chinese kesi silk ‘dragon’ panel, 17th/18th century, depicting in polychrome thread a dragon amid waves and clouds, 29cm x 26cm Provenance: Christie’s, 10th November 2006 lot 80

411

£300-500*

412 414 412 A Chinese silk blue ground robe, early 20th century, embroidered with butterflies amid floral sprays £700-900*

413 A Chinese silk blue ground robe, late Qing dynasty, embroidered throughout with butterflies amid floral sprays £500-800*

414 Four Chinese silk skirts, early 20th century, one embroidered with a deer amid floral sprays, another embrodered with panels of figures, also a Chinese silk embroidered throw (5) £500-1,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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415 415 A Chinese silk brocade coat, early 20th century, the trim embroidered with birds and floral sprays

416 A Chinese yellow silk brocade jacket, late Qing dynasty, with floral embroidered sleeves, and decorated to the trim with auspicious fruit

ÂŁ300-500*

ÂŁ400-600*

416

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419

417 A Tibetan thangka depicting Green Tara, early 20th century, distemper on cloth, 71cm x 55cm £300-500* 418 A Tibetan thangka of a Kagyu Lama, late 19th century, distemper on cloth, the central seated figure surrounded by various incarnations, 62cm x 48cm £300-500* 419 A Tibetan thangka representing Vajrasattva with consort, 19th century, distemper on cloth, the central deity surrounded by a host of further deities including Tara and Mahakala, 61cm x 50cm, unframed £300-500* 420 A Tibetan thangka depicting Shakyamuni Buddha, 18th/19th century, distemper on cloth, the central deity surrounded by various incarnations of Buddha, 57cm x 35cm, silk mount, framed £200-400*

420 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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421

423

421 A Tibetan thangka representing Sitatara, 20th century, distermper on cloth, silk mount, 97cm x 61cm, glazed frame £200-300* 422 A Tibetan thangka mandala, 20th century, distemper on cloth, centered with Shakyamuni and four roundels depicting various incarnations, further surrounded by a numerous incarnations of Shakyamuni, silk mount, 80cm x 60cm, glazed frame £200-300* 423 A Tibetan thangka of Tsongkhapa and the Gelugpa Refuge Tree, late 19th century, distemper on cloth, 53cm x 37cm, with silk mount £200-400* 424 A Tibetan Thangka depicting Shakyamuni Buddha, 18th century, distemper on cloth, with two incarnations of Mahakala below, 54cm x 39cm, silk mount, glazed frame £300-500* 424

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428

426

425 A Sino-Tibetan copper alloy figure of Avalokitesvara, early 20th century, seated in dhyanasana on a lotus throne, 8cm high £200-300* 426 A Tibetan bronze figure of Yamantaka and consort, early 20th century, wearing a crown, with buffalo head, standing on demons, on lotus base, 14cm high Provenance: The Siegfried & Diane Hearst Collection, Sydney £400-600* 427 A Tibetan bronze figure of Manjushri, early 20th century, the left hand holding a flowering lotus stem and the right hand in dharmachakramudra, standing on lotus base, 15.5cm high Provenance: The Siegfried & Diane Hearst Collection, Sydney £200-400* 428 A Nepalese copper alloy votive figure, 12th century, standing with arms by his side, 6.5cm high £400-600*

429 A Tibetan copper alloy figure of Kalajambhala, 12th century, modelled standing on a prone figure, above a double-lotus base, with silver-inlaid eyes, 9cm high Provenance: Prof. Don Handelman, 2008 Presencer Collection £1,200-1,800* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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430 A Tibetan bronze figure of a lama, 15th century, with right hand in bhumisparshamudra, his left hand resting in his lap, wearing voluminous robes engraved with foliate scrolls, seated on a double-lotus base, 13cm high ÂŁ2,000-3,000*

430

431 A Tibetan gilt bronze figure of a lama, 17th century, with hands clasped in his lap, wearing a robe engraved with foliate scrolls, seated on a double-lotus base, 17cm high ÂŁ2,500-3,500*

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432 A Nepalese brass figure of Padmasambhava with his consorts, 18th-19th century, seated in vajrasana on a lotus throne, holding a vajra and a kapala with the trishula stick leaning on his shoulder, with consorts Mandarava from India and the Tibetan Prinzess Yeshe Tsogyal seated either side, the base sealed with wood, 16cm high Provenance: Collection Peter Pichler, Munich, acquired between 1970-72 in Tibet/Nepal ÂŁ1,200-1,800*

432

433 A Nepalese brass figure of Padmasambhava, 18th-19th century, holding in his right hand a vajra, in his left a kapala, with a trishula stick leaning on his shoulder, in front of a mandorla of flame-shaped clouds, 14cm high Provenance: Collection Peter Pichler, Munich, acquired between 1970-72 in Tibet/Nepal ÂŁ1,500-2,000*

433 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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436

437 434 A Cambodian bronze figure of Shakyamuni Buddha, 17th/18th century, seated in dhyanasana, 16cm high £200-400* 435 A South East Asian copper alloy figure of Avalokitesvara, 19th century, standing, with eight arms each bearing a Buddhist treasure, 9.5cm high £200-300* 436 A South East Asian wood and gilt metal figure of Chenrezig, 17th/18th century, the carved wood deity stands on a lotus base of gilt metal sheet, in front of a gilt metal flame mandala, 10cm high £200-300* 437 An Indian bone figure of Buddha, 11th-12th century, seated in padmasana with the hands in anjali mudra, with scenes on the base depicting Hanuman, Ganesha and other Hinduistic deities, 9.2cm high Provenance: Private collection Germany £2,000-3,000* 438 A Burmese ivory figure of a Buddhist monk, late 19th century, standing, holding a begging bowl, on circular base, 16.5cm high £200-400*

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439 A Tibetan parcel gilt repousse circular box, 19th century, the cover with central lotus petal knop set with turquoise, surrounded by a panel of four deer, the sides decorated with dragons amid foliate scrolls, 20cm diameter Provenance: Major G. Fielding D.S.O. according to printed tag accompanying the box £800-1,200* 440 A Tibetan bronze phurba, 19th century, with three-headed deity handle above crossed karttrka, the steel blade issuing from a dragon’s mouth, 28cm long £800-1,200*

440

441 A Vietnamese bronze ladle, Dong Son culture, 1000-800 BCE, the curved handle modelled as an ancient canoe prow, with flattened spiral decoration, with pierced mid-section, widening to gourd shaped bowl, 26cm long, later perspex and bronze stand Provenance: Private UK collection 441

£300-500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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442 A Vietnamese bronze ewer, Dong Son culture, 6th-4th century BCE, the domed rim engraved with bands of stylised floral motifs above baluster body engraved with floral lappets, the spout modelled as a mythical beast, 17cm high Provenance: Private UK collection ÂŁ500-1,000*

442

443 A Nepalese stone Buddhist stele, Northern Wei dynasty, the alcove enclosing a figure of Buddha seated on a lotus throne beside to principal attendants, beneath a further figure of Buddha, inscribed to sides and reverse, 30cm x 16cm Provenance: Private London collection, acquired in Kensington Church Street prior to 1975 ÂŁ2,000-3,000*

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445

444 A Thai Dvaravati terracotta head of Buddha, 9th century, 14.5cm high £300-400*

445 A large Thai parcel gilt bronze head of Buddha, 16th century, with serene expression and elongated ear lobes, 21cm high

446 A Tibetan painted wood manuscript cover, 16th/17th century, decorated with three incarnations of Tara, 23cm long £150-250*

Provenance: Purchased from Ormonde Oriental Antiques, 1987. Original receipt accompanies this item £800-1,200*

446

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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447 449 Three Chinese porcelain jarlets for the Thai market, late 19th century, painted in enamels with vertical panels of floral motifs, 5.5cm-7.5cm high

447 Eight Chinese porcelain Bencharong ware stem bowls for the Thai market, late 19th century, each painted in vibrant enamels with geometric floral motifs, 11cm-13cm diameter

£250-350*

£250-350*

450 A Thai gold ceremonial repousse bowl, late 19th century, decorated to the sides with stylised Buddhist lion masks, 8cm diameter

448 A Chinese porcelain Bancherong cup and cover for the Thai market, 19th century, painted in enamels on a gilt ground, 17cm high, and two similar cups (3)

£800-1,200*

£80-120*

450

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451 451 A Thai gold and enamel decorated hinged bangle, late 19th century, formed as a snake with various semi-precious gems and paste stones set to base, 7.5cm diameter

453 A set of four Thai gold and mother of pearl dress buttons, 19th century, each decorated with a pig

£1,200-1,500*

454 A large Thai gold ceremonial pendant plaque, 18th/19th century, centered with a pasteset target roundel surrounded by repousse decorated floral motifs, 9cm x 11.5cm

452 A Thai gold Buddhist paste set pendant, 19th century, repousse decorated with foliate motifs, 5.5cm x 3.5cm

£250-350*

£700-900*

£350-500*

454 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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456

457

459

458

460 455 A Thai gold pendant, 17th/18th century, modelled as a fish with ruby paste set eyes, 2.5cm x 1.5cm

460 A Thai gold and filigree decorated floral ring, 19th century, set with green coloured paste stones

£300-500*

£200-300*

456 A Thai gold ring, 19th century, set with ruby coloured cabochons in filigree decorated mount

461 A Thai gold and enamel decorated hair pin, late 19th/early 20th century, the stepped knop decorated with green and red enamel, 10cm long

£250-350* 457 A Thai gold target ring, late 19th century, set with paste stones in filigree mount £250-350* 458 A Thai gold hair pin, 19th century, the spiked knop set with ruby coloured paste stones and with floral filigree decoration, 16cm long £350-450* 459 A Thai gold target ring, late 19th century, with ruby coloured paste stones in floral mount

£250-350* 462 A large Thai gold pendant, 19th century, modelled as a fish, with paste set eyes, 7cm x 5cm £450-600* 463 A pair of Thai gold target earrings, 19th century, with bead and rope twist decoration each suspending five chain pendants £200-300*

£250-350*

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464

465

464 A Thai gold and filigree decorated ring, 19th century, set with emerald coloured glass 250-350*

465 A Thai gold filigree decorated ring, 19th century, set with ruby coloured paste gems £200-300*

466 Three Thai silver fruit boxes, late 19th century, one with niello decoration, 4.5cm-6cm diameter, and a Thai silver and niello stem bowl, 5cm high (4) £250-350* 467 A Sawankhalok celadon glazed bowl, 16th century, with shaped rim and carved decoration to interior, the exterior with vertical fluting, 30cm diameter £300-500* 468 MIN WAE AUNG, (MYANMAR b.1960-), acrylic on canvas, “Monks on Morning Round IV”, 93cm x 62.5cm, wood frame £600-800*

468

466 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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469 KIM JUN-GEUN (KISAN, KOREAN, late 19th-early 20th century), ink and colour on silk, a set of fourteen genre paintings, each signed and inscribed to upper right, 26cm x 34.5cm, glazed frames Notes: Kisan focused on genre scenes depicting everyday life in Korea including its many rites, crafts, and customs. These were already disappearing by the time Kisan was painting in the late 19th and early 20th century. His works were primarily acquired in port areas such as Pusan and Wonsan as souvenirs by Western travellers, who came in great numbers after Korea was forcibly opened up by Japan in 1876.

Today his genre scenes are valuable repositories of knowledge for ethnologists and cultural historians, with examples in The British Museum, the Rijksmuseum, The State Museum of Oriental Art in Moscow, and the Smithsonian Institution in the US. ÂŁ15,000-20,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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470 470 A Japanese studio pottery model of a rhinoceros, early 20th century, standing four square, glazed in light brown with mottled bluebrown glazed band to body, indistinct seal mark to base, 32cm long

473 Thirteen pieces of Japanese Satsuma, early 20th century, to include miniature vases, two miniature kettles, a bowl, and a brooch (13)

£200-300*

474 A near pair of large Japanese porcelain imari chargers, late 19th century, each painted with alternating panels of exotic birds and landscapes, 47cm diameter

471 Two Japanese satsuma censers, Meiji period, one of square form, finely painted with panel depicting an immortal atop a minogame and a dragon, with Buddhist lion finial, inscribed to base, 14cm high, the other of globular form painted with samurai warriors, 7.5cm high £500-800* 472 Two Japanese Satsuma koro, early 20th century, one of rounded square form, painted with panels of birds amid floral sprays, 15cm high, one of globular form painted with Daoist immortals, 12.5cm high (2) £150-250*

471 126

£200-400*

£150-250* 475 A Japanese raku pottery lion censer, Edo period, standing four square, with head raised, 10cm long £200-300* 476 A Japanese celadon censer, early 20th century, modelled as a Buddhist lion, with head tilted upwards, 16cm high £300-400*

475 www.roseberys.co.uk

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477 477 A Japanese porcelain teapot, Edo period, painted in underglaze blue with two dragons amid clouds, the cover with lion finial, 17cm high ÂŁ600-800*

478 A large Japanese imari porcelain circular tureen and cover, 19th century, painted with panels of peony and chrysanthemum divided by wavy borders in underglaze blue and gilt, 36cm diameter Provenance: Property of a noble Genoese family at Castello Montalto Pavese, Italy ÂŁ1,200-1,800*

478

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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479 A Japanese porcelain coffee urn, 18th century, painted in gilt and iron red with birds amid flowering foliage, 30cm high ÂŁ400-600* 480 A Japanese kutani porcelain elephant incense burner, 20th century, standing four square, with enamel painted howdah supporting three detachable pagoda sections, 40cm high, and a Japanese porcelain ewer converted to a lamp, 30cm high ÂŁ300-500* 481 A pair of Japanese Arita porcelain octagonal vases, 17th century, painted in the imari palette with chrysanthemum and peonies issuing from rockwork, and with Buddhist lions to shoulders, 32cm high ÂŁ800-1,200*

479

481

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483

482

482 A Japanese wrestler okimono, late 19th century, carved as two sumo wrestlers engaged in a fight, signed to red lacquer tab inset to base, 10cm high £400-600* 483 Two Japanese ivory netsuke, 19th century, one carved as a Buddhist lion with pup, 5.5cm long, the other as two children playing with a noh mask, 3.5cm high £300-500* 484 A Japanese ivory netsuke, 19th century, carved as Hotei and two boys playing a board game, 4.5cm wide £100-150*

485

485 A Japanese ivory netsuke, 18th century, finely carved as a recumbent Buddhist lion with a ball in its mouth, 3.5cm long £400-600* 486 A Japanese wood and ivory fishing boat okimono, Meiji period, carved with two fishermen, one standing and one seated on a fishing boat, 35cm long, later carved wood stand £400-600* 487 Four Japanese lacquer boxes, 20th century, comprising one large red lacquer box with gilt floral decoration, 37cm x 26cm, and three black lacquer boxes, one painted with pine trees and cranes in flight (4) £80-120*

486 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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489

492

491

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495

488 Japanese School, ink and colour on silk, study of a prowling tiger, 212cm x 42cm £200-300* 489 Early 20th century Japanese school, ink on paper, a folio of approximately thirty studies, various subjects including figures, samurai, birds, and landscapes, 22cm x 28cm-80cm x 50cm £200-300* 490 A Japanese painted five-fold screen, early 20th century, painted with figures taking part in a ceremony, signed, 138cm x 270cm £300-500* 491 19TH CENTURY JAPANESE SCHOOL, watercolour on paper, figures in an ornamental garden landscape, unsigned, 21cm x 63cm £100-150*

493 A Japanese katana, late 20th century, the tsuba decorated with a samurai warrior, with fauxshagreen grip, 100cm long, and a 20th century double-handed sword, 180cm long (2) £80-120* 494 A Japanese plique-a-jour vase, 20th century, decorated with polychrome flowers on a pale green ground, 13cm high £300-500* 495 Three Japanese iron tsubas, 17th/18th century, one signed Nobuie and decorated with crashing waves, 8cm wide (3) £300-600* 496 Nine Eskenazi Ltd. Asian art exhibition catalogues, 2015-2018 £80-120*

492 A Japanese woodblock print, 17th century, study of the head of a man and a woman, 59cm x 9.5cm £400-600*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

131

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497 A massive Japanese parcel-gilt bronze temple koro, Edo period, the censer with pierced cover surmounted with a gilt Buddhist lion, with cast gilt cloud decorated handles, one three supports modelled as oni, the body with a large mon to the from depicting a Mandarin orange blossom, raised on a doublelotus base with inscription and signature, 110cm high Note: The Mandaring orange blossom symbol to the body is the symbol of the Nichiren School of Buddhism, adopted in the 16th century and inspired by the family crest of the Li samurai clan who became important devotees.

The inscription to the lotus base reads ‘Akasaka, Great Ceremonial Drum’ and the reverse bares the names of the many donors who participated in the production of the piece.

The signature to the reverse of the base reads, ‘Edo Daimon tsukaku Iseya Chobei saku’ (Iseya Chobei, working at the corner of the Daimon Road, Edo (Tokyo)).

Iseya Chobei was thought to have been active in the 18th and 19th centuries. His name appears of a copper gate at the entrance of Kotohiragu Shrine in the Minato Ward, Tokyo, which used to be the southern entrance to Edo Castle. A large and important statue of Amida Buddha at the Musée Cernuschi in Paris also bears his signature. The massive 18th century bronze figure was originally on display at the small temple of Banryuji in the Meguro District of Tokyo. Théodore Duret reports in ‘Travels to Asia’ how Cernuschi bought the statue from the Zojoji monastry against the will of local residents. The figure was carved into pieces and sent back to Paris, where it was exhibited at the Palace of Industry before being moved to Cernuschi’s house. £4,000-6,000*

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497

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

133

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Fine Art Valuers & Auctioneers Professional Services and Private Client Department Roseberys London has been working with solicitors, insurance companies and private clients for almost 30 years, priding ourselves on our discreet and confidential nature to provide a range of Professional Formal Valuation services.

Probate Independent valuations of personal chattels under Section 160 of the Inheritance Tax Act 1984 for executors and solicitors who are acting on behalf of a deceased estate in compliance with the requirements of HM Revenue and Customs.

Family Division Professional comprehensive valuations of antiques, artwork, jewellery and other items to enable the equitable division of possessions amongst family members if the need arises to assist in the drawing up of a Will or pursuant to a Court Order for example.

Divorce and Financial Remedy Undertaking inventories and the valuation of personal possessions for Divorce and Financial Remedy proceedings instructed by individual solicitors or as a joint instruction by the Central Family Court and acting as the expert under FPR Part 25.

Insurance A detailed and illustrated open market valuation of your artworks, antiques and jewellery ensuring that you are neither under insured nor over insured to avoid any unrealistic premium payments and subsequent disputes should a claim arise.

For further information please contact Maria Zuccon mariazuccon@roseberys.co.uk +44 (0) 20 8761 2522 www.roseberys.co.uk

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SPECIALIST TEAM Ian A. Cadzow Chairman & Joint Managing Director Rugs, Furniture & Works of Art iancadzow@roseberys.co.uk Vicki Wonfor Joint Managing Director Head of Corporate Collections vickiwonfor@roseberys.co.uk Peter Greenway Director Head of Professional Services petergreenway@roseberys.co.uk Marcus Grey Director Head of Paintings & Prints marcusgrey@roseberys.co.uk Helena Anderson Associate Specialist Modern & Contemporary British Art helenaanderson@roseberys.co.uk Luke Axford Junior Cataloguer Paintings, Prints & Frames lukeaxford@roseberys.co.uk Alice Bailey Head of Department Islamic & Indian Arts alicebailey@roseberys.co.uk Sam Howard Administrator Asian, Islamic & Indian Arts samhoward@roseberys.co.uk Fiona Baker Head of Department 20th Century & Decorative Arts helenaanderson@roseberys.co.uk Mark Bowis Head of Department Jewellery & Watches markbowis@roseberys.co.uk Nigel Dawson-Ellis Junior Cataloguer Furniture & 20th Century Design nigeldawsonellis@roseberys.co.uk

Roseberys London Main London Saleroom 70/76 Knights Hill London, SE27 0JD Complimentary valuations Monday to Friday: 9.30am to 5.00pm +44 (0) 20 8761 2522 clientservices@roseberys.co.uk Central London Office Valuations by appointment.

Please call us on +44 (0) 20 8761 2522 or email our Professional Services department at valuations@roseberys.co.uk to book your complimentary valuation.

Lot 252

Anna Evans Consultant Specialist Works of Art annaevans@roseberys.co.uk Bill Forrest Head of Department Asian Arts billforrest@roseberys.co.uk Richard Gibbon Specialist Jewellery, Silver, Fashion, Textiles & Luxury Accessories richardgibbon@roseberys.co.uk Mark Longley Specialist Ceramics & Glass, Works of Art & Collectables marklongley@roseberys.co.uk Tess Oâ&#x20AC;&#x2122;Brien Fine Art & Pictures Consultant tessobrien@roseberys.co.uk Kate Pritchard Cataloguer & Valuer Paintings & Prints, Modern & Contemporary Art katepritchard@roseberys.co.uk Alex Tonkinson Consultant Specialist Modern Design alextonkinson@roseberys.co.uk Shane Xu Head of Department Modern & Contemporary Prints & Multiples shanexu@roseberys.co.uk

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TERMS OF CONSIGNMENT FOR SELLERS These terms apply to Rosebery Fine Art Ltd trading as Roseberys and Roseberys London.

1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract.

Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.

2. Commission and Entry Fee. (a) Entry Fee: A charge of £20 is made to each lot sold in addition to vendor’s commission. This charge covers our specialist research, catalogue description, website illustration, marketing on our website and other third party sites as well as live or timed bidding on various internet platforms. (b) Vendors Commission: Is charged on each lot at 15%.

3. Catalogue Illustration Fee. The cost of any illustration is borne by you. Lots may be illustrated in a catalogue and thus a charge of between £20-60 per illustration is applicable, dependent on size. For example a quarter page illustration £20, half page £40, three quarter/full page £60. The copyright in respect of such illustrations shall be the property of the auctioneers, as is the text of the catalogue; any persons to be found to have reproduced such illustrations or text without prior written approval will be deemed as being in breach of copyright law and appropriate legal action may be taken.

4. Loss and Damage of Goods (a) Roseberys is not authorised by the FSA to provide insurance to its clients, and does not so do. However Roseberys, for its own protection, assumes liability for property consigned to it at the lower pre-sale estimate until title passes to the buyer. To justify accepting liability, Roseberys makes a charge of 1.75% of the hammer price plus VAT. The liability assumed by Roseberys shall be limited to the lower pre-sale estimate or to the reserve if the lot was unsold.

Settlement in any claim arising shall be subject to commission as if the lot had sold in the normal manner. (b) If the owner of goods consigned instructs us in writing not to take such action, the goods then remain entirely at the owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4(a) is inapplicable. (c) Roseberys will not be liable for the loss or damage to frames or glass covering prints, paintings or other works. Old frames are often fragile or subject to deterioration and whilst Roseberys will do their

upmost to ensure the safety and care of frames and glass we will not compensate for loss or damage to property caused by changes in humidity or temperature, normal wear and tear, gradual deterioration, inherent defect or errors in processing.

5. Removal Costs. Items for sale must be consigned to the saleroom by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.

6. Minimum Bids and our Discretion. Goods will normally be offered subject to a reserve agreed between us before the sale in accordance with clause 7. We may sell Lots below the reserve provided we account to you for the same sale proceeds that you would have received had the reserve been the hammer price. If you specifically give us a “discretion” we may accept a bid of up to approximately 15% below the low estimate and “wide discretion” allows to use accept a bid of up to approximately 30% below the low estimate.

7. Reserves. (a) Prior to the auction you are entitled to place a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve. If we are unable to offer goods they may be subject to storage charges if uncollected. (b) A reserve once set cannot be changed except with our consent, and confirmed by you in writing. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

8. Electrical Items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

9. Soft Furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request

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TERMS OF CONSIGNMENT FOR SELLERS 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery or where we are or ought to have been aware of it.

11. Unsold Items. Unsold lots will be automatically reoffered into the next appropriate live or online auction with the low estimate reduced by 40% and if the revised estimate is £200 or below it will be offered without reserve. Alternatively, we may contact you to request that you collect the items. If you do not wish to re-enter the lots please notify Roseberys in writing with collection instructions. Please note storage charges will be incurred if lots are not collected within one week, storage charges will be applied of £2 + VAT per lot per day. If a lot remains uncollected two months after the date of the auction, Roseberys shall have the right to sell the lot at auction without reserve and to deduct from the ‘hammer price’ any sum owing to Roseberys as well as expenses arising from all auctions in which the lot has been included, plus storage and loss and damage warranty charges.

12. Withdrawn Items. (a) If an item is withdrawn prior to the publication of the catalogue a minimum charge of £20 + VAT per lot is applicable. This fee covers administration, handling, storage and loss & damage of the lot whilst in our care. (b) If an item is withdrawn after the online or offline publication of the lots they will incur charges where applicable comprising the sum of the vendor’s commission, the entry fee, the illustration cost, the loss and damage warranty, the buyer’s premium, the marketing fees and other expenses in relation to the item. VAT is applicable on all charges. These commission and premium charges will be calculated upon Roseberys published mid estimate. (c) In the cases of 12 (a) and (b) Roseberys will store the withdrawn item for a period of five days with no charge, after this a storage charge will be applicable at a daily rate of £2 per item per day plus VAT for items that remain uncollected.

13. Conditions of Sale. You agree that all goods will be sold according to our Conditions of Sale.

In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.

14. Authority to Deduct Commission and Expenses and Retain Premium and Interest. (a) You authorise us to deduct commission from the hammer price at the stated rate plus all applicable expenses incurred on your account and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us at our discretion to negotiate a sale by private treaty not later than five working days from the date of the auction in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Terms apply.

15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient written sale instructions, client contact details or without our prior written agreement to take delivery and reserve the right to either refuse to receive such goods or to make a minimum warehousing charge of £2 per item per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within twenty one days we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

16. Settlement. Settlement of the net sum due to you normally takes place 28 days after the sale (by crossed cheque or bank transfer to the seller) unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

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INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers of Roseberys London particularly those inexperienced or new to our salerooms or online only bidding platform. All sales are conducted according to our printed Conditions of Sale which are readily available for inspection in person, on our website and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed.

Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot.

The lower estimate may represent the reserve price or may be above the reserve price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. Buyer’s Premium. The Conditions of Sale oblige buyers to pay a buyer’s premium of 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000-500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT) The premium price is subject to VAT at the standard rate.

5. VAT. The addition of (*) or (VAT applied on hammer price) to the lot description indicates that VAT is payable by the purchaser at the standard rate, presently 20%, on the hammer price as well as being payable on the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the premium is not recoverable as input tax.

6. Artist’s Resale Rights/Droit de Suite. Lots as indicated in the catalogue and if sold for the equivalent of 1000 euros or more on the day of the auction will be subject to a further percentage of the hammer price as follows: From 0 to 50,000 euros subject to 4% From 50,001 to 200,000 euros subject to 3% From 200,001 to 350,000 euros subject to 1% From 350,001 to 500,000 euros subject to 0.5% Exceeding 500,000 euros subject to 0.25% The Artist’s Resale Right payable will be the aggregate of the amounts payable under the above rate bands, subject to maximum royalty payable of 12,500 euros for any single work each time it is sold. Calculations of the artist’s resale right will be based on the pound sterling/Euro reference exchange rate quoted on the date of sale by the European Central Bank.

7. Agents. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested.

Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. Additionally, in specified circumstances lots mis-described because they are ‘deliberate forgeries’ may be returned and repayment made. There is a three week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

8. Electrical goods. These are sold as ‘antiques’ or ‘decorative’ items only and if bought for use must first be checked for compliance with safety regulations by a qualified electrician.

9. Coloured gems. It is common practice for gemstones to be treated in order to enhance colour and clarity. Unless stated buyers should presume coloured stones may well have been exposed to some sort of treatment.

10. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character because, e.g. they may contain prohibited materials such as ivory.

11. Bidding. Bidders are required to register with us before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification may be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

12. Commission bidding (i)

Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding the buyers’ premium.

They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received.

Please enquire in advance about our arrangements for leaving commission bids by telephone, email or fax. Please ensure bids are left at least one hour prior to the start of the auction.

(ii) Commission bids may also be left via the Roseberys website.

These bids are executed via the RoseberysLive software and there is no surcharge.

13. Live Online bidding (a) An online bidding service is offered via RoseberysLive, thesaleroom.com and invaluable.com. In completing the bidder registration on these sites the buyer is agreeing to Roseberys conditions of sale. (b) In the case where a debit or credit card has been used to register the buyer also agrees to authorise Roseberys, if they so wish, to charge the debit or credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the online bidding platforms. (c) Please note there is no additional surcharge for any lots purchased via RoseberysLive, whether live bidding or commission bidding.

Any lots purchased via thesaleroom.com or invaluable.com will be subject to an additional 5% commission charge + VAT at the rate imposed on the hammer price. (d) Roseberys offers online bidding services as a convenience to its clients, but neither Roseberys nor the seller will be responsible to you for errors during or after the sale or failures to execute bids, either live bids or commission bids placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: (i) any loss of connection to the auction being conducted online; (ii) a breakdown or problems with the online bidding software or the website service provider; and/or (iii) a breakdown or problems with any internet connection, computer, mobile device or system. (e) By accessing RoseberysLive and using the software provided you are agreeing to the Website Terms and Conditions governing use of our website. Please ensure you familiarise yourself with these prior to accessing our website.

14. Methods of Payment. Payment can be made by cash (maximum 10,000 euros), debit and credit cards (maximum £1,000 online or over the phone) or bank transfer. For international bank transfers an administration fee of £25 is payable. Any cheques tendered will need to allow 10 days to be cleared before removal of lots purchased is permitted. Please note that regulation of money laundering means we are limited to receiving the equivalent of 10,000 euros in cash payment.

15. Collection and storage (a) Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. All lots must be collected within five working days following auction. Storage charges of £2 per lot per day + VAT will be strictly enforced thereafter. (b) Roseberys are unable to pack, post or deliver any items purchased through public or online auction, a list of suggested companies is supplied upon issuing of invoices, upon request or on the company website. These are suggestions only and are not the recommendation of Roseberys or affiliated with Roseberys in anyway and as such Roseberys cannot be held responsible for the individual performance of these companies.

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

1.

Definitions

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

2.

Bidding Procedures and Conduct of the Auction

(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. Any bidder who refuses to provide the requested identification may be refused permission to bid. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if they believe there may be error or dispute, and take such action as they reasonably think fit. (c) Subject to condition 2(b) the contract between the buyer and seller is concluded on the striking of the auctioneer’s hammer, whereupon the buyer becomes liable to pay the purchase price. (d) Any post-auction sale of lots offered at auction shall incorporate these conditions as if sold in the auction. (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.

3.

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

4.

The Purchase Price. The buyer shall pay the hammer price together with a premium thereon of 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT). The premium price is subject to VAT at the standard rate.

5.

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.

(Please refer to “Information for Buyers” for a brief explanation of the VAT position).

6.

(1) (a) (b) (2)

Payment Immediately a Lot is sold you will: give to us, if requested, proof of identity, and pay to us the total amount due in cash, debit, credit card or bank transfer or in such other way as is agreed by us.

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.

7.

Title and Collection of Purchases. 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. (a)(i) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 5 working days following the day of the auction. (ii) Roseberys are unable to pack, post or deliver any items purchased through public or online auction.

A list of suggested companies is supplied upon issuing of invoices, upon request, or on the company website. These are suggestions only and are not the recommendation of Roseberys or affiliated with Roseberys in anyway and as such Roseberys cannot be held responsible for the individual performance of these companies. (b) No purchase can be claimed or removed until it has been paid for and payment has cleared. (c) Invoices will not be split or title transferred to another person(s). Invoices must be paid in full before any lots can be removed. (d) Purchased lots must be collected within the allocated time as stated in the Information for Buyers section 13, storage charges are applicable thereafter. Purchased lots are at the Buyer’s risk (and therefore their sole responsibility for insurance) from the earliest of the collection or the 21st calendar day after the auction.

Until risk passes Roseberys will compensate the buyer for any loss or damage to the lot up to a maximum of the purchase price paid.

8.

(1)

(a) (b) (c)

(d) (e)

Remedies for Non-Payment or Failure to Collect Purchases 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: to proceed against you for damages for breach of contract; to rescind the sale of that Lot and/or any other Lots sold by us to you; 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). to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; 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;

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CONDITIONS OF 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.

(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 9.

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

10. Commission, Telephone Bids and Live Online Bidding. 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. (a) Lots will be purchased by the Auctioneer on behalf of the commission bidder for the lowest price allowed by other bids and/or reserves if any, up to and including their maximum bid amount recorded. The Auctioneers cannot accept responsibility for any neglect or default in executing or failing to execute commission bids whether through the auctioneer or through any online bidding software, or where a bidding slip has been completed incorrectly. We urge commission bidders, to ensure that the correct lot number(s) and price(s) are recorded on their bidding forms. (b) Where two or more commission bids at the same level are recorded we reserve the right at our absolute discretion to prefer the first bid so made. (c) Telephone Bids. Any person unable to attend the auction may request to bid on a specific lot by telephone. This facility is only available by prior arrangement with the Auctioneers and not available for online only auctions. The Auctioneers cannot accept responsibility for any neglect or default in executing or failing to execute telephone bids. (d) Live Online bidding. (i) An online bidding service is offered via RoseberysLive, thesaleroom.com and invaluable.com. In completing the bidder registration on these sites, the buyer is agreeing to Roseberys conditions of sale. (ii) In the case where a debit or credit card has been used to register the buyer also agrees to authorise Roseberys, if they so wish, to charge the debit or credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the online bidding platforms. (iii) Please note there is no additional surcharge for any lots purchased via RoseberysLive, whether live bidding or commission bidding. Any lots purchased via thesaleroom.com or invaluable.com will be subject to an additional 5% commission charge + VAT at the rate imposed on the hammer price.

(iv)

(v)

Roseberys offers online bidding services as a convenience to its clients, but neither Roseberys nor the seller will be responsible to you for errors during or after the sale or failures to execute bids, either live bids or commission bids, placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: (aa) any loss of connection to the auction being conducted online; (bb) a breakdown or problems with the online bidding software or the web site service provider; and/or (cc) a breakdown or problems with any internet connection, computer, mobile device or system.

By accessing RoseberysLive and using the software provided you are agreeing to the Website Terms and Conditions governing use of our websites. Please ensure you familiarise yourself with these prior to accessing our websites.

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.

No representation or warranties are made by Roseberys or the seller as to whether any lots is subject to copyright or whether they buyer acquires copyright in any lot.

12.

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

13.

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

14. (a)

Description and Conditions 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 of a lot. Buyers are welcome to make an appointment to view any lots listed on an online only auction. 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 â&#x20AC;&#x153;information to buyersâ&#x20AC;?.

Condition Reports. Reports on the condition of any lot are offered by the Auctioneers as a statement of opinion only, and not of fact. Rosebery Fine Art Ltd are not liable for any errors or omissions contained therein. The buyer must satisfy themselves to the condition of any given lot prior to bidding. Roseberys will not be held responsible for any damage or defect that has not been notified to the buyer. Catalogue illustrations are for guidance only and will not convey full information as to the actual condition of lots.

(b)

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CONDITIONS OF SALE (c)

(d)

Where the term (a/f) is used this refers to a lot being ‘as found’, it is used for guidance only and indicates in our opinion there is significant damage or repair to an item, the omission of this term does not indicate there is not significant damage or repair to an item and Roseberys are not liable for the omission of this term.

Private treaty sales made on these premises under these Conditions are deemed to be sales by auction for the 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. Roseberys may require the buyer to obtain at the buyer’s cost the reports of two independent and recognised experts in the field, mutually acceptable to Roseberys and the buyer. 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) if 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. Online Only Timed Auctions These following terms are applicable only to sales conducted online only and are to be used in addition to the conditions of sale. (a) (i)

Right to Cancel If you are a consumer resident in the European Union you have the right to cancel the contract for the purchase of a lot within 14 calendar days without giving any reason. (ii) The cancellation period will expire after 14 calendar days from the day on which you acquire (or a party nominated by you and is not the shipper) physical possession of the lot. (iii) To exercise the right to cancel, you must inform us of your decision to cancel this contract by a clear written statement (e.g. a letter sent by post, fax or email), or you may use the cancellation form which can be found on our website or by contacting a member of staff. The communication must be received within 14 calendar days from the day on which you acquire the lot. (iv) If you cancel the contract, we will reimburse all payments received from you. As Roseberys are unable to provide a postage or packing service the cost of the initial delivery or collection is not returnable. In addition the cost of returning the item if you choose to cancel the contract is payable by you. (v) We may make a deduction from the reimbursement for loss in value of any goods supplied, if the loss is the result of damaged caused by unnecessary handling whilst in your possession. We will make the reimbursement without undue delay, and not later than (aa) 14 calendar days after the day we receive back from you any goods supplied, or (bb) (if earlier) 14 calendar days after the day you provide evidence that you have returned the goods.

(vi) We will make the reimbursement using the same means of payment as you used for the initial transaction, unless you have expressly agreed otherwise; in any event, you will not incur any fees as a result of the reimbursement.

We may withhold reimbursement until we have received the goods back or you have supplied evidence of having sent back the goods, whichever is earliest. (b) Liability Roseberys nor the seller will be responsible to you for errors during or after the online only timed auction or failures to execute bids placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: any loss of connection to the auction being conducted online; a breakdown or problems with the online bidding software or the website service provider; and/or (iii) a breakdown or problems with any connection, computer, mobile device or system.

General

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

18. Where a member of the public causes damage to a lot (or part thereof) the Auctioneers reserve the right to: (a) sell the aforementioned without reserve and to hold that specific individual liable for the amount of any difference between the hammer price and the reserve or low estimate; (b) hold that specific individual liable for the cost of restoration where appropriate; (c) hold that specific individual liable for the full amount of the reserve price or lower estimate as applicable.

19 (a) any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

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

21. 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.

22. 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.

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

These terms and conditions are based upon recommended conditions of sale by SOFAA (the Society of Fine Art Auctioneers) and RICS (the Royal Institute of Chartered Surveyors)

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70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 +44 (0)20 8761 2524 clientservices@roseberys.co.uk

CATALOGUE SUBSCRIPTION FORM FULL NAME: ADDRESS: TELEPHONE:

EMAIL:

SUBSCRIPTION OPTIONS Auction Title

Number of auctions annually

Cost of annual Subscription including UK postage

Cost of annual Subscription including Europe postage

Cost of annual Subscription including rest of world postage

Design: Decorative Arts 1860 to Present Day

3

£37.50

£45

£52.50

Chinese, Japanese & South East Asian Art

2

£25

£30

£35

Impressionist, Modern, Post-War & Contemporary Art

2

£25

£30

£35

Fine & Decorative

3

£37.50

£45

£52.50

Islamic & Indian Arts/ Art of India

3

£37.50

£45

£52.50

Jewellery & Watches

3

£37.50

£45

£52.50

Modern & Contemporary British Art

2

£25

£30

£35

Modern & Contemporary Prints

2

£25

£30

£35

Print & Multiples

2

£25

£30

£35

Old Master, 18th & 19th Century Pictures

3

£37.50

£45

£52.50

Tick to subscribe

Subscription Offer: Buy 2 or more subscriptions save 20% on prices listed Total cost of subscription: Method of Payment: Payment can be made by credit or debit card over the phone or in person, alternatively by bank transfer or cash in person. Payment is accepted via bank transfer to the following account (International bank transfers are subject to a £25 administration fee.): Natwest Bank plc, Bloomsbury Parr’s branch, Sort Code 60-30-06, Account number 36952613, Swift code NWBKGB2L, IBAN GB80NWBK60300636952613.

I would/would not like to receive online catalogues and notifications of the sales that I am interested in as indicated on this form (delete as appropriate).

Signed:

Date:

ROS-004 Listing Asian (Text 2).qxp_Layout 1 29/04/2019 14:59 Page 143

70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 +44 (0)20 8761 2524 clientservices@roseberys.co.uk

ABSENTEE BID FORM PLEASE COMPLETE THE FORM IN FULL IN CAPITAL LETTERS AND PLACE YOUR BIDS AT LEAST ONE HOUR PRIOR TO THE START OF THE RELEVANT SECTION OF THE AUCTION

FULL NAME: ADDRESS: POSTCODE:

EMAIL:

BIDDER NUMBER: TELEPHONE:

Lot number

GBP £ bid price excluding premium

Lot number

GBP £ bid price excluding premium

All bids are entered subject to Roseberys standard terms and conditions of sale and to any special terms stated by the auctioneers to apply to lot(s) which the prospective purchaser hereby acknowledges and accepts.

Please see catalogue or website for important information for buyers and our full conditions of sale or ask a member of staff for a copy.

I authorise Roseberys to bid on my behalf for the above mentioned lot(s) up to the price(s) stated. I confirm I have read and agree to the buyer’s terms of sale with special attention to the buyer’s premium, additional charges and storage.

Signed:

Date:

AUCTION CALENDAR 2019 May Chinese, Japanese & South East Asian Art Tuesday 21st May June Art & Antiques Saturday 1st June Prints & Multiples in Assocaition with Artsy Online Only Auction Monday 3rd June Tuesday 18th June

Modern & Contemporary British Art Tuesday 11th June Arts of India Wednesday 12th June Design: Decorative Arts 1860 to the present day Tuesday 25th June July Impressionist, Modern, Post War & Contemporary Art Wednesday 3rd July

70/76 Knights Hill, London SE27 0JD +44 (0) 20 8761 2522 clientservices@roseberys.co.uk

www.roseberys.co.uk

70/76 Knights Hill London SE27 0JD +44 (0) 20 8761 2522 auctions@roseberys.co.uk www.roseberys.co.uk