Fine Asian Works of Art

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FINE ASIAN WORKS OF ART

FRIDAY 8 NOVEMBER AT 10AM

Sale Number LT806

CONTACT

LONDON +44 (0) 207 930 9115 info@lyonandturnbull.com

BIDDING AT THIS SALE

ONLINE, TELEPHONE & COMMISSION BIDDING

There will be no in-room bidding for this auction.

Please see the guide on p.196

EXHIBITION & VIEWING

22 Connaught Street London W2 2AF

Sunday 3rd November – 10am-5pm

Monday 4th November – 10am-8pm

Tuesday 5th November – 10am-5pm

Wednesday 6th November – 10am-5pm

Thursday 7th November – 10am-5pm

Day of sale - closed for viewing

BUYER'S GUIDE

BUYER'S PREMIUM

The buyer shall pay the hammer price together with a premium, at the following rate, thereon.

26% up to and including £20,000; 25% from £20,001 up to and including £500,000;

20% from £500,001 thereafter.

VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).

ADDITIONAL VAT

† VAT at the standard rate payable on the hammer price

‡ Reduced rate of 5% import VAT payable on the hammer price

Ω Standard rate of import VAT on the hammer price

Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.

No VAT is payable on the hammer price or premium for books bought at auction.

REGISTRATION

All potential buyers must register prior to placing a bid. Paddle registration must be completed in advance of the sale day. Please note that bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration:

1 – Government issued photo ID (Passport/ Driving licence)

2 – Proof of address (utility bill/bank statement).

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

BIDDING LIMITS

Bidding levels in this auction will be capped. All new clients and clients who are looking to spend over £6500 hammer may be requested by Lyon & Turnbull to submit a Bid Limit Request application and deliver to Lyon & Turnbull a deposit.

This sale is subject to our Standard conditions of Sale (available at the back of every catalogue and on our website). If you have not bought before we will be delighted to help you.

BIDDING & PAYMENT

For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.

REMOVAL OF PURCHASES

Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction.

CATALOGUE DESCRIPTIONS

All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

IMPORT/EXPORT

Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.

ENDANGERED SPECIES

Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside the EU. For more information visit http://www.defra.gov.uk/ahvla-en/importsexports/cites

COLLECTIONS & STORAGE OF PURCHASED LOTS

FOR INTERNATIONAL BUYERS & UK (OUTSIDE SCOTLAND) BUYERS

STORAGE: Items will be stored at 22 Connaught Street, until Thursday 14th November at 5pm.

Thereafter we will store items at Stephen Morris Shipping Ltd., 15 Ockham Drive, Greenford Park, Greenford, UB6 0FD. Telephone +44(0)20 8832 2222. Items will be available to collect from 9am on Monday 18th November.

Please ensure payment has been made prior to collection. This can be done online, cheque, bank transfer or in person at our London office - details will be shown on your invoice also.

COST: Please note from Friday 22nd November you will be charged by our storage partners.

Insurance 0.25% (all items)

Smalls (paintings and objects) - £2.50 admin fee then £1.00 per day. Furniture pieces£5.50 admin fee then £2.50 per day.

Please note, we are unable to accept payment at the storage site. If you are collecting from Stephen Morris Shipping Ltd., please ensure that full payment is made prior to collection.

FOR SCOTTISH BUYERS

STORAGE: Items will be stored at 22 Connaught Street, until Thursday 14th November at 5pm.

Thereafter items will be transported to our Edinburgh saleroom and will be available to collect from 9am on Wednesday 4th December.

All collections will be by appointment only (this applies to both carriers and personal collections).

CALL 0131 557 8844

EMAIL info@lyonandturnbull.com

Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Opayo) - details will be shown on your invoice.

MEET THE SPECIALISTS

At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or current condition of a lot, or just want to find out more about the auction process.

Grace Tu Head of Sale & Asian Art Specialist grace.tu@lyonandturnbull.com

Dr. Tsai Yiing Ing Specialist, Asian Art tsai.yiinging@lyonandturnbull.com

買家指南

此次拍賣按照本公司的銷售條款舉辦（請參考每本圖錄末尾及本公司網站）。如果這是您第一次參加拍賣，我們很樂意爲您提供建議。

買家佣金及其他費用

買家需支付拍賣落槌價和佣金，佣金比率如下：

20,000英鎊以内的拍品佣金為26%；

20,001至500,000英鎊的拍品佣金為25%； 500,001英鎊之後的拍品佣金為20%。

佣金的增值稅將根據法律規定的稅率收取；

增值稅將按照法律規定的稅率收取（請參閲我們的銷售條款）。

增值稅

†符號表示買家需支付拍賣落槌價的增值稅，依照法律規定的稅率。

‡符號表示買家需額外支付拍賣落槌價5%的進口稅（已降低）。

Ω符號表示買家需額外支付拍賣落槌價的標準進口稅，依照法律規定的稅率。

所有標註【‡】及【Ω】的拍品將可能需進一步遵守進出

口條約，詳情請參閲此圖錄末尾的買家須知‘Buyers Section D.2’

所有書籍類拍品無需支付增值稅。

提貨

拍品的包裝、運輸和保險僅限於買方。

圖錄描述

所有拍品描述、尺寸和估價僅供參考。買方有責任在投標前檢查所有拍品，以確保拍品條件令其滿意。我們的專家將很樂意爲您準備品相報告和其他圖片。這些資料僅供參考，所有拍品均根據我們的銷售條件“按原樣”出售。

進/出口

買家需注意有些國家禁止含有瀕危物種成分的產品進口，譬如犀牛角、象牙、珊瑚和玳瑁等。因此，若買家打算將貨物進口到另一個國家，則應在競拍前熟悉所有相關的海關條規。買方有責任取得任何相關的進出口許可證。無法獲得許可證不能成爲拖延付款的理由。

瀕危品種

請注意有Y記號的拍品在運往歐盟以外地區可能受到 CITES條款的約束。欲了解更多信息，請查詢www.defra. gov.uk/ahvla-en/imports-exports/cites

取貨與倉儲

國際買家及英國境內的非蘇格蘭買家

倉儲：截至11月14日星期四傍晚 5 點之前，拍品將存放

於22 Connaught Street。

客戶務必提前預約到本公司倫敦藝廊及辦事處提貨。

提貨時間：周一至周五，早上九點半到下午四點半。預約請撥打0207 930 9115，或電郵 london@ lyonandturnbull.com。沒預約恕不受理。

註：拍賣日不開放提貨。

此後，拍品將儲存在 Stephen Morris Shipping Ltd., 15 Ockham Drive, Greenford Park, Greenford, UB6 0FD。

電話+44(0)20 8832 2222。買家可在11月18日星期一早上9點開始於此倉儲地點取貨。

請確保在取貨之前已完成付款。買家可通過在線支付、支票、銀行轉帳或親自蒞臨本公司倫敦辦公室完成付款。詳細信息也將顯示在您的發票上。

費用：敬請注意，11月22日星期五起，我們的倉儲合作夥伴將向您收取費用。

保險費：0.25%（所有拍品）小件拍品（繪畫和物件）- £2.50 手續費，然後每天增收 £1.00

傢俱及大型物件 - £5.50手續費，然後每天增收£2.50 請注意，我們無法在倉庫Stephen Morris Shipping Ltd. 接受付款。請確保您到倉庫提貨前將賬單全額付清。

蘇格蘭買家

倉儲：截至11月14日星期傍晚5 點之前，拍品將存放於 22 Connaught Street。

此後，拍品將被運送到本公司位於愛丁堡的辦公室。買家可在12月4日星期三上午9點開始於此地取貨。

提貨時間：周一至周五，早上九點到下午五點。預約請撥打0131 557 8844，或電郵 info@lyonandturnbull.com。

沒預約恕不受理。

競拍和付款指南

競拍註冊

所有買家必須在競拍前註冊。註冊信息可以親自在我們的前台，或通過電子郵件、傳真或訪問本公司網站提交。請注意所有首次參加禮昂騰博拍賣的競拍者都需要提供以下材料以便進行註冊：

1. 由政府機關簽發的身份證件（護照或駕照）；

2. 地址證明（水電煤帳單或銀行對帳單）

我們有可能在拍賣前要求客戶提供銀行證明或押金。通過辦理競拍註冊，買方承認他/她已閲讀、理解並接受我們的銷售條款（可在圖錄末尾和本公司網站查閲）。

競拍

請注意，本次拍賣無現場競拍。

已通過註冊的買家將獲取特殊買家編號。第一口出價被接受後，拍賣官將詢問更高出價，每口叫價由拍賣官決定。出售的拍品將記錄在成功競投者的賬單上，其名字及地址將依據競拍註冊呈交的資料，並不可轉讓。

競拍出價上限

本次拍賣出價上限為6,500英鎊。

欲花費（落槌價）超過此上限，請於拍賣前填寫並呈交出價上調表格，我們將向您索取銀行證明或押金。

所有新客戶將被索取銀行證明及兩千英鎊（£2,000）押金。

線上拍賣

此次拍賣不設現場競拍。

電話競拍

買家可以通過電話參與本公司拍賣，此次拍賣只接受最低估價至少 3,000英鎊或以上的拍品進行電話競標。由於電話線路數量有限，必須提前預訂，並最遲在2024年11 月7日（周四）之前申請註冊。所有電話競拍必須進行書面形式註冊，列出欲競拍的拍品號碼和買家的電話號碼。我們建議您預留最高出價，在電話無法撥通的情況下有備無患。我們無法保證會有足夠的電話線，或者可以在拍賣時接通電話，但會盡我們所能進行安排。此服務是本公司自願提供，風險則必須由買家承擔。

書面競拍

競拍表格可以在本公司官網取得。

填寫完的表格應在拍賣前儘快以郵寄、傳真或電郵的方式提交。我們將代表您在最高限額的範圍内出價。如果收到兩個相同的出價，則第一位提交出價的買方有優先權。

所有出價必須在拍賣前一小時收到。此項服務風險由買家承擔。

網路競拍

本公司網站刊登完整的拍賣圖錄。

競拍者可通過網站留下缺席投標，並將收到本公司電子郵件確認其投標。

買家也可通過本公司網站註冊在線競拍L&T Live（禮昂騰博在線），只需點擊拍賣日程，相關拍賣會或任何一項拍品，并完成註冊，此項服務不收取額外費用。我們的在線出價合作平臺為Invaluable、TheSaleroom、LiveAuctioneers、聯拍在線，易拍在線以及拍賣之家，此項服務額外徵收費用。

付款

付款必須在拍賣後七日内完成。在收到全額付款之前，買家無法提貨。付款可以通過以下方式進行：銀行轉帳

本公司帳號信息可在拍賣帳單上查詢，或向公司財務部門索取。

信用卡或借記卡可以通過Visa

Debit、Maestro、Mastercard、Visa 或銀聯信用卡付款。

銀聯只允許信用卡持有者在場的情況下現場支付。我們無法接受銀聯電話及線上支付。

網上付款

本公司無法通過電話接受信用卡付款。請使用我們的在線支付服務（由Opayo提供）。您能透過本公司發給您的電子郵電帳單中找到付款鏈接，或者您可登錄本公司網站完成支付。

支票

支票應簽發給禮昂騰博公司。買家只有在本公司成功兌現支票后才能提貨。買家也可以要求在拍賣前就簽發支票。本公司不接受第三方提供的支票。若通過郵寄支付，請包括拍賣帳單上的憑單。

現金

現金支付可以在拍賣結束後在倫敦辦公室(22 Connaught Street, W2 2AF)進行。敬請注意，每位買家每年度於本公司的現金給付上限為 5,000英鎊。

ORDER OF SALE

Lot No.

1-27 Works of Art

Including A Private English Collection of Chinese Furniture (lots 9-11) 28-73 Metalwares

Including A Private English Collection of Chinese Export Silver, Buckinghamshire (lots 54-57)

74-80 Chinese Art Collection from the Estate of Sir John and Lady Clare Keswick at Portrack House, Dumfriesshire

81-101 Paintings & Works on Paper

Including A Painting Collection from the Estate of Dorothy Bohm (lots 91-93) 102-177 Snuff Bottles, Glass & Jade

Including Tsai's Jade Collection from Taiwan (lots 119-123); And A Private English Collection, England (lots 146-154)

178-346 Ceramics

Including A Chinese Ceramic Collection from the Estate of Late Lady Penn (lots 195-201); A Private Scottish Collection, North Berwick (lots 242-246); A Private Scottish Collection (lots 295-298);

347-354 A Private Scottish Collection of Chinese and Japanese Art from Renfrewshire (lots 347-354)

355-382 Japanese Art

Including A Private English collection, Home Counties (lots 368-370)

383-390 Korean Art

Including a Private Korean Ceramic collection, London (lots 383-389)

391-394 Southeast Asian Art

WORKS OF ART

1

TWO CHINESE MOTHER-OF-PEARL INLAID

BLACK LACQUER TABLE SCREEN PANELS

QING DYNASTY, KANGXI PERIOD

清康熙黑漆嵌鏍鈿人物詩文圖桌屏（共兩件）

each panel decorated to one side with figures in a terraced garden or by river bank under the full moon, the reverse further adorned with a poetic inscription, both panels wrapped with white metal frames (2)

25cm x 13.2cm each

Note: With an old paper label attached to one panel, reading“un écran en laque noir, décoré avec des incrustations de nacre, de philosopher et enfant dans un paysage, Chine, 17em siecle” .

A comparable pair of mother-of-pearl black lacquer table screens with wooden stands, dated to the Kangxi period and similar in design, was sold at Christie’s London, 5 November 2013, lot 104.

£300-500

2

TIXI LACQUER CUP

16TH CENTURY

十六世紀剔犀如意雲紋杯

the rounded sides deeply carved with ruyi scrolls through layers of rich red and black lacquer, the curving body rising to an everted lip 10.7cm diameter

Note: A slightly smaller (7cm diameter) tixi lacquer copper-lined cup of similar motif, dated to the Ming dynasty, was sold at Christie’s London, 6 September 2007, lot 1432. An even smaller (3.8cm high) tixi lacquer metal-lined cup of similar motif, dated to the Song to Ming dynasty, was sold at Bonhams New York, 15 September 2014, lot 8117.

£500-700

3

PAIR OF CHINESE BLACK LACQUER

CIRCULAR DISHES

MING DYNASTY

明鑲金屬口素面黑漆對盤

each dish covered overall in dark lacquer, the mouth rim with metal mount (2) 13cm diameter each

£300-500

COLLECTION OF TWENTY-FIVE CHINESE WOODEN STANDS

19TH-20TH CENTURY

十九至二十世紀各式木座（共25件）

comprising: three circular; three rectangular; one square; one oval and seventeen shaped carved wooden stands (25)

the largest: 17.3cm wide

£500-700

GROUP OF CHINESE NUT CARVING NECKLACES, EARRINGS AND BEADS

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初核桃雕項鍊、耳環及珠子（共20件）

comprising: one necklace including 15 nut carving beads and 14 agate beads; one necklace of 25 nut carving beads; a pair of earrings with four nut carving beads in total; and 17 nut carving beads, including 6 monks, 6 monkeys, 2 fruits inscribed with shou-longevity characters, and 2 figures holding ruyi sceptre and a flower basket, and 1 small circular bead (20) the largest bead: 4cm wide

£200-300

CHINESE BAMBOO-ROOT CARVING OF POMEGRANATE GROUP

QING DYNASTY, 18TH-19TH CENTURY

清竹根雕並蒂石榴擺件

realistically and finely rendered with two gradual fruits borne on branches with the end issuing leaves, the larger fruit’s skin burst revealing the seeds 12.9cm wide; 59g

Provenance: Private Scottish collection, Edinburgh 蘇格蘭私人收藏，愛丁堡

Note: A highly comparable finely carved bamboo ‘double pomegranate’ group, 18th century, was sold at Bonhams Hong Kong, 29 May 2018, lot 6. Also see a similar carved bamboo pomegranate group in the Suzhou Museum, dated to the Qing dynasty, online catalogue: https://www.szmuseum.com/Collection/List/ gyp?page=30.

£300-500

CHINESE MOTHER-OF-PEARL, SOAPSTONE AND HARDSTONE-INLAID ZITAN BRUSH PALETTE

QING DYNASTY, 18TH CENTURY

清嵌銀絲紫檀百寶嵌胡人戲獅圖方形筆舔

of rectangular form, the top panel secured on a hinge on the upper side allowing about a hundred degrees of upright movement, the top panel finely inlaid with a foreigner riding on a Buddhist lion, the rim of the base inlaid with silver wire

9.5cm wide

Note: A comparable example of a rectangular zitan brush palette, featuring a Mongol warrior battling against a Buddhist lion, dated to the Jiajing period of the Ming dynasty and attributed to Zhou Zhu, was sold at Bonhams Hong Kong, 24 November 2012, lot 308. Another round lacquer ink palette, see Wang Shixiang, Ancient Chinese Lacquer, Beijing, 1987, no.57, which has a scene of a Mongol warrior and a Buddhist lion on one side, similar to the current lot; this lacquer ink palette was originally from the Qing court collection, and later removed from the Palace by one of the Imperial concubines and thence by direct descent.

參一件明嘉靖紫檀嵌百寶筆舔，同樣施以胡人戲獅紋飾，傳周柱製，2012年月24日售於香港邦翰斯，拍品308；與本品及上述例子相似構圖的漆圓盒例子，參見王世襄編，《中國古代漆器》，北京，1987，圖版57。此漆器據稱由沙灘老虎洞宅，即清珍妃家出售，有可能該漆器與上述筆舔出自同一作坊。

£3,000-5,000

CHINESE MOTHER-OF-PEARL-INLAID BLACK LACQUER TRAY

MING DYNASTY

明黑漆嵌螺鈿嬰戲紋長方盤 decorated in the central panel with six boys at play in a garden with large pine tree canopies and prunus issue from rock work, the cavetto with cartouches with birds and flowers against coin-pattern ground 28.9cm x 48.2cm; 791g

£600-800

PRIVATE ENGLISH COLLECTION OF CHINESE FURNITURE, LONDON (LOTS 9-11)

PAIR OF CARVED HARDWOOD DEMI-LUNE TABLES, YUEYAZHUO

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初硬木四彎腿月牙桌（一對）

each with floating panel top and supported by four scrolled legs terminating in monster feet, joined at the shoulders with a conforming inner framework reinforced with radiating struts, carved in relief on the curved aprons with squared spiral involving dragons heads confronting flaming pearls (2) width at top: 123cm; width at bottom: 136cm wide; 68cm deep; height: 85cm

Provenance: Private English collection, London; acquired from Christie's New York, 23 & 24 September 1988, lots 643 (see catalogue images under lot 11)

倫敦私人收藏；購自紐約佳士得，1988年9月23及24日，拍品643

£1,000-1,500

CARVED HONGMU WITH BURLWOOD

INSET PEDESTAL DESK

QING DYNASTY, 19TH CENTURY

清紅木雕竹紋嵌癭木面板架几案

the rectangular top inset with three burl-wood panels above a border and frieze carved to resemble bamboo stalks, fitted with three short drawers and banks of two short drawers, on tall ‘bamboo’-segmented legs joined by a fretwork shelf; together with a scrolling-carved foot stool

146cm wide x 85cm high x 65.4cm deep

Provenance: Private English collection, London; acquired from Sotheby’s New York, 28th & 29th September 1989, lot 386, with two original circular labels, reading ‘Sotheby’s New York, 386’.

倫敦私人收藏；購自紐約蘇富比，1989年9月28及29日，拍品386，含蘇富比原標籤「Sotheby’s New York, 386」

£800-1,200

TWO PAIRS OF HONGMU SPINDLE-BACK ARMCHAIRS, MEIGUIYI

QING DYNASTY, 18TH/19TH CENTURY

清硬木梳背玫瑰椅（兩對四張）

after a bamboo prototype, each with a humpback toprail supported on rounded posts extending to the back legs and flanking the slightly curved round section spindles, with a matching series of spindles bracing stepped rectangular arms, the broad rectangular frame with mat seat supported on legs of oval section joined by humpback stretchers with short vertical posts, the base with stretchers and a footrail (4)

52cm wide x 95cm high x 44cm deep; 50cm wide x 89cm high x 41cm deep

Provenance: Private English collection, London; acquired from Christie's New York, 23 & 24 September 1988, lots 660 and 661.

倫敦私人收藏；購自紐約佳士得，1988年9月23及24日，拍品660及661

Note: Compare the single chair in the Lan Xianmai Collection, illustrated in C. Evarts, et al., Splendour of Style: Classical Furniture of the Ming and Qing Dynasties, Taipei, 1999, p. 93; and a pair included in Nicholas Grindley, Exhibition at Kate Ganz, New York, March 2000, no. 9.

A pair of close comparable hunghuali spindle-back armchairs, meiguiyi, very similar in design and dated to the Qing dynasty, 19th century, is in the collection of the Liangyi Museum, Hong Kong, museum number: LYMF-29. Another set of four was in The YC Chen Collection, sold at Christie’s Hong Kong, 29 May 2013, lot 1955. Another pair of hongmu meiguiyi, also dated to the Qing dynasty 19th century, was acquired from Galerie Gisèle Croës, Brussels in 1985 and offered in Sotheby’s Paris, 15 December 2016, lot 180. A further pair of chairs, with plain aprons in place of humpback stretchers, was sold in Christie’s New York, 21 March 1997, lot 203.

£2,000-3,000

RARE CHINESE BONE, MOTHER-OF-PEARL AND STONE-INLAID HARDWOOD CARRIAGE TIERED BOX AND COVER QING DYNASTY

清硬木百寶嵌車輦式套盒

in the form of a cart on four wheels, the rectangular body modelled as two stacks of books containing drawers, the shorter sides of each drawer decorated with fine bamboo veneer as one side mounted with copper handle, the longer sides exquisitely inlaid with mother-of-pearl, jade, soapstone, semi-precious stones in design of various fruits on leafy tendrils, all within stylised bone-inlaid brackets, the top with a separated and removable tray with floral and plantain borders, containing five small boxes and covers, each cover finely inlaid with similar decoration to the sides 31cm wide x 33cm high x 19.5cm deep

Provenance: Private English collection, England; formerly in a private French collection 英格蘭私人收藏，英格蘭；法國私人舊藏

Note: This exquisitely conceived piece is remarkable for the combination of elements which have been individually treated with great skill and care to result in a finely executed and harmonious design. Such elaborate curiosity pieces are very rare and would have enjoyed a place in an elegant scholar’s studio.

A closely comparable Qing dynasty stone-and jade-inlaid cart-form treasure box, made of zitan (red sandalwood) and very similar in design, is in the collection of the Palace Museum, Beijing, museum no. Gu故 121982. Compare also two other zitan boxes of this form are both dated to the Qing dynasty Qianlong period: one sold at Sotheby’s New York, 19th March 1997, lot 399 then further sold at Sotheby’s Paris, 12th December 2013, lot 75; the other sold at Sotheby’s Hong Kong, 6 April 2016, lot 3660.

Cart-shaped boxes are also known to be carved in lacquer, such as one in the National Palace Museum, Taipei, illustrated in Masterpieces of Chinese Carved Lacquer Ware in the National Palace Museum, Taiwan, 1971, pl. 41, museum number: Gu Qi 故漆 76; another in the Palace Museum, Beijing, published in Gugong bowuyuan cang. Diaoqi [Carved Lacquer in the Palace Museum], Beijing, 1985, pl. 361; and a third from the collection of Her Majesty the Queen, Buckingham Palace, included in the International Exhibition of Chinese Art, Royal Academy of Arts, London, 1935, cat. no. 2334.

Another Qing dynasty zitan box in the shape of thread-bound Chinese book inlaid with gems forming design of great happiness, longevity and male offering, comparable in the bamboo veneer on the side and the decorated pattern, is also in the collection of the Palace Museum, Beijing, published in The Complete Collection of Treasures of the Palace Museum. Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Shanghai, 2007, pl. 248. A further Qing dynasty zitan curio box with bone inlay in the form of a table stand, comparable in the bamboo veneer, is in the collection of the National Palace Museum, Taipei, museum number Zeng Za 贈雜54.

這件構思精巧及設計巧妙的套盒由獨特的元素組合而成，這些元素均經過精湛及細緻的技術處理，從而形成本品精美且和諧之設計。如此精細的珍奇作品實屬罕見，文房珍玩中必佔有一席之地。

參考清紫檀嵌玉八寶花卉紋車式文具匣，藏於北京故宮，館藏號「故121982」；另參兩例，設計及形式與本品相近，皆定年清乾隆，其一先於1997年3月19日紐約蘇富比售出，拍品399，再於2013年12月12日售於巴黎蘇富比，拍品75；另一2016年4月6日售於香港蘇富比，拍品3660。車輦式套盒不僅製於百寶嵌技藝，亦見於剔紅形式。參一例清剔紅輦式套盒，藏於臺北故宮，見《故宮雕漆器選萃》，台灣：國立故宮博物院，1971，圖版41，館藏號「故漆76」；另一剔紅輦式套盒藏於北京故宮，見《故宮博物院藏雕漆》，北京：文物出版社，1985，圖版361；第三例藏於英國白金漢，見《International Exhibition of Chinese Art》，倫敦：皇家藝術研究院，1935，圖錄號2334。 £8,000-12,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

13

CHINESE ZITAN SQUARE-SECTION BRUSH POT

QING DYNASTY, 18TH-19TH CENTURY

清紫檀四方倭角人物紋筆筒 with indented corners, all sides decorated with figures in low relief 14.9cm high

£1,500-2,000

15

CHINESE CARVED BAMBOO BRUSH POT

QING DYNASTY, 17TH-18TH CENTURY

清竹雕携琴訪友筆筒

decorated with joyous figures visited by a friend with his boy assistants arriving by one carrying a wrapped qin musical instrument

14cm high

£800-1,200

14

CHINESE DUAN ‘PURPLE CLOUD’ INKSTONE WITH HARDWOOD BOX LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初宋坑端硯《紫雲》帶紅木隨形蓋盒 the oval stone with a central grinding palette, the top with a small niche for water, carved with title ‘Zi Yun (Purple Cloud)’, the reverse with remnants of stone skin, with hardwood box and cover 17cm long

Provenance: Private collection, London.

倫敦私人收藏

£500-700

CHINESE MOTHER-OF-PEARL AND HARDSTONE INLAID ZITAN BRUSH POT QING DYNASTY, 18TH CENTURY

清紫檀百寶嵌聽琴圖筆筒

of cylindrical form with a raised band at the mouth and another at the base that resolves into three bracket feet, decorated with a man lying supporting on low rocks next to a lady, both holding a fan listening to a musician sitting opposite, an old man holding a staff seated next, reverse of the scene further with trees and rocks 15.4cm diameter

Provenance: Private Dutch collection, acquired in 1960s (by repute).

荷蘭私人收藏，入藏於1960年代（傳）

Note: Compare to a red sandalwood (zitan) brush holder with glass inlay, depicting Wang Xizhi and goose, dated to the Qing dynasty, Qianlong period, in the National Palace Museum, Taipei, museum no. Zeng Wen 贈文19; Another zitan brush pot inlaid with mother-of-pearl and hardstone depicting similar figural scene as the above, is in the Palace Museum, Beijing, Gu 故123217. Inlaid zitan brush pots depicting floral and birds are more commonly seen, see one dated to the Qing dynasty, previously in the Qing Court, now in the Palace Museum, Beijing, Gu 故121910, and another dated to the Qing dynasty, 18th century, sold at Christie’s Hong Kong, 27 Apr 2016, lot 288.

清代紫檀百寶嵌人物紋筆筒並不多見，參一件清乾隆紫檀嵌玻璃及螺鈿「羲之愛鵝」筆筒，藏於臺北故宮，館藏號「贈文19」；另參一紫檀嵌螺鈿羲之愛鵝圖筆筒，藏於北京故宮，館藏號「故123217」。紫檀百寶嵌花鳥圖筆筒較爲常見，參一例清宮舊藏，現藏於北京故宮的紫檀百宝寶梅竹雙禽圖筆筒，館藏號「故121910」；及一例清十八世紀，紫檀百寶嵌花鳥圖筆筒，2016年6月27日售於香港佳士得，拍品288，皆可資比較。

£8,000-12,000

SET OF SIX CHINESE MARBLE INSET ‘LANDSCAPE’ PANELS

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初石林、松泉等款雲石山水及題詩掛屏木框（共六幅）

comprising: four wooden panels containing sixteen marble slabs, each panel with four shaped windows showcasing the black, grey, and russet veining evocative of ethereal landscapes shrouded in swirling mists and clouds, all inscribed with poetic titles, signed ‘Shi Lin’, ‘Song Quan’, sealed ‘Shi Quan’ and others; and two wooden panels containing eight marble slabs, carved and painted in green with a poem (6)

100cm x 19cm each, all without backing

£1,000-1,500

CHINESE HARDWOOD DISPLAY CABINET

QING DYNASTY, 19TH CENTURY

清硬木雕卷草花卉紋多寶格

raised on four claw feet, segmented into three tiers with varying heights, framed by intricate friezes reticulated with scrolling foliage and florals

180cm x 83cm x 37cm

£1,000-1,500

CHINESE HUANGHUALI TEA CADDY AND COVER LATE MING TO QING DYNASTY, 17TH-18TH CENTURY

明至清黄花梨帶提樑茶桶 of barrel form, the vessel has two upright handles rising from the mouth rim that are pierced to hold the ends of the cusped handle that surmounts the cover 26cm high

Provenance: Private collection, London.

倫敦私人收藏

Note: There are many surviving examples of teapot holders, mainly from the late Qing and Republic period. Almost all are made of miscellaneous soft woods, some lacquered. Those made in precious huanghuali and dated to the Ming and Qing dynasty are very rare. A square-sectioned huanghuali teapot container, dated to the late Ming dynasty, was in the Dr S. Y. Yip Collection and sold at Sotheby’s Hong Kong, 5 April 2017, lot 3501. A closely comparable huanghuali tea caddy and cover in design, dated to 17th-18th century, was sold at Christie’s New York, 24 Jul 2020, lot 65. A further comparable huanghuali tea caddy and cover, dated to the Qing dynasty, was first sold at Sotheby’s New York, September 2013, then further sold at Poly Beijing, 16-25 October 2020, lot 6319. 存世帶提樑茶桶不少，但主要為清末民初產物，並以多以軟木製成，或施以髹漆。明至清代黃花梨帶提樑茶桶實屬珍稀，見一攻玉山房舊藏，晚明黃花梨四方茶桶，後售於香港蘇富比，2017年4月5日，拍品3501；另外一件定年十七/十八世紀黃花梨桶式茶葉蓋罐，2020年7月24日售於香港蘇富比，拍品65；另見一例清黄花梨茶桶及蓋，先於2013年9月售於紐約蘇富比，後售於北京保利，2020年10月16-25日，拍品6319。 £4,000-6,000

CHINESE HUANGYANGMU CARVING

‘SCHOLARS’ BRUSH POT

LATE MING TO QING DYNASTY, 17TH-18TH CENTURY

明末清初黃楊木雕高士訪友筆筒

of irregular form, carved in medium and low relief with a scholar and attendant on one side walking in craggy landscape towards another scholar and attendant at the reverse, base covered in black lacquer

13.2cm high

Provenance: Formerly in a Private collection, UK.

前英國私人舊藏

£3,000-5,000

CHINESE CHENXIANGMU GOLD-WIRE-INLAID ‘ZUN’ VESSEL

QING DYNASTY, 18TH-19TH CENTURY

清仿青銅金絲嵌沉香木仿古瑞獸尊帶刻乾隆仿古款木座

formed as a mythical beast carrying a gu vase, contoured with gold wires, on a bespoke wooden stand, base of the stand carved with a six-character Qianlong mark

19.5cm high

Note: Compare to a related cast bronze zun vessel in similar shape of a divine beast with gold and silver inlays, Han dynasty, in the National Palace Museum, Taipei, museum number Gu Tong 故銅2524N.

臺北故宮藏有一件漢代錯金銀瑞獸尊，其形制與設計與本品如出一轍，惟尺寸較小（含木座通高 14.2cm），館藏號「故銅2524N」，可資比較。

£3,000-5,000

CHINESE APRICOTGROUND BROCADE PANEL

MING TO QING DYNASTY

明至清杏地織錦宋八達暈紋織品

features two cartouches in the centre, one on top of quatrefoil form with beribboned brocade ball enclosed with several pairs of confronting stylised kui-phoenixes, another of canted-corners square form, decorated with Buddhist parasol dangles with lantern, Dharmachakra, flanked by auspicious emblems, all against a floral brocade pattern ground 80cm x 87cm

Provenance: Private collection, Edinburgh.

私人收藏，愛丁堡

Note: Compare to a sutra cover decorated with a lattice pattern similar to this lot, dated to the Ming dynasty, 15th–16th century, is in the Metropolitan Museum, accession no. 46.186.57.

£400-600

23

CHINESE KINGFISHER FEATHER AND PEARL INSET HEADDRESS

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初點翠嵌珍珠頭飾

elaborately decorated and inset with seed pearl depicting dragons and phoenixes amongst cloud scrolls and flaming pearls, with upright mirror-backed panels bearing auspicious characters, with seed pearl pendants bearing chimes and bats 21cm wide

£1,000-1,500

CHINESE SILK EMBROIDERED PLEATED SKIRT AND TROUSERS

QING DYNASTY, 19TH CENTURY

清墨綠地刺繡花蝶紋馬面裙及象牙白地刺繡花籃紋夹褲（共兩件）

the skirt decorated on the lower part of the main panel with a pair of butterflies encircling a peony flower, further scattered with small rosettes and butterflies on the pleats, all against a dark olive green ground; and the trousers embroidered with flower baskets and floral sprays on two sides, all against an ivory white brocade ground (2)

heights: 98cm and 107cm

£600-800

CHINESE ORANGE-GROUND SILK EMBROIDERED LADY’S ROBE

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初橘地刺繡花籃紋對襟女衫 decorated with floral sprays, auspicious fruits and flower baskets against a bright orange ground, with cloud collar 108.5cm wide across sleeves; 98cm high

Provenance: Private Scottish collection, East Lothian; inherited from grandparents who were in Shanghai in the 1920s.

蘇格蘭私人收藏，東洛錫安郡；現任藏家祖輩1920年代於上海入藏，後家族遞藏。

£500-700

CHINESE RED-GROUND SILK EMBROIDERED JACKET

LATE QING TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初紅地刺綉花蝶紋對襟外套

with wide sleeves, embroidered with colourful butterflies with floral sprays all above lishui and crashing waves

154cm across sleeves; 112cm high

Provenance: Private Scottish collection, Edinburgh; inherited from current owner’s grandparents, an established legal family in the early 20th century.

蘇格蘭私人收藏，愛丁堡；家傳自現任藏家祖輩，祖輩乃愛丁堡顯赫司法世家。

£300-500

CHINESE BLUE-GROUND GAUZE ‘NINE DRAGONS’ SUMMER ROBE, JIFU QING DYNASTY, 19TH CENTURY

清藍地納紗繡金九龍雲蝠鶴紋吉服袍

finely embroidered in couched gold thread with nine five-clawed dragons, two on the front and back shown front facing while the others reach for the pearl, all amidst ruyi clouds interspersed with the attributes of the Eight Taoist Immortals and bats, all set above lishui stripes and auspicious emblems and beasts emerging from swirling waves and soaring mountain, the sleeves terminating in horse-hoof cuffs, the collar band and cuffs similarly embroidered and edged with gold brocade

206cm across sleeves; 134cm high

Provenance: Private collection, East Lothian.

私人收藏，蘇格蘭東洛錫安郡

Note: Government officials and members of the imperial court were entitled to wear dragon robes. Designs and colours were regulated by rank; for example, only the emperor, the heir apparent, empress, and empress dowager could wear yellow robes. Only the imperial family and high-ranking princes were allowed to wear robes with nine dragons. Only the upper echelons were allowed to wear dragons with five claws; the lower orders wore four-clawed dragons.

The eight colourful dragons on the main body of the robe (five on the front, three on the back) are shown in different positions, such as front-facing and rising. The ninth dragon is hidden inside the flap.

The designs on this robe were embroidered on top of a woven gauze fabric. This robe is made of gauze fabric that is like a very fine net, which allows air to circulate and keeps its wearer cool in warm weather. Most of the embroidery stitches are vertical and cover about two rows of the gauze weave.

£800-1,200

METALWARES

CHINESE GILT-BRONZE ‘GU’ VASE

LATE MING TO EARLY QING DYNASTY, 17TH CENTURY

明末清初鎏金銅仿古饕餮蠶紋出戟花觚

of trumpet form, decorated with plantain leaves, silkworms, taotie masks, and beasts on leiwen ground divided by crenellated flanges

14.2cm high; 299g

Note: Compare to a related ‘Ya Niao’ bronze ‘gu’ vase, dated to the Late Shang Dynasty, also features silkworms on one band, in Palace Museum, Beijing, museum number Xin 新00104878.

£400-600

CHINESE BRONZE INCENSE BURNER OF A SCHOLAR RIDING A DONKEY

MING TO QING DYNASTY, 17TH-18TH CENTURY

明至清銅鑄高士騎驢香薰帶木座

impressively cast with the animal standing on three feet with the front left leg slightly raised, head turning to the right in an alerted expression, facing the same side seated with a male figure with a long beard dressed in a long robe incised with bats in swirling clouds, his face smiling and left hand holding a scroll, the figure detachable revealing an aperture on the back of the donkey, on a wooden stand pierce carved with rugged rock issuing lingzhi fungus

24cm wide; 3650g

Provenance: Private Scottish collection.

蘇格蘭私人收藏

£300-500

CHINESE BRONZE ‘LION-MASK’ FIVE-LEGGED CENSER WITH COVER TANG DYNASTY

唐銅鑄五足銅香燻帶蓋

the circular censer with upright sides and everted rim raised on five lion-mask and paw supports alternating with five smaller lion-mask appliques, the stepped, domed cover pierced with ten small prunus-shaped apertures below a lotus-bud finial 11.8cm diameter, 861g

Provenance: Private Hong Kongese collection.

香港私人收藏

Note: A censer of nearly identical form and dated to the Tang dynasty, was sold at Christie’s New York, 21 Mar 2002, lot 85. Another five-leg bronze censer of relatively simplified design and dated to 7th-8th century, is in the collection of the Minneapolis Institute of Art, accession number: 2004.132.3a,b. Another Tang dynasty gilt-bronze five-legged incense burner was sold at Sotheby’s New York, 22 March 2023, lot 637. 一件高度相似唐代銅鑄五足銅香燻帶蓋，2002年3月21日售於紐約佳士得，拍品85

；另參形制與設計相對簡約一例，7-8世紀，明尼阿波利斯美術館藏，館藏號「2004.132.3a,b」；另見一唐代銅鎏金活環五足爐，2023年3月22日售於紐約蘇富比，拍品637，皆可資比較。

£5,000-7,000

CHINESE BRONZE ‘HEHE ERXIAN’ PAPER WEIGHT

LATE MING TO QING DYNASTY, 17TH CENTURY

明末清初銅和合二仙鎮紙

cast as a set of playful twins aligned in a mutually inverted form, each torso with a bib incised with decorations, the figures connected at the upper and lower torso, centre with an aperture 7cm wide; 181g

£800-1,200

CHINESE BRONZE HAND WARMER

QING DYNASTY

清提梁銅手爐

of rounded rectangular form, the reticulated cover pierced with geometric swastika and trellis pattern, set with a handle 24.5cm wide; 2248g

£300-500

CHINESE BRONZE ‘KUI DRAGON AND PHOENIX’ VASE

QING DYNASTY, 19TH CENTURY

清宣德款銅鑄夔龍夔鳳紋瓶

the curved side cast on either side with a large kui-dragon and kui-phoenix amidst lotus ponds, the straight neck with a six-character Xuande mark within a rectangular panel

23.5cm high; 2481g

£600-800

PAIR OF CHINESE ARCHAISTIC RITUAL BRONZE

POURING VESSELS, YI

MING DYNASTY OR EARLIER

明或更早仿古青銅匜一對帶木座

after Western Zhou origins, each finely cast as deep boat-shaped vessel raised on four stylised feet and with a curved U-shaped spout, cast around the body with three horizontal curving groove patterns under a wide band of abstract dragon motifs similar to key-fret motif below the rim, attached with a loop handle formed by a horned chi-dragon biting the edge, with the same two-character inscription cast in the base of each interior, with fitted wooden stands (2)

29cm long each; 1727g and 1814g

Provenance: Private collection, Taiwan; acquired from Dreweatts, 19th May 2021, lot 222.

Previously in the collection of Sir William Whitfield (1920-2019), acquired from Storey Sons and Parker Auctioneers, Newcastle upon Tyne, 27th November 1946, lot 127.

Previously in the collection of Sir Stephen Harry Aitchison (1863-1942) from the contents of Lemmington Hall, Northumberland, the house contents sold through Storey Sons and Parker Auctioneers in November 1946.

台灣私人收藏，2021年5月19日購自Dreweatts，拍品編號222號；

前William Whitfield (1920-2019) 爵士私人收藏，其於1946年11月27日購自英国諾森伯蘭郡Lemmington Hall大宅拍賣，拍品編號127號。

出自英国諾森伯蘭郡Lemmington Hall大宅，史蒂芬哈里艾奇遜爵士（1863-1942）舊藏。宅邸家居財物於1946年透過Storey Sons and Parker拍賣行售出。

Note: Archaic bronze Yi was used in conjunction with Pan during the ritual ceremonies. It was a late Western Zhou adaptation of the He or Gong, and was continually used in the Eastern Zhou period.

£2,000-3,000

LARGE PAIR OF CHINESE BRONZE BUDDHIST LION DOGS MING DYNASTY, 17TH CENTURY

明銅鑄大佛獅 (一對)

cast in mirror form, each with its head turned, the mouth fiercely open, the body in recumbent posture and bushy tail raised high (2) approximately 40cm wide each; 7.7kg and 8.8kg

£300-500

CHINESE BRONZE TRIPOD CYLINDRICAL CENSER

QING DYNASTY OR LATER

清或以後宣德款筒式三足銅爐

supported on three bracket feet, the base stamped with a six-character Xuande mark in recessed panel 10.6cm diameter, 781g

£1,000-1,500

CHINESE BRONZE TRIPOD CENSER

QING DYNASTY, 18TH-19TH CENTURY

清宣德款銅橋耳三足爐 of bombé form with everted loop handles, the base cast with a six-character Xuande mark 13cm diameter; 595g

£800-1,200

CHINESE BRONZE ‘INSCRIBED’ HANDLED CENSER

20TH CENTURY

二十世紀宣德款銅鑄蚰耳爐帶木座

the heavily cast body of compressed globular form, raising from a short splayed foot to a gently flared rim, set with a pair of ring handles, the base with a six-character ‘Xuande’ mark in a recessed square panel, the mouth rim incised ‘The Williams Bowl/ Bedhampton Cricket Club’, whilst the round sides incised with various names of the club’s captains, with their service year spanned from 1934 to 1939; together with a fitted wooden stand labelled ‘The Williams Bowl’ 22cm wide; 2300g

Note: Bedhampton Cricket Club in England was established in 1872 and celebrated 150 Years as a Club in 2022, it is still active nowadays.

£500-700

39 CHINESE BRONZE GARLIC-HEAD VASE

MING DYNASTY

明銅鑄蒜頭瓶

the bulbous body supported on a splayed foot, the elongated neck with a raised ridge in the middle and topped with a garlic-head and straight beaded mouth rim 22cm high; 611g

Provenance: Acquired from Sotheby's London, 15 December 2023, lot 127 (part lot); formerly in Dr Wou Kiuan's collection;

購自倫敦蘇富比，2023年12月15日，拍品127（其一）; 前吳權博士（1910-1997）收藏

£600-800

CHINESE GILT-BRONZE ‘DRAGON AND TIGER’ VASE

MING TO QING DYNASTY

明至清鎏金銅’龍虎鬥’花插

cast in the form of a gnarling tree, with a gilt-decorated four-clawed dragon in between amidst clouds 14.8cm high, 575g

£2,500-3,000

SET OF FOUR ‘FOUR NOBLE ONES’ IRON PAINTINGS

QING DYNASTY, 18TH-19TH CENTURY

清鐵畫四君子掛屏（四幅）

depicting prunus, orchid, bamboo, and chrysanthemum respectively within wooden frames (4)

47.5cm x 35.5cm each

£500-700

CHINESE HEAVY BRONZE TRIPOD CENSER WITH COVER QING DYNASTY, 18TH-19TH CENTURY

清宣德款銅如意雲紋三足朝冠耳爐帶透雕獅鈕蓋

the feet incised with ruyi, with a pierced cover topped by a lion, base of the censer with a six-character Xuande mark

30.8cm wide across handles; 5kg

£600-800

TWO TIBETAN SILVER BELT PENDANTS

QING DYNASTY, 19TH CENTURY

清藏銀嵌綠松石腰飾（兩件）

each with circular top made of Tibetan coin with Xuantong mark fused with a rosette chain coming down to gilded infinity knots, turquoise stones inlaid main plaques in different shapes hung with four strains of rosette chains, outer two with conchshaped terminus, middle two with gilded infinity knots further with red and green tassels (2)

lengths: 67cm and 69cm

Provenance: Private collection, London; acquired from Christie’s London (by repute).

倫敦私人收藏；購自佳士得倫敦（傳）

Note: Part of an elaborate ensemble of jewellery worn by Tibetan women on important occasions. According to an old picture shown with this lot, these two belt hangings are worn at the back of a lady with the upper chains tucked underneath the belt and hung on either side.

£600-800

A TIBETAN BELT AND A BELT PENDANT

QING DYNASTY, 19TH CENTURY

清藏銀腰帶及腰飾（兩件）

the belt with five white metal ‘scrolling tendril’ panels sewn on textile, metal buckle and leather end; the belt pendant with a strain of rosette chain coming down to a Kirtimukha plaque further with three rosette chains and three tassels (2)

belt: 92.5cm wide; pendant 58.8cm high

Provenance: Private collection, London; acquired from Christie’s London (by repute); the pendant attached with a circular label reading ‘Christie’s 1047/5295’ .

倫敦私人收藏；購自倫敦佳士得（傳）。腰飾含標籤一枚「Christie’s 1047/5295」

£600-800

CHINESE BRONZE FIGURE OF MANJUSHRI SEATED ON A LION

MING DYNASTY, 17TH CENTURY

明銅鑄文殊菩薩騎獅座像

the bodhisattva cast seated in lalitasana on the back of a lion, his body elaborately jewelled and hair fashioned in a high chignon enclosed by a pointed crown, beaded jewellery further adorned before his low-slung dhoti, the recumbent lion supported on a low plinth

29cm high; 2969g

£600-800

CHINESE BRONZE FIGURE OF BUDDHA

MING DYNASTY

明銅鑄佛坐像

seated in dhyanasana with his right hand raised in abhayamudra and his left hand resting in his lap, dressed in long robes falling open at his chest, with the hems incised with a floral pattern, the face finely cast with a contemplative expression with downcast eyes and elongated earlobes

26.5cm high, 4290g

Provenance: Private English collection.

英格蘭私人收藏

£500-700

CHINESE BRONZE FIGURE OF GUANDI

QING DYNASTY, 17TH-18TH CENTURY

清銅鑄關帝捻鬚座像

the god of war shown seated with his left hand resting on his knee, and his right hand holding his long beard, wearing robes and elaborate armour detailed with a lion-form epaulette and incised with leafy scrolls 21.5cm high; 2315g

£500-700

SINO-TIBETAN GILT-BRONZE FIGURE OF VAISHRAVANA

QING DYNASTY, 18TH-19TH CENTURY

清銅鎏金寶財天王座像

the Guardian of the North cast seated upon a snarling fierce lion, holding a mongoose in his left hand, right hand held in tarjanimudra, his face with bulging eyes below a tiara, wearing a full armour flanked with billowing scarf, the lion’s mane, the figure’s hair pigmented in red, tail in green, all above a single-lotus throne 14cm wide; 973g

Provenance: Formerly in a Private collection, UK.

前英國私人舊藏

Note: Please note this lot will be offered with no reserve. 本拍品不設底價

£300-500

SINO-TIBETAN BRONZE FIGURE OF A SEATED BUDDHA 銅佛座像

shown seated holding an alms bowl containing the elixir of life, placed before him on the lotus throne is a vajra, the base sealed with an incised crossed vajra plate 14cm high; 857g

£500-700

NEPALESE GILT-COPPER FIGURE OF INDRA

QING DYNASTY, 18TH-19TH CENTURY

清銅鎏金因陀羅坐像

wearing a diaphanous dhoti, seated in elegant maharajalilasana with right arm resting on the raised right thigh, the right hand in vitarka mudra and the left supporting his weight, two stems of flowers flanking the shoulders, the right holding Indra’s emblem the vajra thunderbolt 12.5cm high; 540g

Note: Distinguished by the characteristic horizontal mark on the forehead indicating a third eye, Indra was the supreme Vedic god of early India, the bearer of the thunderbolt (vajra), associated with rain. In later Hinduism, he retained his role as King of the Gods but ceased to command popular following as a cult deity. In Nepal however, he continued to be worshipped by both Hindus and Buddhists as the master of the atmosphere, celebrated in the annual eight-day festival of Indra-jatra.

A highly comparable fifteenth-century Nepalese gilt copper Indra, note the similarity of the posture, hand gestures, jewellery, flower design and size, sold at Sotheby’s New York, 22 September 2020, lot 321. Also see an example formerly in the Nasli and Alice Heeramaneck Collection and now in the Los Angeles County Museum of Art, museum number M.69.13.4.

Please note this lot will be offered with no reserve. 本拍品不設底價

£300-500 51

SINO-TIBETAN BRONZE SEATED LAMA QING DYNASTY

清銅喇嘛座像

seated in dhyanasana on a double-lotus base with his right hand raised in vitarkamudra and his left holding a manuscript, dressed in voluminous patchwork robes with hems incised in floral and diaper patterns, the face with full lips and flanked by prominent ears

11.2cm high; 523g

£500-700

TIBETAN PARCEL-GILT-SILVER IRON KNIFE

17TH-18TH CENTURY

十七至十八世紀鲨鱼皮鞘藏刀 with a shagreen-wrapped scabbard lengths: blade 34cm; blade with handle 42cm; overall with scabbard on 43cm; 365g

Provenance: Private English collection.

英格蘭私人收藏

£1,500-2,000

53

CHINESE IRON DAGGER WITH JADE HANDLE AND FITTING QING DYNASTY, 18TH CENTURY

清玉柄匕首帶鑲玉格皮套

the jade handle incised with plantain leaves and flowers, with a leather scabbard set with a ge jade sword fitting on the opening

40.5cm long overall; jades: 12.2cm and 3.5cm wide

£1,500-2,000

PRIVATE ENGISH COLLECTION, BUCKINGHAMSHIRE

CHINESE EXPORT SILVER ‘DRAGON’ TRIPOD BOWL

QIAOZHEN, CANTON, CA. 1890

清末「巧珍」、「90」錘印款外銷銀龍趕珠紋三足碗

deep circular bowl with double-skinned plain interior and stepped rim, the exterior decorated in two panels each with confronting dragons contesting a flaming pearl amidst flaming clouds reserved on lotus scroll ground, all supported on elaborate coiling sea creature feet, the base of the bowl impressed with ‘Qiao Zhen’ in Chinese and ‘90’ marks

20.1cm diameter; 1606g

Provenance: Private English collection, Buckinghamshire. The collector has been collecting objet d’art for decades, developed an interest in Chinese Export Silver over 20 years ago. Acquired from Eden Fine Antiques Galleries Georgia, 8 Oct 2017, lot 363.

英格蘭私人收藏，白金漢郡；收藏各類藝術文物已數十載，廿年前伊始收藏中國外銷銀器。2017年10月8日購自美國喬治亞州Eden Fine Antiques Galleries，拍品363。

£1,000-1,500

CHINESE EXPORT SILVER ‘FLORAL’ BOWL

WUHUA, BEIJING, CA. 1890-1940

清末民初「北京物華」、「紋銀」錘印款外銷銀花卉紋碗 deep circular bowl supported on a spreading foot, double skinned with plain interior and foliated rim, the exterior decorated with floral sprays in high relief on each lob, the base impressed with ‘Beijing Wuhua’, ‘Wen Yin’ marks in Chinese 16.2cm wide; 699g

Provenance: Private English collection, Buckinghamshire. The collector has been collecting objet d’art for decades, developed an interest in Chinese Export Silver over 20 years ago.

英格蘭私人收藏，白金漢郡；收藏各類藝術文物已數十載，廿年前伊始收藏中國外銷銀器。

£700-900

CHINESE EXPORT SILVER DRAGON-WINGED TRIPOD BOWL

WING FAT, CANTON, HONG KONG, SHANGHAI, CA. 1875-1930; KUN HE, SHANGHAI, CA. 1880-1925 清末民初「WF」、「坤和」、「90」錘印款外銷銀花卉人物龍紋雙翼龍耳三瑞獅足碗

deep lobed bowl with foliated rim, double-skinned plain interior, the exterior decorated in each panel with figures, flowers, and dragon, flanked by two arched dragons with wings as handles, the spreading foot further supported by three Buddhist lions, base of the bowl impressed with ‘WF’, ‘Kun He’ in Chinese, and ‘90’ marks

31.4cm wide; 1675g

英格蘭私人收藏，白金漢郡；收藏各類藝術文物已數十載，廿年前伊始收藏中國外銷銀器。2017年7月15日購自美國喬治亞州Eden Fine Antiques Galleries，拍品5。

Note: Wing Fat is a very fine but quite rare Chinese retail silversmith, active in Canton and Hong Kong between 1875 and 1930, and also in Shanghai to create superb quality items.

Kun He was a highly skilled artisan silversmith. Because his name has an alternative spelling, preferred in some dialects – Kwan Wo- the artisan raises queries about whether this workshop is connected with the retail silversmith Kwan Wo, located in Canton and Hong Kong. However, according to A. Von Ferscht, there was no connection between the two skilful craftsmen (see A. Von Ferscht, Chinese Export Silver 1785-1940, 4th edition 2015).

£1,500-2,500

CHINESE EXPORT SILVER TAZZA

LUEN WO, SHANGHAI, CA, 1880-1940

清末民初「LH」、「90」、「高」錘印款外銷銀瑞獸花卉紋高足盤 the shallow top of the dish decorated with chrysanthemums, underside with dragon and qilin, supported on a domed foot with knopped stem worked with immortal figures and bat motifs, the base marked ‘LH’, ‘90’, and ‘Gao’ Chinese character 18cm high; 1919g

Provenance: Private English collection, Buckinghamshire. The collector has been collecting objet d’art for decades, developed an interest in Chinese Export Silver over 20 years ago. This lot was acquired from Hindman Chicago, 17 July 2019, lot 420.

Report of XRF X-ray spectroscopy (by means of surface removal), Edinburgh Assay Office., Ref no. 40438945, the result of five samples taken shows that ‘All parts of the article contain greater than 925% silver’. With a printed (redated) certificate dated 14 Oct 2024.

英格蘭私人收藏，白金漢郡；收藏各類藝術文物已數十載，廿年前伊始收藏中國外銷銀器。購自芝加哥 Hindman，2019年7月17日，拍品420。

本拍品經愛丁堡金屬及寶石純度鑒定所（Assay Office）取銀器五處樣本經X射線熒光光譜分析（XRF X-ray spectroscopy）檢測，結果顯示「所有樣本含銀量超過925%」。含檢測證書打印本，2024年10月14日。

£2,000-3,000

SET OF SIX CHINESE JADEITEINSET EXPORT SILVER SPOONS

20TH CENTURY

二十世紀外銷銀嵌翡翠花卉紋勺（一組六件）

front of the handles decorated with flowers and foliages, inset with circular jadeite plaques on top, back handles marked ‘CHINA’ and ‘SILVER’ (6)

10cm high each; between 6-8g each

£300-500

CHINESE EXPORT SILVER ‘CHRYSANTHEMUM’ THREE-PIECE TEA SERVICE

TUCK CHANG, SHANGHAI, CA. 1870-1920

清末民初「TC」、「声」錘印款外銷銀菊紋茶壺、蓋罐及奶罐（一組三件）

comprising: a teapot, a twin-handled sugar jar with cover, and a milk jug, all similarly decorated with chrysanthemum design and a plain circular cartouche, all hallmarked ‘TC’ and ‘Sheng’ in Chinese (3)

teapot: 21.8cm wide, 569g; sugar jar: 14.4cm wide, 269g; 13cm wide, 200g

Provenance: Private Scottish collection, Edinburgh.

蘇格蘭私人收藏，愛丁堡

Note: According to Chinese export silver expert Adrien Von Ferscht, Tuck Chang & Company is probably one of the best-known retail silversmiths of the latter half of the 19th century in Shanghai - often referred to as the ‘Wang Hing’ of Shanghai. Like Wang Hing in Canton and Hong Kong, Tuck Chang sold high-quality jewellery, silver wares, jade and ivory. (A. Von Ferscht, Chinese Export Silver 1785-1940, 4th edition 2015).

£700-900

CHINESE EXPORT SILVER ‘BIRD AND FLOWER’ RECTANGULAR BOX

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY, TUCK CHANG & CO., SHANGHAI, 1870-1920

清末民初「龍」、「Tuck Chang」底款外銷銀花鳥長方盒

decorated in repousse high relief on finely tooled matted ground, depicting birds perched on blossoming prunus trees, the interior and the base lined with wooden panels, the foot ring impressed with two mark reading ‘Long’ and ‘Tuck Chang’ 18cm wide x 6cm high x 13.5cm deep

£600-800

CHINESE EXPORT SILVER ‘BAMBOO’ THREE-PIECE TEA SERVICE

SHEN CHANG MARK, CANTON, CIRCA 1875-1930

清末民初「慎昌」、「GW」錘印款外銷銀竹紋茶壺、蓋罐及奶罐（一組三件）

comprising: a teapot, a sugar jar with cover, and a milk jug, all similarly decorated with bamboo design, all vessels with a plain shaped cartouche, the base embossed with ‘Shen Chang’ in Chinese, and ‘GW’ (3)

teapot: 18cm wide, 284g; sugar jar: 14.8cm wide, 206g; 11cm wide, 111g

Provenance: Private Scottish collection, Edinburgh.

蘇格蘭私人收藏，愛丁堡

Note: According to Chinese export silver expert Adrien Von Ferscht, Sheng Chang is a very important Canton silversmith of the late 19th century and should be considered one of the master silversmiths of that period. At this time, many of the best silversmiths had chosen to leave Canton for Hong Kong, but Sheng Chang decided to stay and the work he created is sometimes monumental in artistry. (A. Von Ferscht, Chinese Export Silver 1785-1940, 4th edition 2015).

£500-700

PAIR OF CHINESE CLOISONNÉ ENAMEL ‘GU’ WALL VASES

QING DYNASTY, QIANLONG PERIOD

清乾隆銅胎掐絲琺瑯蓮紋觚式壁瓶（一對）

each of archaic bronze ‘gu’ form, the bulbous body decorated with two blossoming lotus flowers separated by three raised flanges, the lower body and fluted upper part adorned with plantains and further lotus flowers against turquoise ground, all below a band of ruyi-head clouds to the neck, and a further band of continuous key-fret pattern around the mouth rim, the flat back has apertures for hanging (2)

22.5cm high each; 652g and 655g

Note: A comparable cloisonné enamel wall vase, slightly smaller in size and dated to the 18th century, is in the Metropolitan Museum of Art, New York, accession number: 29.110.39.

£500-700

PAIR OF CHINESE CLOISONNÉ ENAMEL

‘DRAGON’ GARLIC-HEAD VASES

LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初 ‘老天利製’刻款銅胎掐絲琺瑯雙龍趕珠紋蒜頭瓶含

木座（一對）

each decorated on the rounded body with a pair of dragons chasing flaming pearls against clouds, the shoulders and waisted neck similarly decorated with lotus flower heads borne on tendrils, with bands of ruyi, plantain leaves, lappets, and coins, the base incised with a four-character workshop mark ‘Lao Tian Li Zhi (Made by Laotianli)’, on wooden stands (2)

30.6cm high each; 2177g & 2130g

Provenance: Private Scottish collection, East Lothian; inherited from grandparents who were in Shanghai in the 1920s.

蘇格蘭私人收藏，東洛錫安郡；現任藏家祖輩 1920年代於上海入藏，後家族遞藏。

£500-700

CHINESE GILT-BRONZE CLOISONNÉ ENAMEL RIBBED TRIPOD CENSER

QIANLONG MARK

乾隆款銅胎掐絲琺瑯直筒式三足小香爐

the cylindrical body supported on three ruyi-cloud feet, the exterior decorated with horizontal bands of prunus and lotus leafy scrolls between raised ribs, all enamelled in vivid tones of white, yellow, red, blue and green against a rich turquoise ground, the base incised with a four-character Qianlong mark in double-square 4.5cm high, 123g

£600-800

CHINESE CLOISONNÉ ENAMEL

‘IMPERIAL POEM’ CONG-STYLE WALL VASE

QING DYNASTY, QIANLONG PERIOD

清乾隆銅胎掐絲琺瑯御製詩四季花卉圖琮式壁瓶

in the style of square-section cong vase with only two sides, the left side decorated with colourful flowers, the right side enamelled with an imperial poem together with two seals ‘Qian’ and ‘Long’, the reverse with remnant of textile

19.6cm high; 619g

Note: The imperial poem inscribed on the vase was composed by the Qianlong Emperor when he was still Prince Bao, before he ascended the throne, and is recorded in Yuzhi Leshantang quanji dingben [Complete works from the Delight in Goodness Hall, by His Majesty), vol. 24, pp. 15-16. The same poem, together with comparable flower decoration, were used to decorate famille rose vases dated to the Qing dynasty, Qianlong period, currently in the Palace Museum, Beijing, museum nos. Gu 故152392, 152357 and 152565. A cloisonné enamel cong-shape vase, decorated with flowers on the side, is also in the Palace Museum, Beijing, museum no. Gu故116134. A further comparable cloisonné enamel wall vase, of four-sectioned body and inscribed with an imperial poem, is in the National Palace Museum, Taipei, museum no. Zhongfa 中琺165.

本品乾隆御題詩出自《御製詩樂善堂全集定本》，為乾隆寶親王時期所作，原題為〈題蔣南沙相國畫屏五景〉。乾隆皇帝似乎對蔣廷錫作畫的花卉五景畫屏非常欣賞，多次將此題材融入其御製瓷器中，同一題詩及花卉紋飾可見於清乾隆時期三件粉彩瓶，皆藏於北京故宮，館藏號「故152392」、「故152357」及「故152565」。另參一銅胎掐絲琺瑯琮瓶，四邊施花卉紋，亦藏於北京故宮，館藏號「故116134」。臺北故宮藏有一件銅胎掐絲琺瑯轎瓶，腹正面填陰刻填墨隸書詩文，館藏號「中琺165」。 £3,000-5,000

CHINESE CANTON PAINTED ENAMEL PLATE WITH EIGHT BUDDHIST AUSPICIOUS SIGNS

QING DYNASTY, 18TH CENTURY

清廣東畫琺瑯八吉祥圖喜字盤

painted on the interior with the Ashtamangala- Eight Buddhist auspicious signs, including conch, endless knot, pair of fish, lotus, parasol, vase, victory banner and wheel of the law (dharmachakra), all surrounding a large red ‘xi-happiness’ character amidst bats and colourful ruyi clouds, the exterior similar decorated

17.1cm diameter

£600-800

PAIR OF CHINESE CANTON PAINTED ENAMEL BOWLS

QING DYNASTY, 18TH CENTURY

清銅胎畫琺瑯花卉紋碗（一對）

each finely painted on the exterior with pink flowers with tendrils against yellow ground below a key-fret band below the rim, the exterior further with flowers on blue ground (2) 12.6cm diameter each

£800-1,200

GROUP OF FIVE CHINESE CANTON PAINTED ENAMEL WARES

QING DYNASTY, 18TH-19TH CENTURY

清廣東畫琺瑯人物杯碟、油燈及鼻煙壺（共五件）

comprising: a foliate circular saucer painted with a European couple in a garden setting, the base with a two-character ‘Shang Wan’ mark; a square saucer with a male scholar playing qin instrument accompanied by his wife and a servant under large pine trees, the base with two-character ‘Zhu Ju’ mark; a dragon-handled cup adorned with literati and their attendants; a cylindrical oil lantern with floral decoration and removable oil tray; and a snuff bottle with figures, the base inscribed with an apocryphal Qianlong mark in blue (5)

largest saucer: 11.5 cm wide

£300-500

CHINESE CANTON PAINTED ENAMEL ‘EUROPEAN SUBJECT’ VASE

QING DYNASTY, 18TH-19TH CENTURY

清廣東銅胎畫琺瑯開光動物花卉及歐洲人物圖瓶

the elongated body painted with various animals, flowers, and European figures in foliate cartouches, all against a tendril background

27cm high

£500-700

CHINESE CANTON BLUE-GROUND PAINTED ENAMEL ‘EUROPEAN LIFE’ HEXAGONAL VASE

QING DYNASTY, 18TH CENTURY

清廣東銅胎畫藍地琺瑯歐洲人物生活圖六角大瓶

each side finely painted in floral cartouche with different European life including couples walking in the field, or workers building up wooden barrels, all in outdoor settings with small boats in the river afar and small houses on the hills, all against a blue ground

42cm high

£800-1,200

GROUP OF THREE CHINESE CANTON PAINTED ENAMEL WARES

QING DYNASTY, 18TH CENTURY

清廣東銅胎畫琺瑯賞玩款雲龍紋提梁壺、纏枝花卉紋渣斗及花卉紋方斗杯（共三件） comprising: a canted-corner square-section teapot painted with a dragon amidst colourful clouds on each side, 16.4cm high; a spittoon with wide foliated mouth and the lobed body painted with scrolling flowers, 6.5cm high; and a canted-corner square-section cup decorated with flowers, 3.3cm high (3) heights: 3.3cm to 16.4cm

Provenance: Private Scottish collection, Scottish Borders.

蘇格蘭私人收藏，蘇格蘭邊區

Note: Please note this lot will be offered with no reserve. 本拍品不設底價

£400-600

PAIR OF CHINESE CANTON PAINTED ENAMEL ‘ANTIQUITIES’ LIDDED BOWLS AND ONE BLUE ENAMEL LIDDED BOX

QING DYNASTY, 18TH-19TH CENTURY

清廣東銅胎畫琺瑯博古圖蓋碗一對及藍地粉紅花蓋罐（共三件）

the pair of bowls and covers each painted on the exterior with antiquities in three rectangular cartouches; together with a blue-ground enamel box and cover decorated with pink flowers on tendrils (3) the bowls: 11.7cm diameter each; the box: 8cm high

£800-1,200

73

CHINESE CANTON PAINTED ENAMEL ‘SCHOLAR’ RECTANGULAR TRAY

QING DYNASTY, 18TH CENTURY

清廣東銅胎畫琺瑯松下學士長方委角盤 supported on four bracket feet, the recessed interior finely painted with a scholar leaning on a rock table reading under a pine tree, an assistant holding a lingzhi fungus seated next to a basket full of peaches, another assistant holding a long staff, the canted cavetto adorned with fruits with flowers, the exterior decorated with zstylised kui-phoenixes against a light lime-green ground, the base with large peaches borne on flowering leaves, the mouth rim with copper mount 18.4cm x 30.4cm

Provenance: Private Scottish collection, Scottish Borders.

蘇格蘭私人收藏，蘇格蘭邊區

Note: Please note this lot will be offered with no reserve. 本拍品不設底價

£600-800

PORTRACK HOUSE, DUMFRIESSHIRE (LOTS 74-80)

Sir John Henry Keswick, KCMG (1906–1982) was an influential Scottish businessman in China and Hong Kong. He was the tai-pan of Jardine, Matheson & Co., the leading British trading firm in the Far East, and had established friendships with many Chinese politicians, including Zhou Enlai, Premier of the People’s Republic of China, and Madame Soong Ching-ling, wife of Sun Yat-sen during his stay in China. He was also a representative of the Special Operations Executive, a British intelligence service during the Second World War. Sir John spoke fluent Chinese. He was a Chinese art collector, particularly contemporary paintings. He married Clare Mary Alice Cynthia Catherine Celia Elwes (1905–1998) in 1940 and had a child Margaret Keswick (1941–1995) who founded Maggie’s Centres for those suffering from cancer.

蘇格蘭鄧弗里斯郡，波特拉克莊園宅邸，約翰·凱瑟克爵士及克萊爾·凱瑟克女爵舊藏。

約翰亨利凱瑟克爵士（1906-1982）是一名在中國及香港頗具影響力的蘇格蘭商人，曾任遠東最大英資財團怡和洋行大班一職。在中國期間與周恩來總理和孫中山夫人宋慶齡有過接觸。1940年，他與克萊爾瑪麗愛麗絲辛西婭凱瑟琳西莉亞艾爾維斯（1905-1998）結婚，育有一女瑪格麗特凱瑟克（1941-1995 年），後者創立了英國著名的慈善機構銘琪癌症關顧中心。

SINO-TIBETAN GILT BRONZE FIGURE OF VAJRAYOGINI

19TH-20TH CENTURY

十九至二十世紀銅鎏金空行母立像

striding in alidhasana, her left hand raised close to her face and her right stretched behind and clutching a chopper, adorned with a garland of severed heads, her wrathful face gazing to her left surmounted by a tiara, the hair falling in locks behind 14.9cm high; 545g

Provenance: The Estate of Sir John and Lady Clare Keswick at Portrack House, Dumfriesshire.

£300-500

RARE PAIR OF CHINESE ENAMELLED SILVER ‘CRANE AND TAIJI’ DISHES

LATE QING TO REPUBLIC PERIOD, FANG JIU XIA, SHANGHAI, CA. 1880-1925

清末民初「重慶方九霞」款外銷銀加彩松鶴太極圖盤（一對）

each vibrantly enamelled in the interior with a crane perching on a pine tree, the other in flight, all enclosing a taiji medallion, further detailed with fine incision, outer cavetto

covered in pale blue enamel, the base applied with a small rectangular panel marked ‘Chongqing Fang Jiu Xia’ (2) diameters: 21.2cm, 352g; 21cm, 344g

Provenance: The Estate of Sir John and Lady Clare Keswick at Portrack House, Dumfriesshire.

Note: According to Chinese export silver expert Adrien Von Ferscht, Fang Jiu Xia is one of the so-called ‘Nine Factories’ in Shanghai, however this is now a rare mark to come across. The mark is normally affixed with branch shops opened under the same banner and was quite common among the more established Shanghai silversmiths to open branches in this manner. (A. Von Ferscht, Chinese Export Silver 1785-1940, 4th edition 2015).

£300-500

SET OF THREE CHINESE FAMILLE ROSE ‘BOYS CARRYING SANDUO FRUITS’ VASES

20TH CENTURY

二十世紀粉彩童子捧三多花插（共三件）

each moulded with three boys respectively carrying large pomegranate, peach, and Buddha’s Hand citrus (3) heights: 24cm, 19.1cm and 18.9cm

Provenance: The Estate of Sir John and Lady Clare Keswick at Portrack House, Dumfriesshire.

£300-500

TWO CHINESE BLUE AND WHITE ‘FIGURAL’ WARES

青花人物紋三足蓋罐及西洋人物紋茶碗帶蓋（共兩件）

comprising: a cylindrical tripod jar with cover, painted with figures on the exterior, both sides flanked with two small loop handles; and a bowl with cover painted with Dutchmen (2) covered pot: 15cm high; bowl: 12.2cm diameter

Provenance: The Estate of Sir John and Lady Clare Keswick at Portrack House, Dumfriesshire.

£300-500

PAIR OF CHINESE INSCRIBED FAMILLE ROSE ‘CHICKEN AND BOY’ BOWLS

QING DYNASTY, 19TH CENTURY

清乾隆款外仿木紋釉内粉彩詩文碗（一對）

PAIR OF CHINESE FAMILLE ROSE BLUE-GROUND MOULDED ‘FIVE BOYS’ VASES

19TH-20TH CENTURY

十九至二十世紀乾隆款藍地粉彩五子登科方瓶（一對）

each painted with flower heads with scrolling foliage against a blue ground, further decorated with five moulded boys climbing on the vessel, the base inscribed with a six-character Qianlong mark against turquoise ground (2) 19.1cm high each

Provenance: The Estate of Sir John and Lady Clare Keswick at Portrack House, Dumfriesshire.

Note: Compare to a similar pair of vases, the blue ground further applied with sgraffiato, previously in the collection of Barone Angelo Pezzino di Geronimo, sold at Christie’s London, 12 May 2015, lot 137.

£400-600

each inscribed in the central medallion with an Imperial poem, painted to the sides with a scene of Jia Chang calling to the chickens surrounded by rockwork and peony, the exterior in a faux bois design, with a turquoise enamelled foot enclosing a six-character Qianlong mark (2)

diameters: 12.2cm and 12.3cm

Provenance: The Estate of Sir John and Lady Clare Keswick at Portrack House, Dumfriesshire.

Note: Two highly comparable bowls, one with Qianlong mark and dated to the period, note the similarity of the marks and turquoise-foot detail, sold at Christie’s London, 14 May 2010, lot 448; the other Qianlong mark but 19th century, formerly in the collection of Dr Wou Kiuan, sold at Sotheby’s London, 17 May 2023, lot 7.

£600-800

WANG WU (CHINESE, 1632-1690)

ALBUM OF THIRTEEN LEAVES, CA. 1687-1688AD

王武紙本設色花石蟲鳥圖水墨設色

紙本含題記冊頁十三幀

twelve ink and watercolour on paper depicting flowers, rocks, birds and insects, all sealed, one leaf of painting dated to the year of Ding Mao, corresponding to 1687AD; one ink calligraphy of an epigraph, dated to the year of Wu Chen, corresponding to 1688AD, signed and sealed of the artist

26.8cm x 40.7cm each leaf

Provenance: The Estate of Sir John and Lady Clare Keswick at Portrack House, Dumfriesshire.

Note: Wang Wu, from Suzhou, Jiangsu. His courtesy name is Qinzhong, late pen name Wang An, also known as Xuedian Daoren, Rushi Weng, and Bu Shan. Wang was a member of an important Ming dynasty literati family, the sixth-generation descendent of Wang Ao (1450-1524). Wang was a notable connoisseur and poet. His plum, narcissus, and rock paintings employ standard literati subject matter, excelled in mogu technique, the plants and rock symbolising the harmony of nature and the tenacious character of the scholar-official.

Wang suffered from illnesses in his old age, which was mentioned in one of the paintings and the epigraph of this lot, as they were created in his later years. They serve as testimonies of his perseverance in creative activities. A calligraphy titled ‘Fourth Poem Composed When In Sick’ is in the HSC Art Museum: https://www.hcsartmuseum.com/projects/13826/. The sentiment and calligraphy are comparable to the epigraph of this lot.

Also compare to an album of ten ‘floral’ paintings, the seventh leaf also dated to the year of Ding Mao, 1687AD, previously in the collection of the Qing Court, now in the National Palace Museum, Taipei, museum numbers Gu Hua 故畫117700001 to 故畫1177000010. Another album of twelve leaves by Wang Wu, depicting flowers, rock, birds and insects, first sold at Christie’s Hong Kong, 27 May 2013, lot 880, then sold at Poly Beijing, 7 Dec 2015, lot 16041.

Note 2: The seals that appeared in this lot have been compared to Wang Wu’s listing in Contag, V. and Wang, C.C. ed, 1966, Seals of Chinese Painters and Collectors of the Ming and Ch’ing Periods, Hong Kong: Hong Kong University Press, pp. 33-36. For details, please see the condition report.

王武（1631-1690），江蘇長洲人。字勤中，晚號忘庵，自稱雪顛道人、如是翁、不山。王鏊（1450-1524）六世孫。初以諸生入太學，風流倜儻，不屑科舉。自讀書賦詩外，若投壺蹴踘、彈碁馬射，技擊之術，與藝花種樹、豢魚籠禽之方，無不通究。家富收藏，又精於鑑賞，於宋元明諸家名蹟，往往心摹手追，務得其遺法。所畫花鳥動物，皆具足生意。名高當代，與惲壽平齊名。

王武晩歲病屢發，不復多作畫。故人有貧乏者，偶爾强之使作，王武欣然執筆曰：「願以佐吾子晨夕需！」（我願助您日用所需）族中有老父之孫女缺少嫁妝，王武復力疾為作數幅畫作以換得嫁妝。何創時書法藝術基金會藏有王武《行書病中雜詠之四》，其文韻、情懷及書法可與本品題記相比較，見何創時書法藝術基金會雲端博物館：https://www.hcsartmuseum.com/projects/13826/

清宮舊藏王武畫花卉圖一冊十幀，第七開落康熙丁卯年款，據此推測，此幀的成畫年代當亦去之不遠。本品第六幀亦落「丁卯九月」年款，題記再落戊辰年款，僅相去一年。故此推敲本品成畫年代與清宮舊藏花卉圖亦去不遠。參臺北故宮博物館，館藏號「故畫117700001」至「故畫1177000010」。另參王武繪花石蟲鳥圖冊頁十二開，先售於紐約佳士得，2013年5月27日，拍品880，後售於北京保利，2015年12月7日，拍品16041。

註：本品所見鈐印已與孔達、王季遷編：《明清畫家印鑑》，香港：香港大學出版社，頁33-36所列王武鈐印及落款相校對，詳情請參品相報告。

£5,000-7,000

PAINTINGS & WORKS ON PAPER

HE ZHENQIANG (CHINESE, 1937-2022)

TWO ‘LANDSCAPE’ INK PAINTINGS 何鎮強《二月陽朔》及《峽江勝境》紙本設色鏡框（兩幅）

both ink and watercolour on paper, signed ‘何 HE’ on lower left margin, framed (2)

53cm x 76cm each; frames: 76cm x 100cm each

Provenance: Private collection, Edinburgh;

Publication: Selected Paintings of He Zheng Qiang, Singapore: Orchard Gallery (豪珍画廊), 1992, pp. 25 & 45. With an original copy of the catalogue. The catalogue with titles of each painting: ‘二月陽朔’ (Yang Shuo in February) and ‘峽江勝境’ (Xia Jiang’s Picturesque).

私人收藏，愛丁堡；

著錄：《何鎮強畫集》，新加坡：豪珍画廊，1992年，頁25及45，含圖錄原件。圖錄載本品畫兩幅標題：「二月陽朔」及「峽江勝境」。

Note: He Zhenqiang was born in 1937 in Zhaoqing, Guangdong. He was a professor of Central Academy of Arts and Crafts, member of Chinese Artists Association. His works were exhibited in USA, Germany, Canada, Japan, Beijing, and Singapore in 1984-1992.

£800-1,200

CHINESE INK PAINTING OF BIRDS AND FLOWERS ATTRIBUTED TO SHEN QUAN (CHINESE, 1682-1760)

沈铨款花鳥圖絹本設色鏡框

款識: 沈南��

鈐印: 沈铨之印、南評

ink and colour on silk, signed and sealed of the artist, framed 38.5cm x 48cm

Provenance: Private Scottish collection, Edinburgh; inherited from current owner’s grandparents, an established legal family in the early 20th century.

蘇格蘭私人收藏，愛丁堡；家傳自現任藏家祖輩，祖輩乃愛丁堡顯赫司法世家。

£800-1,200

HAN MEILIN (BORN 1936)

INK PAINTING OF TWO FISH, DATED TO 1978

韓美林（1936- ）雙鱖魚圖水墨紙本設色

識文: 鱖／戊午年二月／學新(月/日)志正文？

鈐印: 美林

ink and colour on paper, painted with two mandarin fish (Siniperca chuatsi) in ink and brown shades, dated to the cyclical Wu Wu year (1978), signed and one seals of the artist, unframed

60.5cm x 56cm

Provenance: Private collection, London; the artist gave the painting to his friend, who was a professor in an Art Academy in Anhui, when he was teaching in Anhui Academy of Painting (1979-1985), thence by descent (by repute).

倫敦私人收藏；韓美林於1979-85年間在安徽畫院任教時，贈送給藝校教授的好友，後由家族遞藏（據傳）

Note: Han Meilin (b. 1936) is a celebrated Chinese painter, known for his ink paintings of charming and loveable animals, and most recognised today for his creation of the Fuwa dolls for the 2008 Summer Olympics in Beijing. Siniperca chuatsi, the mandarin fish (Chinese: 鱖魚), is a species of freshwater ray-finned fish from the family Sinipercidae, and found in lowland freshwater habitats throughout continental East Asia. Like his other animal paintings, this fish painting seeks to visualize the essence of its subject using simple forms and a minimal colour palette.

韓美林，1936年生於中國山東濟南。創作涉及廣泛，包括繪畫、書法、雕塑、陶瓷、設計以及寫作等方面。藝術風格獨到，致力於從中國文化傳統和大眾藝術中汲取精髓，並轉化為體現當代審美理念的藝術作品。2008申奧會徽、2008北京奧運吉祥物福娃出其妙筆，深得民心。韓美林筆下的鱖魚像他其他動物畫，試圖以簡易的輪廓及形式和極簡的色調來形象化其主題的本質。

£3,500-4,500

GROUP OF FOUR CHINESE INK RUBBINGS

兩幅《紅苗歸化圖》、《黑番投城圖》及《特勒驃》水墨紙本拓片（共四幅）

comprising: two ‘The Naturalisation of the Red Miao People’, 86cm x 231cm and 84.5cm x 227cm; one ‘Surrender of Foreign Power’, 85.7cm x 237cm; and one ‘Telebiao’- one of the six steeds of Zhao mausoleum, 134cm x 195cm (4)

Provenance: Private Scottish collection, Melrose; acquired in China in the 1940s when working for Shell, thence by descent. 蘇格蘭私人收藏，梅爾羅斯鎮；1940年間在中國就職於殼牌公司時入藏，後家族遞藏。

Note: The original ‘Telebiao’ stone carving with the other three steeds were broken into smaller slabs to be exported but intercepted during shipment. They were first stored in the warehouse of the Shaanxi Provincial Library and moved to the Shaanxi Provincial History Museum in 1949, now displayed in the Xi’an Forest of Steles Museum: https://beilin-museum.com/index. php?m=home&c=View&a=index&aid=2531

£300-500

SET OF FOUR CHINESE INK RUBBINGS OF THE NESTORIAN STELE

《大秦景教流行中國碑》水墨紙本拓片（共四幅）

ink on paper, comprising the rubbings from the headpiece, front and side of the Nestorian stele from the Beilin, Xian, 49cm x 31cm, 180cm x 84.5cm, 174cm x 25.5cm, 69cm 26cm (4)

Provenance: Private Scottish collection, Melrose; acquired in China in the 1940s when working for Shell, thence by descent.

蘇格蘭私人收藏，梅爾羅斯鎮；1940年間在中國就職於殼牌公司時入藏，後家族遞藏。

Note: This is a rubbing of a stele dated 781AD with an inscription that records the spread of the Nestorian faith from the Roman Empire to China during the 7th and 8th centuries.

The stele is decorated with dragons on the upper part, flanking the ‘title’ piece offered here. The Chinese text on the lower part contains 1756 Chinese characters. It records the work of the Nestorian missionaries during the Tang period.

A similar and comparable set of four rubbings, is in the British Museum, registration number 1989, 1004,0.1-4

£300-500

GROUP OF SIX CHINESE ‘FIGURAL’ INK RUBBINGS

三幅《至聖先師像》、觀音圖、達摩

圖及福祿壽圖水墨紙本拓片（共六幅）

comprising: three ‘Portrait of Confucius’, 152cm x 110.1cm, 152cm x 109cm, 151cm x 110cm; one depicting the Goddess of Mercy, signed Da Lishan, dated to the 44th year of the Kangxi reign (1705AD), 98.5cm x 46cm; one depicting Bodhidharma, signed Feng Dian, 113cm x 54cm; and one with the Three Stars Gods, signed Zhao Xixian, 111cm x 74cm (6)

Provenance: Private Scottish collection, Melrose; acquired in China in the 1940s when working for Shell, thence by descent.

蘇格蘭私人收藏，梅爾羅斯鎮；1940 年間在中國就職於殼牌公司時入藏，後家族遞藏。

Note: The original stone of the Portrait of Confucius was made by Yunli (1697-1738), also known as Prince Guo, in 1934. The stone is now in the Museum of Xi’an stele forest: https://www.beilin-museum.com/ index.php?m=home&c=View&a=index &aid=2640

£300-500

TWO-VOLUME ALBUM OF WOODBLOCK PRINTS BY QI BAISHI (CHINESE, 1864-1957)

BEIJING, RONG BAO ZHAI, 1955

1955年北京榮寶齋《新記詩箋譜》一函兩冊全

two thread-bound books in a silk-bound case, all titled ‘Beijing Rongbaozhai Xinji Shijianpu’, with 120 colour woodblock prints of letter papers by Qi Baishi, Chen Banding, Tang Dingzhi, and many others

each book: 31.4cm x 21.5cm x 0.5cm

Provenance: Private English collection.

英格蘭私人收藏

£800-1,200

GROUP OF TEN CHINESE ‘FIGURAL’ PAINTINGS LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初道教神仙圖四幅絹

本設色及外銷通草紙畫人物故事圖六幅鏡框（共十幅）

comprising: a set of four ink and watercolour on silk, painted with four Daoist deities and titled accordingly; and a set of six paintings on pith paper, depicting warriors in fights, framed (10) largest: 22cm x 33cm

Provenance: Private Scottish collection, Perthshire.

蘇格蘭私人收藏，伯斯郡

Note: Please note this lot will be offered with no reserve.

本拍品不設底價

£300-500

ALBUM OF CHINESE EXPORT WATERCOLOUR ‘CHINESE LIFE’ PAINTINGS

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初外銷水彩畫中國日常生活（共一冊約兩百幅）

watercolour on paper, each leaf painted with different aspects of ‘Chinese Life’ including legendary figures or deities, festival celebrations, marriage processions, lawsuits and punishment, various shops and occupations, tilling and weaving, different ranks of officers, each inscribed in pencil with Chinese and English with the title under the painting, about 200 paintings in the album

27cm x 21.5cm x 4cm

£2,000-3,000

ZHOU PEICHUN (CHINESE, ACTIVE CA. 1880-1910)

ALBUM OF ‘BEIJING RESIDENCE’ EXPORT PAINTINGS

清周培春各式北京居民圖設色紙本（共二十幅）

鈴印：北京周培春畫

paper bound album, 20 painted pages, ink and colour on paper, each page entitled with one seal of the artist, each page finely painted with various types of residents’ activities in Beijing, including feeding pigeons, walking on the street with snuff bottle in hand, or walking with pet bird etc., the cover with a red seal stamp for authentication from the artist’s workshop 26cm x 17.4cm

£1,500-2,000

FROM THE ESTATE OF DOROTHY BOHM (LOTS 91-93)

Dorothy Bohm was a British photographer based in London, best known for her deeply humanist and often poetic black and white street photography and, from the early 1980s, her painterly and sophisticated use of colour. She is considered a major figure in the history of British photography.

Bohm was born in 1924 in Koenigsberg, East Prussia and moved to England in 1939, as a refugee from Nazi persecution. By the age of 21, she was running her own very successful portrait studio in central Manchester, known as Studio Alexander. In the mid-1950s, she lived for a while both in Paris and New York before settling definitively in north-west London.

Her first solo exhibition, People at Peace, took place at the Institute of Contemporary Arts in London in 1969 and the following year saw the publication of her first book, A World Observed. Numerous more books and exhibitions would follow. In 1971 she was closely involved in the founding of The Photographers’ Gallery and served as its Associate Director for the next fifteen years. By the 1990s Dorothy was firmly established as one of the doyennes of British photography, with work in numerous public and private collections, including Tate, the Victoria & Albert Museum, Guildhall Art Gallery and the Musée Carnavalet, Paris. In 2009, she was elected an Honorary Fellow of the UK Royal Photographic Society. Although she stopped taking pictures in 2017, she remained passionately engaged with photography to the very end. Her life and work were recently celebrated by an exhibition at The Photographers’ Gallery, London and the publication of a new monograph, Dorothy Bohm at 100 – A Life in Photography.

SET OF THREE CHINESE INK AND COLOUR ‘THREE BEAUTIES’ PAINTINGS

QING DYNASTY, 19TH CENTURY

清紅拂女、楊貴妃及馮小憐三美圖水墨設色鏡框（共三件）

each depicting a beautiful lady, representing historical figures of Feng Xiaolian from the Northern Qi dynasty, and Hong Fu and Yang Guifei from the Tang dynasty, with frames (3) 22.7cm x 13.7cm each painting; 35.6cm x 24.5cm with frames

Provenance: From the Estate of Dorothy Bohm (1924-2023).

Note: These three ink paintings depicting the three beauties are based on a Qing dynasty woodblock printed book Bai Mei Xin Yong Tu Zhuan (Book of Hundred Beauties 百美新詠圖傳) first published in 1792. Based on the comparison of the original woodblock images, we can correct the identification of two beauties as Feng Xiaolian and Yang Guifei, instead of Zi Yun and Yin Hou.

£300-500

桃樂西鮑姆（1924-2023）舊藏。

桃樂西·鮑姆著名英國攝影師，以其深刻的人文主義和詩意的黑白街頭攝影以及自1980年代初以來對色彩的繪畫性和精緻運用而聞名。她被認為是英國攝影史上的重要人物。

鮑姆於1924年出生於東普魯士科尼斯堡，1939年為躲避納粹迫害而移居英國。21 歲時，她在曼徹斯特經營自己非常成功的肖像工作室Studio Alexander。1950年代中旬，她在巴黎和紐約生活了一段時間，最終定居於倫敦西北部。

1969 年，其首展《衆人和平》在倫敦當代藝術學院舉辦，隔年出版了她的第一本攝影集《觀察世界》。隨後有多部書籍及展覽問世。1971年，她密切參與了「攝影師畫廊」的創立，並在接下來的15年擔任畫廊的副總監。到了1990年代，鮑姆已成為英國攝影界的元老之一，其作品被許多公共和私人藏家收藏，其中包括泰特美術館、維多利亞和阿爾伯特博物館、市政廳美術館和巴黎卡納瓦萊博物館。

2009年，她被選為英國皇家攝影學會榮譽會員。儘管她在2017年停止了攝影事業，但她始終對攝影充滿熱情。其一生傳奇故事及攝作近期在倫敦攝影師畫廊舉辦了一場展覽，並出版新專著《Dorothy Bohm at 100 – A Life in Photography》。

CHINESE SCHOOL OIL PAINTING WITH THREE FIGURES

QING DYNASTY, 19TH CENTURY

清廣東外銷油畫人物圖木板設色木框

painted on wooden board with a seated male figure flanked by two young beauties and some rams under a large willow tree, with gilt-wooden frames

84cm x 50cm; 99cm x 65cm with frame

Provenance: From the Estate of Dorothy Bohm (1924-2023).

£600-800

CHINESE SCHOOL OIL PAINTING WITH TWO FIGURES

QING DYNASTY, 19TH CENTURY

清廣東外銷油畫人物圖木板設色木框

painted on wooden board with a standing beauty against a large pine tree facing a seated boy carrying a hat on his back, with gilt-wooden frames

84cm x 50cm; 99cm x 65cm with frame

Provenance: From the Estate of Dorothy Bohm (1924-2023).

£600-800

ZHU WENHOU (CHINESE, 1895-1961)

INK AND WATERCOLOUR ‘LONGEVITY’ SCROLL PAINTING, DATED 1940AD

朱文侯《以介眉壽》紙本設色立軸

款識: 以介眉壽、庚辰春仲、文侯朱嘉

鈐印: ▢、朱文侯印

ALBUM OF CHINESE SCHOOL ‘HUNDRED OCCUPATIONS’ DRAWINGS

QING DYNASTY, 19TH CENTURY

清水墨百工圖冊（共120幅一冊）

ink on paper, each leaf drawn with different occupations in Chinese society, in total 120 drawings

30.7cm x 30.2cm x 2.7cm

Provenance: Private English collection.

英格蘭私人收藏

Note: With an old leaf attached to the inner page, reading:“Chinese, 120 Drawings of labour & pleasure from youth & old age, male & female, indoors and out. Said to be ‘all done by hand’. Inscribed: ‘1853 - Hong Kong.’ Came into my possession in England (?), about 1900. Cecil Wedmore (?). April 1909”.

£500-700

ink and watercolour on paper, titled, dated to the year of Geng Chen, corresponding to 1940AD, signed and two seals of the artist, with a detached end scroll

75.5cm x 37cm

Provenance: Private Scottish Collection, Edinburgh. Inherited from the current owner’s uncle who worked in China in the 1980s-90s. Purchased in Duo Yun Xuan (朵雲軒) in Shanghai, with an original invoice of cultural relics and antiques, dated 12 October 1994.

蘇格蘭私人收藏，愛丁堡；1980至90年間由現任藏家叔父於中國就職時入藏自上海朵雲軒，含1994年10月12日朵雲軒文物古籍外銷統一發票原件。

£600-800

YANG LIZHOU

(CHINESE, BORN 1942)

PAINTING OF A SHEPHERD

BOY, DATED 1993

楊力舟《牧趣》紙本設色鏡框

款識: 牧趣。力舟寫於癸酉立夏

鈐印: 楊力舟、自在

ink and colour on paper, top right titled, dated to the Summer in the year of Gui You, corresponding to 1993AD, signed and sealed of the artist 64cm x 65cm

Provenance: Private collection, East Lothian.

私人收藏，東洛錫安郡

Note: Yang Lizhou and Wang Yingchun (husband and wife, for Wang’s painting, see lot 96) were both born in Shanxi in 1942 and graduated from the Xi’an Academy of Fine Arts and the Central Academy of Fine Arts. They jointly won the Gold medal at the Sixth National Art Exhibition in 1984 with the painting ‘The Taihang Mountains, Impregnable Fortress’.

£300-500

WANG YINGCHUN

(CHINESE, BORN 1942)

INK PAINTING OF THREE RAMS 王迎春《三羊開泰》紙本設色鏡框

款識: 三羊開泰、癸酉、迎春

鈐印: 王、迎春、無▢

ink and colour on paper, top left titled, dated to the year of Gui You, corresponding to 1993AD, signed and sealed of the artist, framed 61cm x 65cm

Provenance: Private collection, East Lothian. 私人收藏，東洛錫安郡

Note: Yang Lizhou and Wang Yingchun (husband and wife, for Yang’s painting, see lot 95) were both born in Shanxi in 1942 and graduated from the Xi’an Academy of Fine Arts and the Central Academy of Fine Arts. They jointly won the Gold medal at the Sixth National Art Exhibition in 1984 with the painting ‘The Taihang Mountains, Impregnable Fortress’.

£300-500

SET OF ELEVEN VOLUMES“ORIENTAL CERAMICS: THE WORLD’S GREAT COLLECTIONS”

STANDARD EDITION PUBLISHED BY KODANSHA INTERNATIONAL LIMITED, 1981 1981年原函精裝英文《世界博物館藏東方陶瓷》（一套共11冊）

All cloth bound and in original slipcases, including:

Volume 1: Tokyo National Museum, Tokyo

Volume 2: National Museum of Korea, Seoul

Volume 3: Museum Pusat, Jakarta

Volume 4: Iran Bastan Museum, Teheran

Volume 5: The British Museum, London

Volume 6: Percival David Foundation of Chinese Art, London

Volume 7: Musee Guimet, Paris

Volume 8: Museum of Far Eastern Antiquities, Stockholm

Volume 9: The Freer Gallery of Art, Washington D.C.

Volume 10: Museum of Fine Arts, Boston

Volume 11: The Metropolitan Museum of Art, New York each volume: 37cm x 27cm

Provenance: Private collection, England.

£1,000-1,500

COLLECTION OF TRANSACTIONS OF THE ORIENTAL CERAMIC SOCIETY, LONDON 倫敦東方陶瓷學會出版《Transactions of the Oriental Ceramic Society》（1969至2006年間38-39、41、43-66及68-70期）（共三十冊）

30 copies of Transactions of the Oriental Ceramic Society, 1969-2006, Volumes 38-39, 41, 43-66, 68-70

Provenance: Private collection, England.

£600-800

100

COLLECTION OF CHRISTIE’S ASIAN ART CATALOGUES

1965至2019年佳士得亞洲藝術拍賣圖錄（共147冊）

comprising: London, ranging from 1965-2019, 69; New York, ranging from 1982-2019, 45; Hong Kong, ranging from 1987-2015, 23; South Kensington, ranging from 1997-2006, 6; Amsterdam, ranging from 1989-1997, 3; Geneva, 1975; 147 books in total

Provenance: Private collection, England. £3,000-5,000

101

COLLECTION OF SOTHEBY’S ASIAN ART CATALOGUES

1960至2023年蘇富比亞洲藝術拍賣圖錄（共291冊）

comprising: London, ranging from 1960-2023, 276; Hong Kong, ranging from 1976-2005, 11; New York, ranging from 1985-1997, 3; Amsterdam 2007, 1; 291 books in total

Provenance: Private collection, England. £4,000-6,000

SNUFF BOTTLES, GLASS & JADE

102

CHINESE WHITE JADE SNUFF BOTTLE

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初白玉帶褐斑鼻煙壺

of flatted form with plain sides, the stone of white colour with brown spots, the stopper inset with brown glass bead 6.3cm; 7cm high with stopper

£300-500

103

TWO CHINESE SNUFF BOTTLES

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初琥珀隨形鼻烟壺及粉彩雕瓷松鼠葡萄鼻烟壺（共兩件）

comprising: a pebble-form root amber snuff bottle, irregular shape conforming to the natural outline of the pebble, the rich translucent material encompassing striated whorls in variegated shades of gold and honey, resembling knots in wood, and a moulded and enamelled porcelain snuff bottle, in the form of a white squirrel holding onto a leafy bunch of grapes, the swirling finial resembling vine (2) excluding stoppers: amber 4.9cm, 20g; porcelain 6.8cm wide

Provenance: Private Scottish collection, Edinburgh.

蘇格蘭私人收藏，愛丁堡

Note: A similar porcelain snuff bottle in the form of a squirrel, dated to the Qing dynasty, Jiaqing period, is in the Art Museum Princeton University, accession no. y1936-988.

£300-500

104

CHINESE PINK QUARTZ SNUFF BOTTLE

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初粉晶鼻煙壺 of ovoid pebble form with plain sides, with a stopper

6.3cm high; 7cm high with stopper

£300-500

105

CHINESE PALE CELADON JADE PERSIMMON-FORM SNUFF BOTTLE

QING DYNASTY, 18TH-19TH CENTURY

清青白玉雕柿形鼻煙壺

carved from an irregular pebble in low relief with leaves, the stone of pale celadon hue with russet inclusions, with a red stalk-form stopper

5.5cm high excluding stopper

£200-300

106

CHINESE COPPER RED WITH UNDERGLAZE BLUE SNUFF BOTTLE WITH THEATRICAL SCENE

QING DYNASTY, 19TH CENTURY

清青花釉裏紅戲劇人物故事圖鼻煙壺 of cylindrical form, finely painted in a continuous scene with some theatrical characters in different headdresses and their horses gathering in front of large doors and fences of a mansion, the base decorated with three branches of stylised pattern

8.6cm high without stopper; 9.4cm high with stopper

Note: The painting of this otherwise unrecorded subject is exquisitely well achieved. A closely comparable cylindrical snuff bottle, with very similar theatrical scene, design on the neck and the same pattern on the base, possibly from the same workshop, is in the collection of the Metropolitan Museum of Art, New York, accession number 1993.386.30.

£800-1,200

107

TWO CHINESE JADE SNUFF BOTTLES AND ONE SNUFF DISH

LATE QING DYNASTY TO EARLY REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初翡翠雕人物鼻煙壺含銀嵌翡翠蓋鈕、翡翠雕鼻煙盤及白玉雕鼻煙壺（共三件）

comprising: one jadeite snuff bottle with both sides carved in low relief with small figures in an outdoor setting, with jadeite stopper inset with silver mount, the underside of the silver stamped with a three-character hallmark; one jadeite snuff dish; and one white jade snuff bottle (3) the largest (the dish): 5.7cm diameter

£400-600

108

GROUP OF SEVEN CHINESE SNUFF BOTTLES

QING DYNASTY, 19TH CENTURY

清各式鼻煙壺（共七件）

comprising: one moss agate snuff bottle with a soapstone stopper; one of multi-coloured agate cleverly carved with red flower and a cat, with jade stopper; one of green and brown agate with a dark blue stopper; one of white jade; one of multi-coloured agate cleverly carved with a large chrysanthemum; one of yellow stone and in pebble form; and one of yellow stone in octagonal form (7) the largest: 7cm high; 8.3cm with stopper

£300-500

109

CHINESE AGATE CARVING OF ‘HEHE ERXIAN TWINS’ GROUP

QING DYNASTY, 19TH CENTURY

清瑪瑙巧雕和合二仙擺件

cleverly using the white, brown and black tones of the agate to carve into the mythical immortal twins, one holding up a round wicker box and the other holding a lotus pod and leaf, both figures with bright smiling faces

5cm wide

£600-800

110

GROUP OF SIX CHINESE JADE, AGATE AND ROCK CRYSTAL PIECES

各式玉雕、瑪瑙雕、水晶擺件及吊墜（共六件）

comprising: one white jade reticulated pendant carved into two playful cats and a butterfly; one pale celadon with russet inclusion jade carved into a mythical creature luduan in seated position; one rock crystal pendant carved in high relief with Three Abundances (sandou), including pomegranate, peach and finger citrus; one rock crystal small vase with pine tree, the lid carved with chi-dragon finial; one agate seated lion; and one agate pendant cleverly carved with white part into a boy, climbing onto a leaping dragon-fish in red (6)

largest: 8.8cm wide

£400-600

111

CHINESE ROCK CRYSTAL ‘WILD GOOSE’ VASE

QING DYNASTY, 19TH CENTURY

清水晶透雕雙雁銜穗瓶

of flattened form, carved in openwork with a pair of wild geese in flight holding branches of grains in their mouth, all on the side of a large slender vase incised with a key-fret band around the mouth

16cm high

£300-500

112

CHINESE GILT-DECORATED ‘DRAGON’ GLASS BOWL

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初 ‘乾(隆)年製’款金彩白料畫雙龍搶珠撇口碗

supported on a short foot and terminating into an everted rim, the exterior painted with two pairs of dragons amidst flowers with scrolling tendrils, the interior similarly decorated with four dragons encircling a further dragon in the centre, the base inscribed with a mark partially rubbed off with remnant of ‘Qian’ and ‘Nian Zhi’ characters in gilt squares

17.7cm diameter

£800-1,200

113 TWO CHINESE CARVED BLUE GLASS BOWLS

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初寶石藍料撇口碗（共兩件）

both bowls supported on a short foot with splayed rim, one carved with a butterfly in flight amongst lotus pond, the other carved with stylised flowers in leafy tendrils (2)

17.7cm and 18.2cm diameter

£300-500

115

CHINESE YELLOW JADE

CARVED ‘DOUBLE-DRAGON’ SEAL

黃玉雕雙龍首長方印

款識：旃檀林

of rectangular form, the finial carved with two dragons with their body entwined, the seal front carved with three characters reading ‘Zhan Tan Lin’, the stone of even yellowing celadon tone

4.5cm wide

£2,000-3,000

114

TWO CHINESE SOAPSTONE CARVINGS OF ARHATS

QING DYNASTY

清壽山石雕降龍羅漢及自在羅漢（共兩件）

one carved as a Xianglong Luohan (Taming Dragon Arhat) in seated position with a dragon on his right knee; the other carving as a Zizai Luohan (Peaceful Arhat) in similar seated pose (2)

heights: 5cm and 8cm

£500-700

116

GROUP OF FIVE CHINESE JADE AND SOAPSTONE SEALS

各式玉雕及壽山石雕印章（共五件）

comprising: one pale celadon circular jade seal in the form of a lotus pod; one white jade conjoined seal with rectangular and oval seal front, topped with a chi-dragon; one black and white jade with oval seal front topped with a mythical animal luduan; one white and red soapstone cubical seal with natural stone top; and one yellow soapstone of rectangular seal front with a double-horned animal finial (5)

heights: 2.6cm to 4.7cm

£800-1,200

117

CHINESE CARVED TIANHUANG

SOAPSTONE ‘CICADA’ SEAL

QING DYNASTY, 18TH-19TH CENTURY

清田黃雕石蟬鈕章

carved with a cicada on an oval plinth, the seal side with four characters 4.6cm high

Provenance: Formerly in a private collection, UK.

英國私人舊藏

£3,000-5,000

118

GROUP OF SIX CHINESE JADE AND AGATE PIECES

QING DYNASTY AND EARLIER

清及更早各式玉器及瑪瑙珠（共六件）

comprising: two jade beads, one jade disc with swirling motifs, one calcified small jade disc bi, one jade brush rest in the form of a rockwork, and one agate bead (6) widths: 1.2cm to 8cm

£500-700

TSAI'S JADE COLLECTION, TAIWAN (LOTS 119-123)

Mr. Sheng-Hsiung Tsai (蔡勝雄) is the founder and honorary chairman of The Association of Jade Collections (玉翫雅集) in Taiwan. He loves the research and collection of ancient cultural relics, focusing on ancient Chinese jades, goldware and wooden statues. He endeavours to promote jade culture. For example, he gave lectures on“Gold and Jade Jewelry of Nobles from the 14th to 17th Centuries”at The Tainan Lawyer’s Association and Hualien County Cultural Affairs Bureau Library in 2011 and 2012.

The Association of Jade Collections is Taiwan’s first professional jade research society registered with the Ministry of the Interior. It is composed of a group of elites from various professions who have great interest in jade and jade culture, and is committed to the preservation, promotion and inheritance of jade culture. This adheres to the central concept of moving closer to academics, allowing the majority of jade enthusiasts to improve their appreciation of jade through communication and research.

The Association regularly holds academic lectures. In 2017, it held the first large-scale“Exhibition of Jade Artifacts from the Tang, Song, Liao, Jin, and Yuan Dynasties”at the Chiang Kai-shek Memorial Hall in Taipei. The honorary chairman Mr. Sheng-Hsiung Tsai coordinated the publication of the exhibition catalogue Jade Artifacts from the Tang, Song, Liao, Jin, and Yuan Dynasties. The jade collections from The Association’s members were displayed at the“Exhibition of Jade Artifacts from the Ming Dynasty”at the Chiang Kai-shek Memorial Hall in Taipei to share the results of members’ collections and win unanimous praise from jade friends in Taiwan and abroad.

120

119

CHINESE PALE CELADON JADE CARVING OF A BADGER (HUAN)

MING DYNASTY

明青白玉雕獾

carved in round in recumbent position, its head turns towards the left and slightly raised with the support of two front paws, the long tail curling around the rear end, the bulging eyes and fur on the back minutely incised, the stone of pale celadon hue with some white inclusions

4.6cm wide

Provenance: Collection of Mr Sheng-Hsiung Tsai, Taiwan/ Publication: Chinese Jades (A.D. 1368-1644) from the Tsai’s collection, Taipei, May 2022, p.104-1

台灣蔡勝雄先生藏品

著錄：蔡勝雄，《玉堂佳器—榮宇軒明代玉器珍藏》，臺北，2022年，頁104，圖版一

£2,000-3,000

CHINESE WHITE JADE CARVING WITH RUSSET INCLUSIONS OF A MOTHER LION AND CUB

MING DYNASTY

明白玉帶沁雕母子雙獅戲球

carved in recumbent form, the mother lion turning her head to the right, her cub playing with a brocade ball to her side with one rear paw resting on her back, the stone of white tone with traces of a russet inclusions

5.5cm wide

Provenance: Collection of Mr Sheng-Hsiung Tsai, Taiwan.

台灣蔡勝雄先生藏品

£3,000-5,000

121

CHINESE WHITE JADE CARVING OF A RECUMBENT LION

MING DYNASTY

明白玉帶沁雕臥獅

carved in the round and four legs tucked under the body, its head turns towards the right, the bulging eyes and large bushy tail exquisitely defined, the stone of even white tone with some russet inclusions on the rear end

4.9cm wide

Provenance: Collection of Mr Sheng-Hsiung Tsai, Taiwan.

Publication: Chinese Jades (A.D. 1368-1644) from the Tsai’s collection, Taipei, May 2022, p.104-2.

台灣蔡勝雄先生藏品

著錄：蔡勝雄，《玉堂佳器—榮宇軒明代玉器珍藏》，臺北，

£3,000-5,000

蔡勝雄先生為台灣玉翫雅集玉協會創會及名譽理事長，喜愛古文物研究與收藏，專注於中國古玉器、金器與木雕神像，對於玉文化的推動不遺餘力，如 2011至2012年皆在台南律師公會及花蓮縣文化局圖書館主講「十四世紀至十七世紀貴族的金玉首飾」。

玉翫雅集玉協會是台灣第一個於內政部登記成立的專業研究玉器社團，由一群對玉器和玉文化有著莫大興趣的各行各業精英分子組成，致力於玉文化的保存、推廣和傳承，秉持向學術靠攏的中心理念，讓廣大的玉器愛好者透過交流研究提升玉器的鑑賞能力。協會例行舉辦學術專題演講，2017年並於台北中正紀念堂首次舉辦大型「唐宋遼金元玉器精品展」，並由名譽理事長蔡勝雄統籌出版《唐宋遼金元玉器》展覽圖錄。2023年11月19日至12月13 日，玉翫雅集會員藏品更於台北中正紀念堂展出「大明王朝暨歷代玉器展」，分享會員收藏成果，獲得海內外玉友們一致好評。

122

CHINESE WHITE JADE CARVING OF A HORSE AND MONKEY

MING DYNASTY

明白玉雕馬上封侯

carved in the round with a monkey crawling on the back of a recumbent horse, the monkey’s two front paws holding the rein extending from the horse’s head, the mane of the horse and fur of the monkey minutely incised, the stone of even white tone

5.1cm wide

Provenance: Collection of Mr Sheng-Hsiung Tsai, Taiwan.

Publication: Chinese Jades (A.D. 1368-1644) from the Tsai’s collection, Taipei, May 2022, p.94-1.

台灣蔡勝雄先生藏品

著錄：蔡勝雄，《玉堂佳器—榮宇軒明代玉器珍藏》，臺北，2022年，頁94，圖版一

£3,000-5,000

123

CHINESE CELADON JADE CARVING OF A SEATED TIGER

SONG TO YUAN DYNASTY

宋至元青玉雕虎

carved in seated pose with two straight front legs supporting the slightly arched back, the tiger has an alert expression with bulging eyes, long whiskers, grin mouth and pointed ears, its front forehead incised with a ‘Wang (King)’ character, the long tail and four paws minutely incised

5.3cm high

Provenance: Collection of Mr Sheng-Hsiung Tsai, Taiwan. 台灣蔡勝雄先生藏品

£5,000-7,000

125

CHINESE SPINACH GREEN JADE SQUARE BOX INLAID WITH WHITE JADE PLAQUE

QING DYNASTY, 18TH-19TH CENTURY

清碧玉嵌白玉板蓋盒

the spinach green jade box of square form, incised with a band of keyfret around the rim of the box and cover, the stepped cover incised with flower petals and further inlaid with a white jade plaque, which carved in low relief with a stylised shou-longevity character in the centre

7.9cm wide x 4.4cm high

£1,000-1,500

126

124

CHINESE PALE CELADON JADE CUP AND WHITE JADE PLAQUE INLAID SILVER BOX

QING DYNASTY

清白玉雕佛手嵌橢圓銀盒及青白玉雕杯帶木座

one jade cup supported on a short foot, one loop handle to one side, the stone of pale celadon hue with some russet inclusions, with a fitted wooden stand; together with on silver box incised with various flowers in tendrils on the side, the cover inset with a white jade plaque carved in low relief two large finger citrus on branches, the base of the box stamped ‘silver’ (2) widths: 8.6cm and 11cm

£700-900

CHINESE GREY AND WHITE JADE ‘PRUNUS TREE’ BRUSH POT

QING DYNASTY, 19TH CENTURY

清青花玉巧雕梅花樹筆筒

the cylindrical body supported on three short feet, one side carved cleverly from the white part in high relief with a prunus tree with rockworks

12.7cm high

£500-700

127

CHINESE CELADON JADE AXE

NEOLITHIC PERIOD

新石器時代青玉斧

flares slightly towards the softly bevelled, rounded cutting edge, with two hafting holes pierced from one side near the butt, the stone of a variegated pale celadon and white tone mottled with olive-green

20cm high

Provenance: Formerly in a private English collection

前英格蘭私人舊藏

£1,000-1,500

128

CHINESE GREY AND PALE CELADON JADE SCHOLAR’S ROCK

QING DYNASTY, 18TH CENTURY

清青花玉雕賞石擺件帶木座

standing on a narrow foot and expanding towards the top, carved and pierced in the form of a scholar’s rock, the perforated stone with grey and pale celadon tone, with russet patches and streaks, standing on a modernmade fitted wooden stand

27cm high; 34cm high on the stand

£800-1,200

130

CHINESE PALE CELADON JADE ‘BIRD AND FLOWER’ CIRCULAR BOX AND COVER QING DYNASTY, 18TH-19TH CENTURY

清青白玉雕花鳥紋圓蓋盒

129

CHINESE WHITE JADE ‘TAIJI AND EIGHT TRIGRAMS’ LIDDED BOX

QING DYNASTY, 19TH CENTURY

清白玉雕太極八卦圖筒形蓋盒

in the form of a barrel, the slightly domed cover carved in relief with a Taiji symbol surrounded by Eight Trigrams, the body of the box with a raised rope-like decoration, the stone of even white tone with icy inclusions

6.8cm high

Provenance: Formerly in a private English collection, acquired from Mr M. H. Antoinette who purchased this piece from Hong Kong in 1960s (by repute).

英格蘭私人舊藏；入藏自M.H.安托瓦內特先生（Mr M. H. Antoinette），其於 1960年間購自香港（據傳）。

£800-1,200

of compressed globular form supported on a short foot ring, the domed cover finely carved on top with a low relief medallion within a raised border, each enclosing two long-tailed birds perched or flying around a fruiting tree issuing from a pierced garden rock with spray of chrysanthemum, the smoothly polished stone of ideal even-pale celadon colour with a few icy inclusions 10.5cm diameter

Provenance: Formerly in a private English collection, acquired from Mr M. H. Antoinette who purchased this piece from Hong Kong in 1960s (by repute).

英格蘭私人舊藏；購自M.H.安托瓦內特先生（Mr M. H. Antoinette），其於1960年間購自香港（據傳）。

£3,000-5,000

131

CHINESE WHITE JADE ‘ENDLESS KNOT’ PAGE TURNER

QING DYNASTY

清白玉鏤雕盤長紋書籤 of elongated rectangular form, modelled curled at one end, carved and pierced to the top with nine endless knot motifs between wavy ribbons, the stone of even white colour with creamy tinge

31.3cm long

£1,500-2,000

132

CHINESE WHITE JADE ‘LOTUS’ CUP

QING DYNASTY

清白玉蓮瓣紋杯

supported on a recessed base, the lower part of the exterior carved in low relief with a band of lotus petals, further incised a fine line right below the mouth rim, the stone of even white tone

4.8cm high

£800-1,200

133

CHINESE PALE CELADON JADE BRUSH WASHER

QING DYNASTY, 19TH CENTURY

清青白玉雕雙龍力士筆洗

carved in the form of a large oval basin in the centre, flanked by two dragons supporting on either side, further carved in openwork with a strong man in squatting pose, with his muscular arms holding a large ruyi head, all supported on a large base incised with swirling clouds, the stone of even pale celadon colour

10cm wide

£700-900

134

CHINESE MOTTLED CELADON AND CREAM

JADE ‘ELEPHANT AND BOY’ GROUP

MING TO QING DYNASTY

明至清青玉帶沁童子騎象擺件

the elephant standing four-square with its head and trunk turned to the left and a boy holding a ruyi sceptre on its back, whilst another man standing aside, the elephant’s back incised with a saddle cloth decorated with rockworks motif in low relief and tassels, the stone of a mottled cream and brown tone with calcified areas

15cm wide

£600-800

135

CHINESE WHITE JADE CARVING OF A RABBIT

QING DYNASTY

清白玉雕瑞兔把件

carved as a rabbit in recumbent position, with legs tucked under the body and ears laid back, the smoothly polished stone of an opaque white tone with some russet skin on one side

5cm wide

£2,000-3,000

136

CHINESE CELADON JADE CARVING OF A RECUMBENT CAMEL

MING DYNASTY

明青玉雕雙峰駱駝擺件

the animal in recumbent position, turning its head to the left and looking backwards, its bulging eyes, two humps and curling tail minutely incised, the stone of celadon colour with russet inclusions especially on the back

9cm wide

£500-700

137

CHINESE GREY JADE CARVING OF TWO RECUMBENT HORSES

QING DYNASTY

清青花玉雕雙臥馬

the two recumbent animals finely carved with heads tilted and turned to each other, the legs tucked under the body, and their tails both flicked to the right side, the head minutely incised with well-defined mouth, nostrils, bulging eyes and pricked ears below the smooth manes, the well-polished stone of variegated grey colour with blackish veins

10cm wide

£500-700

138

CHINESE PALE CELADON JADE ‘CAPARISONED ELEPHANT’ RUYI SCEPTRE 19TH-20TH CENTURY

十九至二十世紀青白玉太平有象如意擺件

the sceptre with a characteristic ruyi-shaped head carved with a caparisoned elephant bearing a vase balancing two beribboned auspicious emblems, the long curved shaft carved in relief on top with a shou character above, a vase, double-fish, and chime and meandering tassels, ending with a bat, the stone of an even pale tone with russet inclusions on the top back, with attached silk tassel 30.2cm high

Provenance: Private collection, Glasgow.

私人收藏，格拉斯哥

£3,000-5,000

CHINESE FINELY CARVED WHITE JADE ‘RED CLIFF’ BOULDER QING DYNASTY, QIANLONG/JIAQING PERIOD 清乾隆/嘉慶白玉雕赤壁夜遊圖山子帶木座

the irregularly-shaped boulder delicately carved on the front from the poem ‘The Red Cliff’, in which the Song-dynasty poet Su Shi and his two companions Huang Tingjian and Foyin being ferried in a raft by an oarsman towards the Red Cliff studded with pine trees, while the details of the wispy clouds and waves finely incised, the reverse side carved in crisp relief with a jagged mountainous landscape, a pavilion partially hidden by rocks with a pine tree-lined staircase leading up to it, the surfaces rendered to resemble weathered rock, the softly-polished stone of creamy white colour revealing some amber streaks around the edges, with a fitted hardwood stand 17.1 cm wide

Provenance: Private collection, London; acquired from Christie’s Hong Kong, 30 May 2022, lot 2809; Formerly in the Quincy Chuang Collection, The Sze Tak Tang, Hong Kong; acquired from Bonhams Hong Kong, 26 May 2007, lot 238. Quincy Chuang was born in Shanghai, the brother-in-law of the famous collector Mr .J. M. Hu (1910-1997). Influenced by Hu, he also loves antiques, and he served as the chairman of Min Chiu Society for two terms. Chuang devotes himself to the public welfare of art and has often lent his treasures for museum exhibitions.

倫敦私人收藏，購自香港佳士得，2022年5月30日，拍品2809；香港世德堂莊貴侖舊藏，購自香港邦翰斯，2017年5月26日，拍品238。

香港實業家莊貴侖，出生於上海，是著名收藏家胡惠春先生的妹夫，受胡先生的影響，亦好古收藏, 曾任敏求精舍兩屆主席。莊先生力獻藝術公益之事，屢次借展寶蓄。

Note: Compare the carving to a pair of Qianlong period jade table screens also depicting ‘Red Cliffs’ in the National Palace Museum, Taipei, illustrated in The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch’ing Court, Taipei, 1997, no. 63, museum number Gu Yu 故玉2539N。赤壁主題及雕刻，比較清乾隆玉赤壁插屏一對，藏於臺北故宮博物院，見《宮廷之雅：清代仿古及畫意玉器特展圖錄》，台北，1997年，圖版63，館藏號「故玉2539N」。

£60,000-80,000

141

CHINESE WHITE JADE CARVING OF A SNAKE

QING DYNASTY, 19TH CENTURY

清白玉雕盤蛇

the body of the snake coiled up, incised overall with hexagonal scales, the eyes well defined and the split tongue extending out, the stone of even white colour and some brown patches on the top of the head and tail

5.5cm wide

£500-700

140

CHINESE WHITE JADE ‘TURTLE’ BRUSH WASHER

QING DYNASTY, 18TH CENTURY

清白玉雕龜鈕方形筆洗 of rectangular form, the middle of the brush washer finely carved with a turtle in high relief, the stone of even white tone with creamy tinge

6.5cm wide

Note: Compare to a white jade oval brush washer carved with geese in similar manner, dated to the Qing dynasty, 18th century and sold at Sotheby’s New York, 22 March 2023, lot 651.

£1,000-1,500

142

LARGE CHINESE PALE CELADON JADE CARVING OF A DUCK

QING DYNASTY, 18TH CENTURY

清青白玉雕鴨銜蓮花大擺件

naturalistically carved in the form of a standing duck grasping blossoming lotus flowers and lotus pod on stalks in its beak, the feathers on their closed wings delicately carved in low relief, the stone of even pale celadon tone

16.5cm wide

Provenance: Formerly in a private English collection, acquired from Mr M. H. Antoinette who purchased this piece from Hong Kong in 1960s (by repute).

英格蘭私人舊藏；購藏自M.H.安托瓦內特先生

（Mr M. H. Antoinette），其於1960年間購自香

港（據傳）。

£5,000-7,000

143

GROUP OF FIVE CHINESE JADE CARVINGS OF ANIMALS

MING TO QING DYNASTY

明至清青玉提油動物吊墜四件及白玉帶沁雕臥犬（共五件）

comprising: four celadon jade carvings of lion dog wearing a collar, a rabbit, a deer with large antler, and a ram, each animal in recumbent position with four limbs tucked underneath the body, with a hole drilled through the centre of the body, the celadon stone partially darkened; together with one white jade carving of a recumbent dog, the stone of reddish brown inclusions (5)

widths: 4cm to 6.5cm

£400-600

144

TWO CHINESE JADE ANIMAL CARVINGS OF LION DOG AND BEAR

QING DYNASTY, 18TH-19TH CENTURY

清白玉帶沁雕佛獅及青白玉雕熊擺件（共兩件）

one white jade carving of a Buddhist lion dog with russet inclusions, and a pale celadon carving of a bear, both animals turning their heads to the left and looking backwards (2)

widths: 3.7cm and 5cm

£800-1,200

145

CHINESE WHITE JADE CARVINGS OF MOTHER TIGER AND CUB AND A PALE CELADON

JADE PENDANT

QING DYNASTY

清白玉雕母子虎把件及白玉帶沁獸首刀型吊墜（共兩件）

one white jade carved into a seated mother tiger with her playful cub curling under her front paw, both vividly incised with bulging eyes; together with a pale celadon jade with russet inclusions pendant carved in the form of a knife with mythical animal makara’s head (2)

widths: 5.2cm and 8.5cm

£2,000-3,000

PRIVATE ENGLISH COLLECTION, ENGLAND (LOTS 146-154)

146

CHINESE WHITE JADE ‘WILD GOOSE AND LOTUS POND’ BELT HOOK

POSSIBLY YUAN DYNASTY

或為元代白玉帶沁雕荷塘秋雁帶扣鑲二十世紀歐洲鎏金銅方形底座

of oval form, reticulated carved with wild geese in lotus pond under large lotus leaves and flowers, the stone of white tone with brown inclusions, mounted on a 20th-century European-style gilt bronze square base

jade: 9cm x 7.5cm x 2.6cm; metal mount: 9.5cm wide x 2.5cm high

Provenance: Private English collection, England.

英格蘭私人收藏

£1,200-1,800

147

CHINESE WHITE JADE ‘DOUBLE-GOURD’ VASE

QING DYNASTY, 18TH-19TH CENTURY

清白玉雕蝙蝠如意雲紋葫蘆型小瓶帶木座

of a flattened double-gourd form, carved in low relief with bats in flight amongst ruyi-head clouds, the stone of even white tone, with a fitted wooden base

9.5cm high; 11.3cm high with stand

Provenance: Private English collection, England.

英格蘭私人收藏

£2,000-3,000

148

CHINESE WHITE JADE INSCRIBED ‘DRAGON BOAT’ PENDANT

QING DYNASTY OR LATER

清或以後白玉雕文人奕棋遊龍舟詩文玉牌帶木座

of rectangular form, one side carved with two literati playing chess on a dragon boat sailed by a boatman on wavy water, the reverse side inscribed with corresponding poem, all below stylised key-fret pattern, the stone of an even white colour, with a fitted wooden stand 5cm wide x 7.5cm high x 10.8cm deep

Provenance: Private English collection, England

英格蘭私人收藏

£2,000-3,000

149

CHINESE PALE CELADON JADE INSCRIBED ‘FLOWERS ON ROCK’ PLAQUE

QING DYNASTY, 18TH-19TH CENTURY

清青白玉雕花卉奇石御製詩玉片

carved on one side with flowers issuing from the rugged rocks, the reverse carved with a corresponding Imperial poem, the stone of even very pale celadon hue

11.3cm wide x 8.4cm high x 0.5cm deep

Provenance: Private English collection, England.

英格蘭私人收藏

£2,000-3,000

150

CHINESE PALE CELADON JADE INCENSE STICK HOLDER

QING DYNASTY, JIAQING MARK AND POSSIBLY OF THE PERIOD

清嘉慶款青白玉雕蓮花菱口香盤

of five-petal foliated form, the shallow dish supported on a short foot, the centre of the interior carved with a blossoming lotus with a hole in the middle for incense stick, the base incised with a four-character Jiaqing mark

11.8cm wide

Provenance: Private English collection, England.

英格蘭私人收藏

£3,000-5,000

151

CHINESE WHITE JADE CARVING OF A SEATED BUDDHA

QING DYNASTY

清白玉雕坐佛

seated in meditation position, with both hands in a dhyana mudra, wearing a long loose robe with neat pleats, his face with a serene expression with downcast eyes, the stone of an even white tone

8.7cm high

Provenance: Private English collection, England.

英格蘭私人收藏

£6,000-8,000

152

CHINESE WHITE JADE CARVING OF BOYS PLAYING BALL

QING DYNASTY

清白玉雕童子戲球擺件

lively carved with two boys playfully wrestling for a brocade ball, the smaller boy holding the ball in both hands, as the taller boy grabs the ball with one hand whilst his left hand covers the lower jaw of the smaller boy pushing him away, the translucent stone of white tone with some russet skin on the back 5.8cm high

Provenance: Private English collection, England.

英格蘭私人收藏

153

QING DYNASTY

清白玉雕象首銜環吊墜

£1,200-1,800

CHINESE WHITE JADE ‘ELEPHANT’ PENDANT WITH AGATE BEAD

carved in openwork with an elephant-headed sinuous creature forming an oval loop intertwined with a circular bi disc, the lower end further carved into a small mouse, the stone of white tone with some russet inclusions, together with an old agate bead in red tone the jade: 5.8cm high; the bead: 1.1cm wide

Provenance: Private English collection, England.

英格蘭私人收藏

£1,500-2,000

154

CHINESE WHITE JADE ARCHAISTIC ‘TAOTIE’ VASE AND COVER QING DYNASTY

清白玉雕如意耳活環饕餮紋扁瓶

of rectangular section rising from a splayed foot to high shoulders and a waisted neck, flanked by a pair of ruyi sceptre handles with loop ring, the body finely carved in raised relief featuring archaic designs of taotie masks, leaf lappets and key-fret scroll borders, the stone of even white colour with a slight green hue 14cm high

Provenance: Private English collection, England. 英格蘭私人收藏

Note: The taste for archaism during the Qing Dynasty is embodied in this vase, which draws its inspiration from archaic inlaid bronzes and reinterprets them. While the bands of taotie masks featured on Chinese bronzes from the Neolithic period, they have been stylised and placed on a vessel of modern silhouette and contemporary ruyi-sceptre handles. A closely comparable Qing dynasty example with taotie mask decoration, also similar in the square-sectioned body, is the collection of the National Palace Museum, Taipei, museum no. Gu Yu 故玉 253. Another white jade vase with similar design of ruyi-sceptre handles and looped ring, is also in the collection of the National Palace Museum, Taipei, museum no. Gu Yu 故玉 242.

清代慕古之情盡顯於此瓶中，乾隆皇帝慕古如痴，在藝術上極力倡導「復古」及「仿古」，強調玉器應向古器物學習，即謂「玩物仍存師古情」，此瓶亦然。新石器時代青銅器上所見的饕餮紋施於本品歷經風格化蛻變，具有清朝現代輪廓和創新的如意耳器物上。一件相似的清代饕餮紋白玉扁方尊，藏於臺北故宮，館藏號「故玉253」；另參一例近似的清青玉如意耳扁壼，藏於臺北故宮，館藏號「故玉242」，皆可資比較。

£8,000-12,000

156

CHINESE WHITE JADE ‘DRAGON’ BELT PLAQUE

MING DYNASTY

明白玉雕龍紋帶板

155

CHINESE WHITE JADE CARVING OF ‘BI’ PENDANT QING DYNASTY, 18TH CENTURY

清白玉雕螭龍紋小圓璧

of archaistic disc bi form, one side carved in high relief with a lizard-like chi-dragon with a branch of lingzhi fungus in its mouth, the other side carved with raised dots, the stone of even white tone 5.5cm diameter

£1,500-2,000

of rectangular shape, carved to one side with a writhing three-clawed dragon in the centre, with two deer on the lower ends and birds on the upper corners, all above breaking waves, the other side with four pairs of drilled holes at the corners

6.7cm high x 5.6cm high x 0.6cm deep

£800-1,200

157

GROUP OF NINE CHINESE JADE ORNAMENTS

各式玉雕把件及玉牌（共九件）

comprising: one celadon carving of a Daoist immortal Liu Hai carrying a three-legged toad and a string of coins on his shoulder; one pale celadon jade group of two wild geese holding a lingzhi fungus in their beaks; one calcified jade with russet inclusions carved with a carp leaping out from a lotus pond; one pale celadon jade flat pendant carved as a recumbent dog; one pale celadon jade fitting carved reticulated on one side with a large mythical creature; one pale celadon jade oval ornament carved reticulated with two wild geese in flower tendrils; one white jade circular plaque carved with boys at play; one pale celadon square jade plaque with a large wild goose; and one white jade plaque carved with a bat and fruit (9) largest: 6.7cm high

£500-700

158

THREE CHINESE CELADON JADE PLAQUES

QING DYNASTY, 19TH CENTURY

清青玉八卦穀紋璧、蝙蝠啣錢幣

玉牌及仿古瑞獸玉飾帶木座（共三件）

comprising: a jade bi with one side decorated with ‘Eight Trigrams’, reverse with bosses, 6.1cm diameter; a plaque pierced carved with a bat holding a coin, 6.3cm wide; and a rectangular plaque carved with archaistic mythical beast, 7.2cm wide, all with bespoke wooden stands (3) largest: 7.2cm wide

Provenance: Private English collection, Yorkshire.

英格蘭私人收藏，約克郡

£300-500

159

CHINESE WHITE JADE ‘DOUBLE BIRDS’ INSCRIBED PLAQUE

QING DYNASTY, 19TH CENTURY

清白玉雕綬帶鳥啣同心玉牌

160

GROUP OF FOUR CHINESE WHITE JADE ITEMS

各式白玉雕件（共四件） comprising: one jade ring; one reticulated pendant carved with two squirrels and grapes; one square-sectioned jade cup with dragon-head handle; and one group of three small seals connected with ring chains (4) the largest (cup): 9cm wide

£800-1,200

carved in low relief on both sides with a character in the middle, respectively reading as ‘Tong’ and ‘Xin’ (together meaning ‘with one heart’), flanked by a pair of birds carrying the same branch in their beak, the stone of even white tone

5.5cm high

£800-1,200

161

GROUP OF THREE CHINESE JADE PIECES

MING TO QING DYNASTY

明至清白玉雕劍飾及玉扳指 (共三件)

comprising: one white jade scabbard slide with raised dot pattern and taotie mask on one end; one white jade with russet inclusion scabbard with raised dot pattern; and one white jade with russet inclusion ring (3) the largest: 5.9cm wide

£500-700

163

162

CHINESE CARVED AND INSCRIBED WHITE JADE PLAQUE

QING DYNASTY, 19TH CENTURY

清白玉雕詩文人物玉牌

carved on one side with a couple meeting in a garden setting, on the reverse with a corresponding poem in relief, the stone of even white colour

7.8cm x 5.1cm

£1,000-1,500

LARGE CHINESE PALE CELADON JADE PLAQUE OF SCHOLAR ON BOAT

QING DYNASTY, 19TH CENTURY

清青白玉雕學士撫琴渡船嵌板

carved on one side with a scholar seated on the front of a boat and playing musical instrument qin, the back of the boat with a standing boatman, the stone of uneven pale celadon colour with yellowish and greyish tones

20.4cm wide

£400-600

164

TWO CHINESE JADE PENDANTS

MING TO QING DYNASTY

明至清白玉雕虎鼠富貴吊墜及青玉提油靈鹿銜

荷吊墜（共兩件）

one white jade carving of a circular pendant with a powerful tiger and a mouse on the top; together with a celadon jade pendant carved with a seated deer holding a blossoming lotus on a podium (2)

heights: 6.2cm and 7.3cm

£500-700

166

TWO CHINESE PALE CELADON JADE PLAQUES

QING DYNASTY, 18TH-19TH CENTURY

清青白玉雕玉嵌板（共兩件）

165

CHINESE WHITE JADE ‘TWIN FISH’ PLAQUE

QING DYNASTY

清白玉雕雙魚慶壽玉牌帶木座

carved reticulated with two fish holding a ribbon in their mouths together above a large qin musical instrument, a bat with spreading wings supporting below, the jade of white tone with some grey and black inclusions, with a fitted wooden stand

9.7cm wide

£400-600

one of ruyi-head form, one side carved in mid-relief with an immortal holding a peach under large pine tree in an outdoor setting; the other of oval form, one side carved in high relief with gourds in leafy tendrils; both stone of even pale celadon colour (2)

widths: 6.7m and 9cm

£700-900

167

CHINESE CELADON JADE ARCHAISTIC GUI-FORM CENSER

QING DYNASTY, 18TH-19TH CENTURY

清青玉雕仿古饕餮紋雙螭耳簋式爐帶透雕玉鈕木蓋

supported on a tall splayed foot, the squatted globular body carved on either side in low relief with a large taotie mask divided by three raised flanges, the body flanked with a pair of reticulated chidragon handles, the foot carved with plantain leaves, the wooden cover carved with tendrils in openwork, topped with a pale celadon jade finial with bird and flowers

16.7cm wide

£1,000-1,500

168

LARGE CHINESE SPINACH GREEN JADE

‘BAT AND LINGZHI’ VASE AND COVER

QING DYNASTY, 19TH CENTURY

清碧玉雕祥蝠靈芝紋大蓋瓶

the flattened vase flanked by a section of pine tree trunk and a large branch of lingzhi fungus, with a bat in flight on one side, the cover topped with a recumbent lion, the spinach green stone with dark inclusions

23.1cm high

Provenance: Private collection, England, acquired from an English estate.

£1,500-2,000

169

MASSIVE PAIR OF CHINESE SPINACH-GREEN-JADE ARCHAISTIC RITUAL WINE VESSELS WITH COVERS, FANG LEI 20TH CENTURY

二十世紀大型碧玉饕餮獸紋帶蓋方罍連木座（一對）

each of rectangular form, decorated in shallow relief with bands of taotie masks and the lowest a band of plantain leaves infilled with kui-phoenixes, front centre with a vertical row of three mythical beast head knobs, scrolling flanges on the edges and centre, two mythical beast heads holding rings as side handles, the dark green stone with areas of darker spinach-green mottling, on wooden stands (2)

81.2cm high each; on stand: 100cm and 101cm high

Provenance: Private Irish collection, Holywood; acquired by current owner’s parents in San Francisco, USA, about 20 years ago.

北愛爾蘭私人收藏，霍利伍德鎮；約廿年前由現任藏家父輩入藏自美國舊金山

Note: These jade versions of covered vessels are based on the ritual wine containers, lei, made of bronze, only produced briefly from the late Shang (c.1600-c.1046 BC) to early Western Zhou dynasty (c.1046-771 BC). The square form of these vessels, fang lei, are the rarest and most prized, produced only in the Late Shang dynasty. A related bronze archaistic and documented fang lei, of similar form to this lot, of the Shang dynasty, previously in the Qing Court, now in the Palace Museum, Beijing, museum number: Gu 故77483. Also see a bronze covered wine vessel (fang lei) with design of zoomorphic masks and animal-headed handles, in Saint Louis Art Museum, object number 2:1941a,b.

本品碧玉方罍是仿青銅器而作。罍，古代盛酒器，最早見於商代晚期，流行至春秋時期，有圓方二種形式。圓形罍在商、周初期都有，方罍只出現在商代晚期。參一清宮舊藏商代青銅方罍，形制與本品相似，現藏於北京故宮，館藏號「故77483」；另見一西周青銅方罍，藏於聖路易藝術博物館，館藏號「2:1941a,b」。

£3,000-5,000

172

GROUP OF FOUR CHINESE JADE AND JADEITE PIECES

QING DYNASTY, 19TH CENTURY

清白玉雕童子把件、青玉雕小杯、翡翠雕童子把件及翡翠翎管（共四件）

comprising: one white jade carving of a body holding a large leaf with a dog aside; one celadon jade cup; one jadeite carving of a boy holding a lotus bud with a bird aside; and one jadeite tubular pendant (4)

heights: 3.2cm to 7.3cm

£600-800

170

CHINESE GREEN AND LAVENDER JADEITE FIGURE OF SHOULAO 20TH CENTURY

二十世紀紫羅蘭翡翠雕壽老擺件

standing straight up with his right hand holding his long beard, left hand holding a long staff bearing peaches and a double-gourd hanging on the back, the stone of pale lavender hue flecked with apple-green and milky mottling

26.2cm high

Provenance: Private collection, Glasgow.

私人收藏，格拉斯哥

£400-600

171

CHINESE JADEITE CARVED

‘BIRD AND FLOWER’ PENDANT 20TH CENTURY

二十世紀翡翠透雕花鳥紋長方吊墜

of rectangular shape, both sides reticulated carved with birds and flowers, the stone of bright apple green colour

6.1cm x 3cm

Provenance: Private English collection.

英格蘭私人收藏

£600-800

173

CHINESE GREEN AND LAVENDER JADEITE FIGURE OF GUANYIN WITH BIRD 20TH CENTURY

二十世紀紫羅蘭翡翠雕觀音擺件帶木座

the deity seated on a large bird and holding a ruyi sceptre in her left hand and silk ribbon around her body, the bird in standing position with layered tail draping to the ground, holding a branch of flowers in its mouth, the stone of pale lavender hue flecked with apple-green and milky mottling, with a fitted wooden stand 17cm high; 22.5cm high including stand

£1,000-1,500

174

GROUP OF FOUR CHINESE JADEITE ORNAMENTS

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初

翡翠透雕螭龍紋玉牌項鍊、翡翠水滴式耳環一對、翡翠戒指及「足」、「金」、「LIU」款翡翠金托珠串手鍊（共四件）

comprising: one necklace composed of a rectangular jadeite plaque with reticulated carved chi-dragon together with jadeite and pearl-like beads; one pair of tear-shaped jadeite earrings; one jadeite inset ring; and one jadeite inset gold base bracelet with pearl-like strings, the gold base with ‘Zu (pure)’, ‘Jin (gold)’ and ‘LIU’ mark (4)

the jadeite plaque of the necklace: 5.6cm high x 3.7cm wide x 0.5cm deep

Provenance: Private English collection.

英格蘭私人收藏

£400-600

176

GROUP OF THREE CHINESE JADE ITEMS

翡翠雕玉猴、黃玉雕坐佛及青玉雕花藍式吊墜（共三件）

comprising: one jadeite monkey; one yellow jade Buddha seated on lotus base; and one celadon jade reticulated pendant carved into a flower basket (3) the largest (flower basket): 5cm high £800-1,200

175

CHINESE JADEITE AND QUARTZ BANGLES

翡翠及石英手鐲（共兩件)

one jadeite bangle with bright apple green and translucent light green colour; the other quartz bangle with nearly transparent texture and some dark green inclusions (2)

diameters: 8cm and 8.8cm

£400-600

177

GROUP OF FOUR

CHINESE JADEITE PIECES

19TH-20TH CENTURY

十九至二十世紀各式翡翠雕件飾（共四件）

comprising: one jadeite recumbent horse; one jadeite pendant carved with group of lingzhi fungus; one jadeite rectangular inscribed plaque; and one translucent pendant carved with squirrel, grapes and double gourd (4) the largest: 6cm wide

£400-600

CERAMICS

178

LARGE CHINESE GREY POTTERY COCOON JAR

WESTERN HAN DYNASTY

西漢弦紋灰陶繭型壺

the cocoon-shaped vessel burnished and scored with linear bands, raised on

Provenance: Private collection, London; The result of Oxford Authentication Ltd. thermoluminescence test no. C124k7 is consistent with the dating of this lot.

倫敦私人收藏；

本拍品經牛津熱釋光檢測編號C124k7，結果與其斷代相符。

179 TWO PAINTED POTTERY DWARFS

TANG DYNASTY

唐加彩侏儒陶俑（共兩件）

each wears a short, overlapping coat tied with a belt at the waist, the right arm half raised with clenched fist, whilst the left arm hangs beside the body, carrying a large sack across shoulders, the head covered with a tightly fitting hat, and the minutely modelled face has an amused expression with deeply defined facial features, with traces of red and black pigment visible on the clothes and hat (2) heights: 12.2cm and 12.5cm

Provenance: Private collection, London;

The result of Oxford Authentication Ltd. thermoluminescence test no. C124k5 is consistent with the dating of this lot.

倫敦私人收藏；

本拍品經牛津熱釋光檢測編號C124k5，結果與其斷代相符。

Note: It is well known that the potters of the Tang dynasty took great delight in depicting the unusual characters that arrived in China along the flourishing trade routes. Figures of foreign grooms are often seen, as are servants and entertainers. Dwarves, however, are very rare. They were mostly sent from Africa, Japan or Southeast Asian kingdoms to the Tang court or nobility as tribute gifts; see ‘Appreciate the painted pottery dwarfs in the collection of the Zhaoling Museum in World of Antiquity, 2017(05), pp. 58-61. The facial features of this pottery figure are distinctly non-Chinese and have been slightly exaggerated for effect. A comparable example, similar in size, gesture, facial expression and costume, is in the collection of the Metropolitan Museum of Art, accession number: 1985.208.6. Another closely comparable example was in the Seligman Collection and now in the collection of the British Museum, registration number: 1973,0726.187.

£1,500-2,000

Note: A closely comparable pottery cocoon jar of very similar form and design, dated to the Western Han dynasty, is in the collection of the National Palace Museum, Taipei, museum no. Gu Za 故雜1175. According to the museum research note:“[translated from Chinese text] Most cocoon jars are unearthed from tombs and are distributed in Shaanxi, Henan, Shanxi, Jiangsu and Gansu provinces. This vessel was an old collection of the Qing Court. Although the location of its discovery cannot be traced back, its shape is similar to that unearthed from the Yangling Mausoleum of Emperor Jing of the Han Dynasty. The relative firing time can be compared, and it is regarded as dating from the Western Han Dynasty (around the second century BC). See https://digitalarchive.npm.gov.tw/Antique/Content?uid=1466&Dept=U

£2,000-3,000

180

TWO STRAW-GLAZED POTTERY TOMB GUARDIANS

SUI TO EARLY TANG DYNASTY

隋至初唐米黃釉墓葬陶俑帶黑色方形底座（共兩件）

each modelled as a standing official, wearing a breastplate and long trousers tied above the knee, the hands clasped before chest, the face detailed with serious expression, covered overall in a creamy yellow glaze, with a black square base (2)

heights: 39cm and 38.5cm

Provenance: Private collection, London;

The result of Oxford Authentication Ltd. thermoluminescence test no. C124k9 is consistent with the dating of this lot.

倫敦私人收藏；

本拍品經牛津熱釋光檢測編號C124k9，結果與其斷代相符。

Note: A closely comparable pottery figure of a guardian covered in similar straw-glaze, 38.2 cm high, dated to the Sui dynasty, is in the Brooklyn Museum, accession number 34.5652.

£3,500-4,500

181

CHINESE YUE-WARE CELADON-GLAZED BOWL

FIVE DYNASTIES OR LATER

五代或更晚越窯青釉碗 of plain form, covered overall with a green glaze save for the six spur marks on the base 16.9cm diameter

Note: Bowls from the Yue kiln with bi-disc-form base are more commonly seen. Compare to a Yue ware lobed bowl with green glaze, standing on a glazecovered ring foot, with three spur marks on the base, is in the National Palace Museum, Taipei, museum number Zeng Ci 贈瓷000424N; Another Yue Ware notch-rim bowl with incised decoration, dated to the Late Tang and Five Dynasties period, with spur marks on the base and also interior, is in the Shaowu City Museum, Fujin Province.

£600-800

182

CHINESE YUE-WARE CELADON-GLAZED LAMP

STAND SUPPORTED BY A FOREIGN FIGURE

WESTERN JIN DYNASTY OR LATER

東晉或以後越窯青釉胡人立柱燈盞

made in three parts with a foreign-figure as the central column in between a shallow upper bowl and lower dish, the figure wearing a long robe with impressed circular pattern, both hands raised holding a dog-like animal in front of his chest, the lamp covered overall in an olive green glaze with crackles 15cm wide

Note: A closely comparable Yu lamp stand, similar in the foreign-figure central column and dated to the Western Jin Dynasty, is in the collection of the Liyang Museum, Jiangxu province; see: https://m.sohu.com/a/356841756_999669 39/?pvid=000115_3w_a Another comparable lamp stand supported by a bear, also dated to the Western Jin dynasty, is in the Sir Percival David collection, British Museum, registration number: PDF.A202.

£1,500-2,000

CHINESE YUE-WARE ‘LOTUS’ JAR

FIVE DYNASTIES TO NORTHERN SONG DYNASTY 五代至北宋越窯青釉刻蓮瓣紋罐

of compressed globular form with a flat inverted rim, supported on a short foot ring, the body decorated with a band of lotus petals carved in delicate relief, covered overall in a pale olive-green glaze exhibiting a dense web of crackles

12.5cm wide

Note: A Yue ware jar of similar shape and decoration from the highlands of Jambi Sumatra, one of many found in Indonesia is published in ORIENTAL CERAMICS The World’s Great Collections, Vol. 3: Museum Pusat, Jakarta, 1982, colour pl. 73, and discussed p. 170 (12.6cm diameter, dated as Five Dynasties or Song dynasty). For another globular jar with similar lotus petal decoration, also as Yue ware from the Five dynasties or Early Song period, 10th century, see ORIENTAL CERAMICS The World’s Great Collections, Vol. 10: Museum of

六朝越州窯米黃釉四繫盤口壺帶日本木盒

the wide shoulder of the bulbous body attached with four upturned looped handles, the waisted neck surmounted with a disc-shaped opening, covered overall in a transparent creamy green glaze with yellowish tone, pooling at the concave parts with dark green colour, the base unglazed revealing the stoneware body, with a Japanese wooden tomobako

24.5cm high

£2,500-3,500

Provenance: Formerly in a private Japanese collection. 前日本私人舊藏

Note: A comparable Yue-type four-handled jar dated to the Western Jin dynasty, is in the collection of the Tokyo Fuji Art Museum, https://www.fujibi.or.jp/collection/artwork/01441/ Another Yue-type handled jar with closely comparable form but further decorated with combed pattern and brown glaze, dated to the Eastern Jin dynasty, is in the collection of the Shanghai Museum, https://www.shanghaimuseum.net/mu/ frontend/pg/m/article/id/CI00004871

CHINESE DING-TYPE WHITEGLAZED BOWL AND BRONZE LION-DOG WATER DROPPER

SONG AND QING DYNASTY

宋定窯系小碗及清銅鑄佛獅

the small bowl supported on a short foot, with slightly curved sides, covered overall in a white glaze with ivory tinge, the unglazed base with remnant of ink; together with a bronze water dropper moulded in the form of a Buddhist lion-dog, with a circular opening on its back (2) the bowl: 11.5cm diameter; the lion-dog:

186

CHINESE MARBLED SAUCER DISH

SONG DYNASTY OR LATER

宋或以後絞釉盤

with flat base and flaring sides, the body with black-andwhite marbled effect

10.3cm diameter

Note: Compare to a white marbled saucer dish of similar form and marbled effect, dated to the Northern Song dynasty, sold at Sotheby’s New York, 26 September 2023, lot 1232.

£500-700

DING-TYPE FIGURE OF A BOY RIDING LION

NORTHERN SONG/JIN DYNASTY

北宋/金定窯系白瓷童子騎師塑像及長沙窯系鳥形哨、青釉雞心小罐（共三件）

finely moulded as a boy playfully riding a Buddhist lion dog, covered in a translucent white glaze with ivory tinge; together with a Changsha-style bird form whistle and a celadon-glazed small jar (3)

6.5cm high

£600-800

CHINESE SHUFU WHITE-GLAZED BOWL AND QINGBAI DISH

YUAN AND SOUTHERN SONG DYNASTY

元樞府卵白釉印花折腰碗及南宋影青碟

the bowl with steep gently waisted sides set on a stem foot, interior moulded with lotus scrolls, covered in a white glaze with pale celadon tinge; the dish of plain form with steep short sides (2) diameters: 11.7cm and 11cm

A highly comparable shufu white-glazed bowl, also dated to the Yuan dynasty, previously in the Claire and Francis Heritage Lane collection, offered at Sotheby’s Hong Kong, 27 November 2020, lot 329; Also compare to a Luanbai-glazed bowl with similar form, Yuan dynasty, in the Palace Museum, Beijing, museum no. Xin 新00083195.

£400-600

189

CHINESE QINGBAI-GLAZED INCISED BOWL

SOUTHERN SONG DYNASTY

南宋青白篦劃紋碗

190

TWO CHINESE QINGBAI ‘MUSICIAN’ FIGURES MING DYNASTY

明青白釉童子奏樂擺件（共兩件）

of conical form, the interior divided into six sections by raised ribs, the centre incised freely with combed wave, applied overall with an elegant pale blue glaze tinged with green, the flat foot unglazed

18.3cm diameter

£500-700

one depicted playing a flute, the other with a percussion instrument (2) 13cm high each

Provenance: Private Dutch collection.

荷蘭私人收藏

Note: Please note this lot will be offered with no reserve. 本拍品不設底價

£300-500

CHINESE LONGQUAN CELADON-GLAZED STAND

YUAN DYNASTY OR LATER

元或以後龍泉青釉褐斑鏤空器座 with dabs of ‘tobi-seiji’ brown spots

Compare to a Longquan celadon ‘tobi seiji’ stand, Yuan dynasty, in the Tokyo National Museum, museum no. TG-2512; Another similar example, Yuan to Ming dynasty, sold at Sotheby’s Hong Kong, 25 May 2022, lot 363.

192

CHINESE LONGQUAN CELADON-GLAZED ‘TIGER’ VASE

MING TO YUAN DYNASTY

明至元龍泉青釉刻虎紋蒜頭瓶

the bulbous body incised with a tiger, the elongated body surmounted with a garlic-head mouth, covered overall with an olive-green glaze

22.5cm high

£800-1,200

193

CHINESE LONGQUAN CELADON-GLAZED ‘FIGURAL’

SURPRISE CUP

YUAN DYNASTY

元龍泉青釉堆塑公道杯/驚喜盞

the body springing from a short spreading foot to flaring mouth rim, the exterior moulded with ribbed sides, the interior moulded in high relief with an unglazed figure, the rest of the cup covered in an olive green glaze leaving the base unglaze and revealing the stoneware body

8cm diameter, 6.5m high

Provenance: Private Hong Kongese collection.

香港私人收藏

Note: This cup was probably used for drinking wine and might have been used in conjunction with a stand. A Jun-glaze cup also has a small figure inside, dated to the Northern Song to Jin dynasty, is in the Sir Percival David collection at the British Museum, registration number: PDF 47. A closely comparable Yuan dynasty Longquan celadon cup with figure in the interior, unearthed in 1959 when the Penglai reservoir was being built, was collected by the Yantai Regional Museum in 1962 and currently in the collection of the Yantai Municipal Museum, Shandong Province.

£3,000-5,000

194

LARGE CHINESE LONGQUAN CELADON-GLAZED CARVED CHARGER

MING DYNASTY

明龍泉青釉劃花大盤

heavily potted, centre of the interior incised with a lozenge and trellis pattern within a triple line foliate border, the cavetto encircled by a frieze of flowering stems, covered overall with a thick lustrous celadon glaze, unglazed ring on the base revealing the burnt reddish brown buff body 45.4cm diameter

Provenance: From the collection of Captain (later Colonel) Alexander Stalker Lancaster CIE OBE (1893-1967), thence by direct descent.

Alexander Stalker Lancaster was born on the 19th of March 1893 at Middleton Place in Patterdale. On the 1st of December 1935, Alex was posted to Kabul in Afghanistan, to be Military Attaché with the British Legation until 1948. The London Gazette made the official announcement that Lt. Col. A. S. Lancaster, C.I.E., O.B.E, retired on the 29th of August 1949 and was granted the honorary rank of Colonel.

大英帝國官佐勳章及印度帝國三等勳章授勳人，亞歷山大·斯德克·蘭卡斯特上尉（1893-1967）舊藏，後家族遞藏。

亞歷山大斯德克蘭卡斯特1893年3 月19日出生於英格蘭帕特代爾。1935年12月1日被派往阿富汗喀布爾，擔任英國公使館軍事專員。其於1949年8月29日退休，並被授予上校榮譽軍銜。

Note: Large Longquan dishes of this type and approximate size, all dated to the Ming dynasty, 15th century, are illustrated by J. Ayers and R. Krahl, Chinese Ceramics in the Topkapi Saray Museum Istanbul, vol. I, London, 1986, pp. 328-9, nos. 353-6 and 359. Another charger of almost the same size and similar decoration, dated to the Ming dynasty, 14th century, is in The Fitzwilliam Museum, accession number: C.641 & A-1991; Also compare to two similar chargers, both dated to the Ming dynasty, 15th century, slightly larger, sold at Christie’s Hong Kong, 4 Oct 2018, lot 36 and 30 May 2024, lot 2870. 幾件可比較的明代龍泉青釉劃花大盤，見 J. Ayers及R. Krahl：《Chinese Ceramics in the Topkapi Saray Museum Istanbul卷一》，倫敦，1986年，頁328-329，圖版353 至356及359；再參一明代近例，尺寸及紋飾相似，藏於菲茨威廉博物館，館藏號「C.641 & A-1991」；另參兩明代近例，尺寸稍大，其一2018年10月4日售於香港佳士得，拍品36；另一同上拍行，2024年5月30日，拍品2870。

£3,000-5,000

FROM THE ESTATE OF THE LATE LADY PENN (LOTS 195-201)

Sir Eric Penn (1916-1993) served the Queen with dedication for almost half a century; for twenty four years in the Grenadier Guards, appointed in 1963 as an Extra Equerry to Her Majesty, then becoming Comptroller in the Lord Chamberlain’s Office from 1964 until 1981. Not only was he trusted implicitly by the Queen but they were also long-standing personal friends who had known each other in their younger days. He was brought up by his uncle, Sir Arthur Penn, one of King George VI’s advisers, and subsequently the Queen Mother’s treasurer and private secretary. He met the then Princess Elizabeth soon after he returned from Dunkirk in 1940. He married Lady Prudence (Prue) Penn in 1947, who herself was a loyal friend of Elizabeth II and Princess Margaret and lady-in-waiting to the Queen Mother.

已故佩恩女爵（1926-2023）舊藏，後家族遞藏。

佩恩女爵的丈夫埃里克·佩恩爵士（1916-1993）為英國女王伊麗莎白二世盡忠職守服務了近半個世紀。他在擲彈兵衛隊服役了24年，於1963年被任命為女王陛下的特級侍從，之後自1964年到1981年成為宮內大臣辦公室的審計長。他不僅受到女王的絕對信任，也是他們年輕時就認識的長期私人朋友。他由叔輩阿瑟·佩恩爵士撫養長大，阿瑟·佩恩爵士是喬治六世國王的顧問之一，後來成為伊麗莎白王太后的財務主管和私人秘書。1940年從敦克爾克回來後不久，他遇到了當時的伊莉莎白公主。

1947年，他與普魯登斯佩恩結婚，佩恩女爵成了伊麗莎白二世和瑪格麗特公主的忠實朋友，也是太后的女官。

CHINESE LONGQUAN CELADON-GLAZED TRIPOD CENSER MING DYNASTY

明龍泉窰青釉刻花卉紋三足爐

sturdily potted with a compressed bulbous body, supported on three feet to a high waisted neck and everted rim, the exterior of the body carved with floral band, the neck incised with wavy design, covered overall in glossy celadon glaze

29cm diameter

Provenance: Select items from the estate of the late Lady Penn (1926-2023).

£500-700

196

CHINESE BLUE-GROUND UNDERGLAZE-BLUE-AND-COPPER-REDDECORATED VASE

QING DYNASTY, 18TH-19TH CENTURY

清藍地青花釉裏紅松下靈鹿紋瓶

of baluster form, decorated with raised surface in copper red and underglaze blue depicting a deer and two lingzhi fungus by a pine tree

37.2cm high

Provenance: Select items from the estate of the late Lady Penn (1926-2023).

£400-600

197

CHINESE LONGQUAN CELADON-GLAZED ‘EIGHT TRIGRAMS’ TRIPOD CENSER MING DYNASTY

明龍泉青釉八卦紋劃花香爐

sturdily potted, of tapering cylindrical shape raised on three cabriole legs decorated with mythical beast masks, the exterior moulded with the eight trigrams and freely carved with trellis ground further with rosettes, covered in a celadon glaze of greyish-green tone suffused with fine craquelure inside out

20.3cm diameter

Provenance: Select items from the estate of the late Lady Penn (1926-2023).

Note: A large incense burner with eight trigrams, dated to the early Ming dynasty, 14th-15th century, is in the collection of the National Palace Museum, Taipei, museum no. Gu Ci 故瓷4098

£1,000-1,500

199

CHINESE GE-TYPE CRACKLE-GLAZED UNDERGLAZE-BLUE-DECORATED ‘HORSE’ VASE

QING DYNASTY, 18TH-19TH CENTURY

清雍正款仿哥釉八駿圖舖首尊

of globular form, shoulders flanked with a pair of moulded mythical beast heads holding a ring as handles, decorated with eight horses around the body in slip and underglaze-blue, all against a crackle-glaze ground, the base carved with a six-character Yongzheng mark in brown recessed panel

26.4cm high

Provenance: Select items from the estate of the late Lady Penn (1926-2023).

£500-700

CHINESE

LONGQUAN CELADON-GLAZED TRIPOD CENSER

明龍泉窰青釉刻花卉紋三足爐

sturdily potted with a compressed bulbous body, supported on three mythical beast feet to a waisted neck and everted rim, the exterior of the body carved with flowers and foliages, bosses to the neck, covered allover

Select items from the estate of the late Lady Penn (1926-2023).

CHINESE LONGQUAN CELADON-GLAZED TRIPOD CENSER

明龍泉窯青釉刻花卉紋三足爐

heavily potted with a compressed bulbous body, supported on three feet to a waisted neck and everted rim, the exterior of the body carved with floral and foliage sprays, covered overall in celadon glaze with brownish tinge

Select items from the estate of the late Lady Penn.

Provenance: Select items from the estate of the late Lady Penn (1926-2023).

£400-600

the globular body raised on a short splayed foot to waisted neck and everted wide mouth, above a raised band flanked to each side of the neck with a pair of loop elephant-head handles, base unglazed

46.2cm high

CHINESE YELLOW AND GREEN-GLAZED RECTANGULAR ‘DRAGON’ TILE MING DYNASTY OR LATER 明或以後黃地綠釉刻雙龍戲珠圖磚

of trapezoidal rectangular form, the top incised with two confronting dragons contesting for a flaming pearl amidst flaming clouds, the decorations enamelled in green, all against a yellow ground suffused with craquelure 21.5cm wide x 27.8cm high x 3.4cm deep

Formerly in a Private European collection.

A comparable tile is in the Percival David Foundation, British Museum, and is illustrated by M. Medley in Illustrated Catalogue of Ming Polychrome Wares, London, 1978, pl. IV, no. 35, where it is dated Ming, 16th century, registration number PDF.703; Another one is in the Victoria and Albert Museum, dated to the Ming dynasty, Jiajing period, accession number C.760-1925; Also compare to a similar tile, dated to Zhengde-Jiajing period, sold at Christie’s New York, 20 Sep 2024, lot 1044.

potted in conical form rising from a short straight foot inverted to straight mouth, covered overall in a thick crackled green glaze save for the foot rim revealing the brown buff body 23.2cm diameter

Provenance: Private Scottish collection, Scottish Borders. The owner had an enduring friendship with Dr Kenneth Lawley (1937-2023), a lifelong Asian art collector and a significant part of whose collection was sold in this saleroom, 3 November 2023, lot 1-95. He would share his research, his catalogue, and his admiration of these items with the owner, as a natural consequence of their friendship.

The bowl offered here was gifted by Dr Kenneth Lawley, 28 Sep 2002, with an original letter, who acquired from Sotheby’s, lot 15, 14 Feb 1966, via Bluett & Sons Ltd., with an original receipt.

Exhibited: Early Oriental Ceramics, MacRobert Centre, University of Stirling, 5-25 July 1973, no. 23. 蘇格蘭私人收藏，蘇格蘭邊區。藏家與已故Kenneth P. Lawley博士（1937-2023）為摯友。Lawley 博士一生為東方藝術癡迷，其大部分藏品在2023年11月3日售於禮昂騰博，拍品1-95。其對東方高古及中古瓷器的熱忱深深感染藏家，他們在書信往來中互換收藏心得、藏品研究及筆記，可見其深厚友誼。

本品由Lawley博士於2002年9月28日贈予藏家，含信函原件；Lawley博士透過著名古董商Bluett & Sons Ltd於蘇富比購得，1966年2月14日，拍品15，含收據原件。展覽：《早期東方陶瓷》（Early Oriental Ceramics），蘇格蘭斯特靈大學麥克羅伯特中心（MacRobert Centre），1973年7月5日至25日，編號23

Note: Compare to a rare large green ‘Jun’ bowl, Song-Jin dynasty, sold at Christie’s Hong Kong, 30 Nov 2023, lot 2868; Another rare Junyao green bowl, Song/Yuan Dynasty, sold at Bonhams London, 5 November 2020, lot 19; Also see a related rare large green ‘Jun’ bowl, Northern Song / Jin dynasty, in more bulbous form, was in the collection of Dr Kenneth Lawley, sold at Sotheby’s 1 November 2023, lot 49. See a comparable green-glazed bowl, Song / Jin dynasty, illustrated in Feng Xiaoqi Eds., 2013, The Specimens of Ancient Chinese Kilns in the Collection of the Palace Museum, Henan Volumn II, Beijing: The Forbidden City Publishing House, pt. 652, pg. 625.

£2,000-3,000

CHINESE DEHUA BLANC-DECHINE FIGURE OF WENCHANG AND ACOLYTE

17TH-18TH CENTURY

十七/十八世紀德化白瓷文昌童子像

the God of Literature modelled seated wearing a scholar’s cap and the face detailed with a moustache and beard, his left hand hidden within the long-sleeved robe and the right hand holding a pen, accompanied by a small smiling acolyte 36.5cm high

Provenance: Formerly in a private Paris collection.

巴黎私人舊藏

Note: Wenchang, the Daoist God of Literature, has been variously associated with figures from the Jin, Tang and Song Dynasties. He was believed to be the bearer of good luck for ill-prepared examination candidates and often holds as in the present example a pen. The God is variously modelled on his own or with Zhuyi, the distributor of examination results, Guixing, a demon-like figure and often is depicted with two attendants, Tianlong and Diya, one of which is probably modelled in the present lot.

Compare similar blanc-de-Chine figures of Wenchang: one smaller figure (28cm high) similarly holding a pen in hand together with Guixing, dated to the Ming dynasty circa 1600 to 1644, is in the collection of British Museum, registration number: 1980,0728.54; another smaller figure holding a scroll together with an acolyte, dated to 17th-18th century, was sold at Bonhams London, 17 May 2012, lot 2.

£1,000-1,500

205

CHINESE BLUE-GLAZED ‘QILIN’ HANDLED CENSER

MING DYNASTY, 16TH-17TH CENTURY

明福壽康寧款藍釉麒麟紋雙獸耳爐 of archaistic gui form, each side decorated with a recumbent mythical creature qilin, the body flanked with a pair of dragon-head handles, the exterior covered in a blue glaze leaving only the qilin decoration unglazed and revealing the reddish buff body, the base inscribed with a four-character ‘Fu Shou Kang Ning (meaning ‘May good fortune and health be with you’)’ mark within a square in underglaze blue

22cm wide

£2,000-3,000

206

CHINESE GE-TYPE CRACKLE-GLAZED PLATE

MING TO QING DYNASTY

明至清仿哥釉鑲銅口撇口盤

thinly potted with everted rim, the mouth rim with brass mount, covered overall save for the ‘iron’ foot with greyish ivory glaze with a network of faint russet crackles

15.3cm diameter

£800-1,200

CHINESE RED-GLAZED BRUSH WASHER

QING DYNASTY, KANGXI MARK AND OF THE PERIOD 清康熙款及年代豇豆紅釉鏜鑼洗 of compressed globular form with an inverted mouth, the exterior covered in red glaze, the base inscribed with a six-character 12cm diameter

208

CHINESE TIANBAI-GLAZED

INCISED ‘DRAGON AND FISH’ PLATE

QING DYNASTY

清甜白釉暗刻魚躍龍門盤

decorated in the centre of the interior with a coiling front-facing dragon amongst flames and clouds, the cavetto carved with eight fish leaping on waves

28.6cm diameter

Note: Please note this lot will be offered with no reserve. 本拍品不設底價

£300-500

CHINESE RED-GLAZED BOTTLE VASE

QING DYNASTY, 18TH-19TH CENTURY

清乾隆款紅釉膽瓶

the globular body supported on short foot rising to long cylindrical neck, covered overall save for the base with a red glaze slightly thinning on the mouth rim, the base inscribed with a six-character Qianlong mark in underglaze blue

CHINESE TEADUST-GLAZED BRUSH WASHER

QING DYNASTY, 18TH CENTURY

清茶葉末釉橢圓形三足筆洗帶木座 of oblong body, supported on three conical feet and terminating into an inverted rim, covered overall in a thick layer of tea-dust glaze leaving only the three feet unglazed, which painted in brown, with fitted wooden stand

211

CHINESE WHITE-GLAZED CARVED ‘BEEHIVE’ WATERPOT

QING DYNASTY, 19TH CENTURY

清康熙款白釉暗花祥雲紋馬蹄尊

carved to the exterior with billowing ruyi-form clouds, applied with a milky-white glaze suffused with a fine network of crackles, the base inscribed with a six-character Kangxi mark in underglaze blue

7.2cm high

Note: Compare to two related white-glazed carved ‘beehive’ waterpots, both with Kangxi marks and of the period, one sold at Sotheby’s New York, 22 September 2020, lot 110, the other sold at Christie’s 13 May 2014, lot 406.

£500-700

212

TWO CHINESE BLUE-ENAMELLED AND IRON-RED-DECORATED ‘BAT AND CLOUD’ CUPS

QING DYNASTY, XUANTONG MARK AND OF THE PERIOD

清宣統款及年代藍彩礬紅百福祥雲折腰花口碗（兩件） each painted around the body with bats in flight amongst clouds, the base inscribed with a six-character Xuantong mark in iron-red (2) 8.7cm diameter each

£300-500

213

CHINESE YIXING STONEWARE ‘INSCRIBED’ VASE

QING DYNASTY, 17TH-18TH CENTURY

清邵永興宜興紫砂刻詩文四繫扁壺

壺身銘文：遊絲縈醉客, 啼鳥喚行人/永興

of flattened circular form supported on a tall foot decorated with a key-fret band, with two looped handles on either side, one side incised with a ten-character poem and further signed ‘Yong Xing’

16cm high

Provenance: Acquired from Sotheby’s London, 15 December 2023, lot 127 (part lot); formerly in Dr Wou Kiuan‘s collection;

購自倫敦蘇富比，2023年12月15日，拍品127（其一）; 前吳權博士（1910-1997）收藏

Note: A comparable Yixing stoneware teapot, similarly incised with a ten-character poem and signed ‘Yong Xing’, was sold at Poly Beijing, 19th December 2017, lot 5373.

£2,000-3,000

214

CHINESE GE-TYPE CRACKLE-GLAZED JAR

QING DYNASTY, 18TH CENTURY

清仿哥釉圓罐

sturdily potted, the bulbous body raised from a recessed base to a flared rim, covered overall with a creamy greyish glaze suffused with distinct network of dark-brown and faint-russet crackles, leaving the foot rim unglazed and partially covered in brown paint

9.5cm wide

£600-800

215

CHINESE CORAL-RED-GROUND GILTDECORATED ‘LOTUS SCROLL’ BOWL

LATE QING TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初團壽款珊瑚紅地描金纏枝蓮紋折腰碗

painted inside out with white lotus flower heads borne on foliated scrolls, the base painted with a stylised shou mark, all on a coral-red ground 12.9cm diameter

£500-700

217

CHINESE DEHUA BLANC DE CHINE STEM CUP QING DYNASTY, KANGXI PERIOD

清康熙德化白釉弦紋高足杯

the deep bowl terminating into an everted rim, the exterior encircled by a bowstring band, the body raised on a spreading pedestal foot with solid recessed base, covered overall in a white glaze with ivory tinge

11.3cm high, 12.7cm diameter

Note: A very similar stem bowl slightly smaller in size was included in the Oriental Ceramic Society exhibition Monochrome Porcelain of the Ming and Manchu Dynasties London, 1948, and illustrated in T.O.C.S., vol. 24, 1948-49, pl. 25, no. 101, where it was dated to the Ming dynasty. However, when published by P. J. Donnelly in Blanc de Chine, New York/Washington, 1967, pl. 35c, and p. 96, the author dated it no earlier than Kangxi period, more likely between 1675-1725. Another closely comparable example dated to the 17th to early 18th century, was sold at Christie’s New York, 16 Sep 2016, lot 1336.

£600-800

PAIR OF CHINESE TURQUOISE-GLAZED MODELS OF BUDDHIST LIONS

LATE QING DYNASTY TO REPUBLIC

PERIOD, 19TH-20TH CENTURY

清末民初孔雀藍釉佛獅擺件帶木座（一對） moulded in mirrored images, each reclining on a rocky podium, a rear foot raised, head turned back as if scratching, finely detailed with incised mane, the face with bulging eyes, mouth ajar and playful expression, on bespoke wooden stand (2)

10.5cm wide each

Provenance: Estate of Prof Francis Wormald (1904-1972), palaeographer and art historian.

法蘭西斯·沃麥爾德教授（1904-1972）舊藏，古文獻學家和藝術史學家。

£300-500

TWO CHINESE RED-GLAZED VASES

QING DYNASTY, 18TH-19TH CENTURY

清紅釉膽瓶及梅瓶（共兩件） comprising: a bottle vase and a meiping vase, both covered in a thick red glaze with darker streaks, bases unglazed (2) heights: 14cm and 12.5cm

219

CHINESE WHITE-GLAZED MODEL OF A QILIN

QING DYNASTY, 19TH CENTURY

清乾隆款白釉麒麟連座擺件

moulded as a mythical beast seated with its front left leg raised supporting its upper body and head turning right and looking back, a lingzhi fungus issuing from its mouth rested on its back carrying a stack of beribboned books, covered in white glaze, raised on an integral stand decorated with scrolling flowers in gilt on coral-red-ground, the base enamelled turquoise and centre inscribed with a six-character Qianlong in iron-red

21cm wide

£300-500

220

CHINESE COPPER-RED-GLAZED DISH

DAOGUANG MARK AND POSSIBLY OF THE PERIOD

道光款或到代霽紅釉盤

with rounded sides rising from the short, tapering foot, covered in a rich red glaze save for the white-glazed base, the base incised with a six-character Daoguang mark in underglaze blue

19.8cm diameter

£2,000-3,000

CHINESE GE-TYPE CRACKLE-GLAZED BOTTLE VASE

in pear form with a flaring rim, covered overall with an ivory-white glaze with grey tinge suffused with black and russet network of crackles, the base inscribed with a six-character Qianlong mark

222

CHINESE GRISAILLE-DECORATED ‘LITERATI’ BRUSH POT

QING DYNASTY, 19TH CENTURY

清成化款墨彩高士雅聚圖筆筒 of cylindrical form, painted on one side with a shed in a dense forest, two learned men served by a boy servant with a wine pot, one writing calligraphy, another drinking, the counter sunk base inscribed with a six-character Chenghua mark in underglaze blue

14.3cm high

£300-500

223

CHINESE RED-GLAZED BRUSH WASHER

QING DYNASTY, 19TH CENTURY

清康熙款紅釉鏜鑼洗 of compressed globular form with an inverted mouth, the exterior covered in red glaze, the base inscribed with a four-character Kangxi mark in underglaze blue

12cm diameter

£600-800

LARGE CHINESE GE-TYPE CRACKLE-GLAZED HEXAGONAL VASE

QIANLONG MARK AND POSSIBLY OF THE PERIOD

乾隆款或到代仿哥釉六稜瓶

of hexagonal section with a bulbous body, supported on a stepped foot rising to a tall waisted neck and flared mouth rim, covered overall with a pale greyish-celadon glaze suffused with a network of dark grey crackles, stopping at the foot rim to reveal the darkened body, the base inscribed with a six-character Qianlong mark in underglaze blue

47cm high

Note: A closely comparable hexagonal vase of similar glaze, marked and dated to the Qianlong period, was sold at Christie’s Hong Kong, 3 Jun 2015, lot 3244. £2,000-3,000

226

CHINESE ORMOLU-MOUNTED FLAMBÉ-GLAZED ARROW ‘HU’ VASE

QING DYNASTY, 19TH CENTURY

清窯變釉弦紋貫耳瓶帶鎏金銅鑲嵌口緣及底座

of flattened arrow vase form, with two tubular handles flanked on either side, the body with two raised ribs, covered overall with an uneven red glaze suffused with lavender and blue streaks, with gilt bronze mouth rim and base mounts 28.5cm high; 37cm high with metal mount

£500-700

PAIR

OF CHINESE FLAMBÉQING DYNASTY, 19TH CENTURY

each covered on the exterior with a rich flambé glaze of purple and blue tone, variegated with patches of red, the base and interior covered in a -type crackle-glaze with ivory tinge

CHINESE CELADON-GLAZED RELIEF-DECORATED DISH

YONGZHENG MARK BUT LATER

雍正款粉青釉浮雕五福紋碟

finely decorated on the exterior with five bats in flight above crashing waves with rocks, under a key fret band on the mouth rim. covered with a translucent pale celadon glaze, the base inscribed with a six-character Yongzheng mark within a double-circle in underglaze blue 20cm diameter

CHINESE GRISAILLE AND IRON-RED-DECORATED ‘DOUBLE-GOURD’ VASE QING DYNASTY

清礬紅墨彩山水竹石紋葫蘆方扁瓶

of fou-section flattened form, painted on the two wider sides with shanshui landscape and hermits, two narrower sides painted with rockwork and bamboo grooves 14cm high

清乾隆款或到代珊瑚紅地描金纏枝蓮紋茶船

of boat form, the base of the interior painted with a stylised shou-longevity character, the shorter sides of the interior decorated with a bat facing inwards, the longer sides painted in gilt with a large lotus in tendrils, the exterior further adorned with lotus in tendrils, the base inscribed with a six-character Qianlong mark in iron-red 19.7cm wide

Note: In Tao Ya, the old man of Jiyuan in the Qing Dynasty mentioned that“A cup holder is called a tea boat. In the Ming dynasty, it was made like a boat. In the Kangyong (Kangxi and Yongzheng) period, the holder for a small wine cup was rounded and not hollowed, but the Song kiln was hollowed. The design over time has fixed the simplicity and clumsiness.”It can be seen that the boat-shaped cup holder or saucer appeared in the Ming dynasty. Its purpose was to hold the teacup to keep the heat from the hands. Later, due to its boat-like shape, it was then named the“tea boat” .

£1,000-1,500

230

CHINESE RU-TYPE HANDLED VASE QING DYNASTY

清乾隆款仿汝釉貫耳瓶

elegantly potted with high-shouldered body tapering down, long flaring neck with a raised band and flanked by two lug handles, glazed overall save for the foot ring with a translucent clair-de-lune glaze, the base inscribed with a six-character Qianlong mark in underglaze blue 30.5cm high

Note: Vases of this form with monochrome glazes bearing Qianlong mark and of the period are extremely rare, compare to a slightly smaller vase, measuring 27.1 cm in height, of Qianlong mark and period, is in the Walters Art Museum, Baltimore, accession no. 49.252; See another extremely fine and rare Ru-type handled vase, seal mark and period of Qianlong, smaller in size, measuring 19.2cm, previously in the collection Marchant, sold at Sotheby’s Hong Kong, 29 April 2022, lot 3512.

£5,000-7,000

CHINESE RUBY-PINK-ENAMELLED LANTERN VASE

二十世紀江西瓷業公司款胭脂紅釉燈籠瓶

of tapered ovoid form, waisted neck and everted rim, covered overall on the exterior with a bright pink glaze, the base inscribed with a sixcharacter ‘Jiang Xi Ci Ye Gong Si’ mark in underglaze blue

232

CHINESE BROWN-GLAZED ‘TRIPOD CENSER’ WALL VASE

QING DYNASTY, 19TH CENTURY

清仿銅醬釉三足冲耳壁瓶

covered in a bronze-imitation brown glaze

9cm high

TWO SETS OF CHINESE RUBY-PINK-ENAMELLED TEA BOWLS WITH LIDS AND SAUCERS

19TH-20TH CENTURY

十九至二十世紀光緒款胭脂紅釉帶托茶碗及蓋（兩組六件）

each set with exterior of the lid, bowl and saucer enamelled with bright pink colour, rims gilded, base of the bowl and inner well of the finial on the lid inscribed with a six-character Guangxu mark in iron-red (2) diameters: cups 11cm; saucers 11.2cm

£500-800

CHINESE FLAMBÉ-GLAZED ‘YUHUCHUN’ VASE

QING DYNASTY, 19TH CENTURY

清窯變釉玉壺春瓶

the globular body supported on a gently spreading foot raised to waisted neck and flaring mouth, covered overall save for the interior and base with a red glaze thinning on the mouth rim, suffused with blue speckles near the foot

30cm high

Note: Please note this lot will be offered with no reserve. 本拍品不設底價

£300-500

LARGE CHINESE IRON-RED AND GILT-DECORATED

of baluster form, painted around the body with nine fiveclawed dragons in various positions amidst flaming pearls, flames, and clouds, the decoration accented with gilt, flanked ji as handles, the base inscribed with a six-character Qianlong mark in iron-red

Private Dutch collection, acquired from a French

237

TWO CHINESE PORCELAIN PLATES

QING DYNASTY, 18TH-19TH CENTURY

清成化款藍釉礬紅描金夔龍團獸紋盤及粉彩花蝶紋花口碟（共兩件）

the bigger enamelled in blue with four archaic kuidragon concentric bands with stylised shou roundels in gilt and iron-red, the base inscribed with a six-character Chenghua mark within a double-circle in underglaze blue; the smaller painted in the interior with a daylily and aster with a butterfly hovering above, outer cavetto enamelled with ruby-pink (2)

diameters: 19.7cm and 14.4cm

£600-800

CHINESE GILT AND ENAMELLED PORCELAIN ‘BUDDHIST WHEEL’ ALTAR ORNAMENT

QIANLONG MARK

乾隆款粉彩描金法輪

in imitation of gilt-bronze, moulded as a Buddhist Wheel of Law supported on a spreading plinth with lotus petals, the reticulated wheel at the centre enriched with turquoise, coral and sapphireblue enamels to simulate their hardstones, the base inscribed with a six-character Qianlong mark in gilt on a gilt ground

28cm high

Note: There are twenty-eight related porcelain ‘Buddhist Wheel’ in imitation of gilt-bronze originals in the collection of National Palace Museum, Taipei, all dated to the Qing dynasty, Qianlong period, see the following museum numbers for examples: Zhong Ci 中瓷001894N、中瓷001906N、中瓷003079N; Also compare to a similar altar ornament, Qianlong mark and period, sold at Sotheby’s Hong Kong, 30 May 2023, lot 3077.

£300-500

CHINESE SANG-DE-BOEUF-GLAZED BOTTLE VASE

清郎窯紅釉天球瓶

the globular body rising to a long cylindrical neck, covered overall with a thick red glaze thinning on the mouth rim revealing mushroom-tone body, suffused with fine glaze craquelure, the base covered in ge-type

239

CHINESE FLAMBÉ-GLAZED BOWL

QING DYNASTY, 19TH CENTURY

清乾隆款窯變釉撇口碗

thickly potted on a short straight foot rising to deep sides and flaring mouth, covered overall with a deep red glaze thinning near the rim suffused with blue and lavender streaks, the base carved with a sixcharacter Qianlong mark

6.6cm diameter

Note: Please note this lot will be offered with no reserve. 本拍品不設底價

£300-500

240

CHINESE GILT-DECORATED BLUE-GLAZED ‘LOTUS SCROLL’

VASE, MEIPING

QING DYNASTY, 19TH CENTURY

清藍地描金纏枝花卉紋梅瓶

decorated in gilt with bats holding lotus flower heads intertwined with ruyi and bianqing musical instruments in descending order amidst dense scrolling tendrils and flowers, all against a deep, violet-blue glaze, the base unglazed 28cm high

£300-500

241

CHINESE SANG-DE-BOEUF-GLAZED BALUSTER VASE, GUANYIN ZUN

QING DYNASTY

清郎窰紅釉觀音尊

the slender baluster body rising from a spreading foot to a waisted neck and everted mouth, covered in a deep red glaze suffused with dark and white speckles draining to white at the rim, fine network of craquelure throughout, the base covered with a crackled glaze

45.5cm high

£300-500

PRIVATE SCOTTISH COLLECTION, NORTH BERWICK (LOTS

242-246)

CHINESE ARCHAIC JADE RITUAL BLADE SHANG DYNASTY

商玉鉞

of tapered rectangular shape, narrow side with rounded edges, the cutting edge cut slightly obliquely, with a larger circular aperture on the off centre of the narrow end, further with two smaller apertures on a longer end, all drilled from one side, the stone a mottled greyish-green colour with yellow, russet brown, and black flecks, with a bespoke display stand 15.3cm wide

Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for over 25 years. Several collections of early and Ming ceramics, early jades, and Asian Art reference books were sold in these rooms, 16 May 2023, lots 116-122; 3 November 2023, lots 230-242.

Acquired from Knapton Rasti Asian Art, 7 Nov 2005, with an original receipt. Illustrated in Knapton Rasti Asian Art Works of Art Catalogue 2005, no. 1. Online pdf catalogue: https://rastifineart.com/wp-content/ uploads/2018/03/Asian-Art-KNAPTONRASTIJadereduced.pdf

蘇格蘭私人收藏，北伯立克鎮；收藏中國瓷器已近廿五載。一批高、中古及明代瓷器、古代玉器及亞洲藝術參考書籍售於本拍行，見2023年5月16日，拍品116-122 及2023年11月3日，拍品230-242。

本品購自Knapton Rasti Asian Art，2005年11月7日，含收據原件。

著錄：Knapton Rasti Asian Art Works of Art 2005 年圖錄，圖版一，線上圖錄參 https://rastifineart. com/wp-content/uploads/2018/03/Asian-ArtKNAPTONRASTI-Jadereduced.pdf

CHINESE BLACK POTTERY BEAKER

NEOLITHIC PERIOD OR LATER

新石器時代或以後仿青銅磨光黑陶觚 thinly potted, of flared cylindrical form with a raised ridge near the foot

Private Scottish collection, North Berwick, has been collecting Asian ceramics for over 25 years. Several collections of early and Ming ceramics, early jades, and Asian Art reference books were sold in these rooms, 16 May 2023, lots 116-122; 3 November 2023, lots 230-242.

Gifted about 10 years ago by a good friend, the late C. Roger Moss OBE, a fellow avid Chinese

蘇格蘭私人收藏，北伯立克鎮；收藏中國瓷器已近廿五載。一批高、中古及明代瓷器、古代玉器及亞洲藝術參 2023年5月16日，拍品116-122及2023年11月3日，拍品230-242。

本品約十數年前獲贈自已故亞洲藝術藏友C. Roger Moss OBE。

A highly comparable black pottery beaker, also decorated with a raised ring above the foot, dated to the Xia dynasty, excavated at Yanshi Erlitou Relic Site, Henan, is now in the Henan Museum. Also compare to a much more sophisticated ‘gu’ vessel, excavated and dated same as the above, see https://www.chnmus.net/sitesources/hnsbwy/page_pc/bwzl/yyhxzzjd/cpsx/ article2a35acdb504f4100a5576317d3095af2.html.

A rare black pottery wine vessel, jue, dated to the Shang dynasty, from the same private Scottish collection, North Berwick, was sold at this saleroom, 3 November 23, lot 234.

CHINESE BLUE AND WHITE RECTANGULAR SEAL

LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初青花山水紋題李白、張繼詩長方印

印文: 藏書寳印

two longer sides each painted with a shanshui landscape, one side inscribed with a poem by Li Bai, the opposite a poem by Zhang Ji, the seal read ‘Cang Shu Bao Yin’ (book collection treasure seal) 13.1cm high

Acquired from Capital Gallery（長安美術） , Hong Kong, 5 Feb 1996, with an original receipt.

購自香港長安美術，1996年2月5日，含收據原件。

£300-500

245

CHINESE BLUE AND WHITE ‘LOTUS SCROLL’ JAR TRANSITIONAL PERIOD

過渡期青花纏枝蓮紋罐

of tapered ovoid form, painted around the exterior with lotus flowers borne on scrolling foliage, the slightly concave base unglazed

20.7cm high

Acquired from Denis Young Antiques, 18 May 1996, with a photocopied receipt.

購自Denis Young Antiques，1996年5月 18日，含收據副本。

£400-600

CHINESE BLUE AND WHITE ‘WINGED DRAGON’ BOTTLE VASE MING DYNASTY

明青花雙翼龍紋膽瓶

of pear form, painted around the body with two sinuous winged dragons amongst scrolling flames, the base inscribed with a mark within a double-square 24.1cm high

Acquired from Solveig and Anita Gray Oriental Ceramics and Works of Art Gallery, London, 5 Feb 1997. With an original receipt no. 634 and a declaration of antiquity, dated 7 Feb 1997. The receipt stated that this vase was an ‘Ex Winkworth collection. See Sotheby’s 25 April 1933, lot 156.’

A circular paper label from Solveig and Anita Gray attached on the base of the vase, inscribed with the gallery’s inventory number ‘S7’, corresponding to the receipt. The receipt, certificate and label dated this piece to the ‘Jiajing / Longqing (1522-72)’ period.

購自倫敦古董商Solveig and Anita Gray Oriental Ceramics and Works of Art Gallery，1997年2月5日，含收據（收據號634）及古董證明書原件。收據顯示本品「乃 Winkworth collection舊藏，參蘇富比，1933年4月25日，拍品156。」

瓶底貼一藝廊標籤，書藝廊收藏編號「S7」，與收據相符。收據、古董證明書及標籤顯示此瓶定年為嘉靖/隆慶（1522-72）。

Note: See J. Ayers, R. Krahl, & N. Erbahar, Chinese Ceramics in the Topkapi Saray Museum, London, 1986, no. 1037, for half a bottle vase with similar treatment of the subject matter. Also compare to dragons of a jar and a dish, dated to Ming dynasty, Jiajing period, both sold at Christie’s Paris, 20 Jun 2023, lot 636 and 637. See another example of a bottle vase, with similar pear-shaped form but slightly different winged-dragon, dated to the Wanli period, sold at Christie’s London, 5 Apr 2011, lot 228.

一件截口青花瓶，龍紋與本品相似，見J. Ayers, R. Krahl及N. Erbahar：《Chinese Ceramics in the Topkapi Saray Museum》，1986年，圖版1037。比較兩件相近龍紋器物，其一明嘉靖款及年代，青花飛龍紋盤，2023年6月20日售於巴黎佳士得，拍品636；另一明嘉靖青花飛龍紋小罐，同上拍場，拍品637；亦參一明嘉靖款及年代，青花龍紋瓶，瓶身與本拍品雷同，但龍紋稍有出入，2011年月5日售於倫敦佳士得，拍品228，皆可資比較。

£4,000-6,000

QING DYNASTY, KANGXI PERIOD

清康熙成化款青花博古圖小對瓶（共兩件）

each finely painted with two tripod censers, books and other antiquities, the base inscribed with a six-character apocryphal Chenghua mark in underglaze blue (2) 10cm high each

£600-800

CHINESE BLUE AND WHITE ‘KRAAK’ PLATE

MING DYNASTY, WANLI PERIOD

明萬曆克拉克瓷青花花鳥紋盤

painted with birds and flowers

A highly comparable blue and white ‘Kraak’ ‘birds and flowers’ dish, Ming dynasty, Wanli period, sold at Sotheby’s New York, 29 March 2022, lot 518.

CHINESE BLUE AND WHITE ‘CRANE’ BOX AND COVER

QING DYNASTY

清青花雲鶴符籙紋委角蓋盒 of square form with scalloped edge, inscribed on the centre of the lid - Daoist talismanic script in a circle, further enclosed by cranes in flight amongst scrolling clouds, sides similarly decorated

A related blue and white plate, dated to the Ming dynasty, Jiajing period, decorated similarly with cranes in flight but surrounded with lingzhi and peaches, similarly with a fulu symbol in the centre, is in the Palace Museum, Beijing, museum number Gu 故00145258.

250

CHINESE BLUE AND WHITE ‘ANHUA DRAGON’ STEM CUP

YUAN STYLE

元代風格青花纏枝花卉暗刻龍紋高足杯

with sides of the deep bowl rising to an everted rim, the interior painted with a floral spray in the centre, with a scrolling band on the mouth rim, between them finely carved with sinuous dragons, the exterior painted with floral borne on tendrils, set on a tall cylindrical flaring foot

12.9cm diameter

£300-500

252

CHINESE BLUE AND WHITE ‘DRAGON’ BOWL

QING DYNASTY, 19TH CENTURY

清乾隆款青花龍趕珠紋碗

painted inside and out with dragons chasing flaming pearls, the base inscribed with a six-character Qianlong mark

13.8cm diameter

£400-600

CHINESE BLUE AND WHITE ‘DRAGON’ PLATE QING DYNASTY

清青花龍戲珠紋盤

painted in the interior with a sinuous four-clawed dragon chasing a flaming pearl surrounded by flames 20.1cm diameter

254

CHINESE WUCAI ‘FIGURAL’ DISH QING DYNASTY, 18TH-19TH CENTURY 清萬曆款五彩松下賞蓮碟

painted in the central medallion enclosed by two circles with a scholar seated underneath a pine tree on a shore looking at a lotus pond, the base inscribed with a six-character Wanli mark within a double circle in underglaze blue

11.6cm diameter

£1,000-1,500

CHINESE WUCAI ‘BOYS AT PLAY’ JAR

JIAJING MARK AND POSSIBLY OF THE PERIOD

BLUE AND WHITE EWER

supported on a splayed foot, the globular body painted with four circular cartouches with mountainous landscape, all against a floral ground with leafy tendrils, the shoulder with a band of scrolling flowers, the elongated neck potted with a small spout to its flared rim, further with a vertical floral spread on either side, the handle broken off and the lower end attached with an oval medal of the Immaculate Virgin Mary, honorificentia populi nostri

CHINESE

256

LARGE CHINESE BLUE AND WHITE ‘KING WEN WANG’ BRUSH POT MING DYNASTY, CHONGZHENG PERIOD

明崇禎青花文王仿賢大筆筒 the cylindrical body finely decorated with a continuous scene of Western Zhou dynasty King Wen Wang, accompanied by two soldiers, visiting Jiang Taigong, the scene set within a lush garden setting with plantains and willows, all between incised bands of foliage and waves, the flat base unglazed 21.8cm high

Provenance: Private collection, acquired from Sotheby’s Hong Kong, 18 April 2024, lot 611. 私人收藏，購自香港蘇富比，2024年4月18日，拍品611

Note: The scene illustrated on the present brush pot is taken from the Western Zhou Dynasty legend of Wen Wang, also known as Emperor Wen (1152-1056 BC). Among the sages he sought to help him rule his kingdom was Jiang Taigong, who had left the service of the Shang king because of his debauchery and corruption. King Wen found Taigong fishing by the Wei River and persuaded him to join his court, appointing him Prime Minister. This story was later adapted and incorporated into the Ming dynasty novel Fengshen Yanyi (The Investiture of the Gods). A comparable large blue and white brush pot (20.5cm high), depicting Emperor Xian and Dong Cheng from The Romance of the Three Kingdoms, dated to the Chongzheng period circa 1640, was sold at Christie’s New York, 16 Mar 2015, lot 3533.

此筆筒所描繪的場景取自西周時期文王仿賢之典故。姜太公因商紂王暴政年年，辭官隱居。文王在渭水邊發現太公釣魚，訪聘為師。這典故後來被改編並納入明代小說《封神演義》。一件明崇禎（約1640年）青花三國演義人物故事圖筆筒，尺寸與本品相似（高20.5cm），2015年3月16日售於紐約佳士得，拍品3533，可資比較。 £20,000-30,000

CHINESE BLUE AND WHITE ‘DOUBLE-GOURD’ VASE

painted on the lower larger bulb with two narrative figures and a horse, the upper smaller bulb with roundels of figures alternating with floral sprays

CHINESE BLUE AND WHITE HEXAGONAL VASE STAND

QING DYNASTY, 18TH CENTURY

清青花門戶瓔珞紋六角器座

decorated windows flanked by bejewelled pendants alternating with openwork ‘windows’

20.6cm wide

LARGE CHINESE BLUE AND WHITE ‘FIGURAL’ JAR

MING DYNASTY OR LATER

明或以後青花人物故事紋大罐

painted on the central band with scholars on horses, between ‘crane and cloud’ and ‘horse and wave’ bands

Formerly in a private collection, UK.

A comparable blue and white jar, dated to Ming dynasty, Jiajing period, offered at Sotheby’s Hong Kong, 04 June 2020,

CHINESE DOUCAI ‘DRAGON’ VASE, MEIPING

QING DYNASTY, 18TH-19TH CENTURY

清鬥彩雙龍戲珠紋梅瓶

painted on each side of the body with ferocious four-clawed dragons writhing amongst flame scrolls in pursuit of flaming pearls

25.5cm high

Note: Compare to a similar doucai vase, dated to the Qing dynasty, Kangxi period, offered at Sotheby’s London, 07 November 2018, lot 11.

£800-1,200

CHINESE BLUE AND WHITE ‘ROSETTE’ MOONFLASK

QING DYNASTY OR LATER

清或以後青花輪花綬帶葫蘆扁瓶

modelled after a Middle Eastern metal prototype, the flattened spherical body rising to a waisted neck and a small bulb-shaped mouth, set with two arched strap handles, painted on the domed circular front and back with a rosette surrounded by a radiating eight-pointed starburst of alternating foliate and floral motifs, the upper bulb further with a band of flowers, the handles outlined with double lines and decorated with a spray of lotus at the terminus

Formerly in a private British collection, acquired from French antique market (by repute).

前英國私人舊藏，入藏自法國古玩市

262

LARGE CHINESE BLUE AND WHITE ‘FIGURAL’ GU-FORM VASE

QING DYNASTY OR LATER

清或以後青花人物故事紋花觚

of waisted beaker form, painted with a seated foreigner blowing a horn and a lady with boy playing a string musical instrument, between them a lady with high headgear admiring the music

38.8cm high

Note: Please note this lot will be offered with no reserve. 本拍品不設底價

£300-500

CHINESE BLUE AND WHITE ‘FISH AND LOTUS’ VASE

QING DYNASTY, KANGXI PERIOD

the domed foot supporting a double-lotus-shaped body moulded with five-pointed petals, each petal on the upper layer painted with a fish swimming amongst waterweed, the lower layer decorated with lotus and large leaves, the body surmounted with long neck inscribed with two character ‘Wan Shou (Ten Thousand Longevity)’ on either side, further flanked with two stylised flower-head handles, the mouth in bulbous form adorned with flowers

CHINESE BLUE AND WHITE WITH COPPER RED ‘LANDSCAPE’ SAUCER

QING DYNASTY, 19TH CENTURY

清成化款青花釉裏紅山水人物紋碟

the decoration detailed with copper red, the base inscribed with a six-character Chenghua mark within a double-circle in underglaze blue 11.4cm diameter

CHINESE UNDERGLAZE BLUE WITH COPPERRED HU-FORM ELEPHANT-HANDLED VASE

QING DYNASTY, 19TH CENTURY

清青花釉裏紅花鳥圖象耳尊

painted on one side with blossoming prunus and lotus flowers in red, a large bird perching on the stalk, the reverse further decorated with two bats in flight

CHINESE BLUE AND WHITE ‘CLOBBERED’ JAR

MING DYNASTY, CHONGZHEN PERIOD

明崇禎青花後加彩人物紋罐

the underglaze blue decoration of figures in a garden detailed with green and red enamel, the base with a motif mark in iron-red 15cm high

£700-900

CHINESE IRON-RED AND GILT-DECORATED UNDERGLAZE BLUE SLEEVE VASE

of slightly tapered cylindrical form rising to trumpeted mouth, painted with narrative figures chasing a character Han Xin featured in the classical novel Water Margin, some borders and outlines further detailed by gilt, and further painted with flowers and foliages in iron red, the base inscribed in ink with a character ‘Xie’

In this period, it is unusual to get further enamelling and gilding on underglaze blue pieces, especially when the decoration in underglaze blue has been quite thorough and complete. Compare to a related underglaze-blue, iron-red and gilt-decorated brush pot, also with minimal touches of further decoration, dated to the Qing dynasty, 18th century, previously in the Dr Wou Kiuan Collection, subsequently sold at Sotheby’s London, 1 November 2022, lot 82.

CHINESE

BLUE AND WHITE ‘LANDSCAPE’ GINGER JAR

QING DYNASTY

清青花山水人物紋罐

the ovoid body rising to a short neck, the sides painted with small figures in a mountainous landscape setting

GROUP OF THREE CHINESE PORCELAIN VASES

QING DYNASTY, 19TH CENTURY

清綠彩孔雀牡丹紋膽瓶、萬曆款五彩麒麟紋梅瓶及乾隆款豆青地粉彩花鳥紋雙耳方瓶（共三件） comprising: a famille verte ‘peacock and peony’ bottle vase, 22.5cm high; a wucai ‘qilin’ meiping vase, inscribed on the neck with a six-character Wanli mark, 18.2cm high; and a celadon-ground famille rose ‘bird and flower’ rectangular vase with handles, the base inscribed with a sixcharacter Qianlong mark in underglaze blue, 16.2cm high (3)

heights: 16.2cm to 22.5cm

CHINESE BLUE AND WHITE ‘LOTUS SCROLL’ BOTTLE VASE

QING DYNASTY OR LATER

清或以後青花纏枝蓮紋賞瓶

of bulbous form, the exterior of the vase painted with a band of composite lotus heads borne on foliate scrolls, the shoulder similarly decorated above a band of ruyi, plantain leaves below a band of waves at the neck, and another ruyi border encircling the flared mouth

Please note this lot will be offered with no reserve. 本拍品不設底價

271

PAIR OF CHINESE DOUCAI ‘CHICKEN’ CUPS

19TH-20TH CENTURY

十九至二十世紀成化款鬥彩雞缸杯（一對）

each finely potted with gently flared sides, around the exterior painted with outlines of underglaze blue and picked out in overglaze enamels with a cockerel-and-hen group observing their chicks foraging for food, reverse with ornamental rocks and flowers, the countersunk base inscribed with a four-character apocryphal Chenghua mark within double circles (2)

6.5cm diameter each

£300-500

272

CHINESE BLUE AND WHITE ‘LOTUS’ PLATE

QING DYNASTY, GUANGXU MARK AND OF THE PERIOD

清光緒款及年代青花纏枝蓮紋盤 supported on a short foot, the interior painted with six blossoming lotus in tendrils, encircling a further lotus in the centre, the base inscribed with a six-character Guangxu mark in underglaze blue

23.8cm diameter

£300-500

273

CHINESE BLUE AND WHITE ‘THREE FRIENDS OF WINTER’ YENYEN VASE

QING DYNASTY, KANGXI PERIOD

清康熙青花歲寒三友鳳尾尊

elegantly painted on the neck and body with pine, bamboo, and prunus, the base painted with a double-circle

46cm high

£1,000-1,500

QING DYNASTY

清成化款青花城門圖盤、成化款夔凤纹碗、粉彩花蝶紋盤及綠彩花果紋雙耳碗連蓋（共四件）

comprising: a blue and white ‘fortress and pagoda’ plate, 21cm diameter; a blue and white ‘kui-pheonix’ bowl, 15.3cm diameter, both bases inscribed with a six-character Chenghua mark within a double-circle; a famille rose ‘butterfly and flower’ dish, 15.5cm diameter; and a famille verte ‘fruit and flower’ handled bowl with cover, 19cm wide with handles (4) largest: 21cm diameter

£1,200-1,800

275

CHINESE BLUE AND WHITE ‘FISHER’ JAR

19TH-20TH CENTURY

十九至二十世紀青花魚人圖罐 painted with a fisher sitting on a sampan in a shanshui landscape

19.2cm high

£300-500

TWO CHINESE WUCAI ‘FIGURAL’ PLATES

QING DYNASTY, KANGXI PERIOD

清康熙綠彩人物故事紋盤（兩件） each painted in the centre with a warrior meeting a seated official accompanied by two attendants, further with two officials on 23.5cm diameter each

CHINESE BLUE AND WHITE ‘INSCRIBED’ BOWL

QING DYNASTY, KANGXI MARK AND OF THE PERIOD

清康熙款及年代青花人物故事題詩紋碗

painted in two panels with narrative figures alternating with poems, the base inscribed with a six-character Kangxi mark within a double-circle

19.6cm diameter

£800-1,200

279

CHINESE BLUE AND WHITE ‘FISH AND WATERGRASS’ BASIN

青花魚藻紋卷缸

the bulbous sides finely painted with four large fish interspersed with crab, shrimp and other sea creatures amongst watergrass

24cm diameter

£1,000-1,500

LARGE CHINESE BLUE AND WHITE TEAPOT AND COVER QING DYNASTY, KANGXI PERIOD

清康熙青花花卉紋大茶壺帶蓋

the globular body decorated with birds and flowering plants amongst rockwork, flower trellis motifs further adorn the spout, handle and mouth, the domed cover similarly

CHINESE BLUE AND WHITE ‘CRANE AND DEER’ YENYEN VASE

QING DYNASTY, KANGXI PERIOD

清康熙青花鶴鹿同春鳳尾尊

the body painted with a continuous scene of a pair of cranes, one in flight and the other perching on a large pine tree, together with a doe turning to look at an antlered deer, both standing by a river bank surrounded by rocks and pine trees, the flaring neck also with two cranes above an antlered deer amid rockwork and pines

44.3cm high

£8,000-12,000

RARE CHINESE DOUCAI ‘DOUBLE PHOENIXES’ VASE, ZUN QING DYNASTY, 18TH CENTURY

清鬥彩雙鳳穿花紋尊

of archaistic zun form, the pear-shaped body rising from a tall spreading foot to a waisted neck and terminating to a slightly flaring rim, the exterior brightly painted with a pair of phoenixes spreading wings and long tails amongst composite floral blooms borne on meandering leafy scrolls, the neck encircled with a band of floral sprigs alternating with lozenges between raised two bands, all below a ruyiheaded band and further decoration with flowers on tendrils, the foot with a lappet band

33.5cm high

£25,000-35,000

Provenance: Private collection, London; acquired from Sotheby’s London, 6 November 2013, lot 174. 倫敦私人收藏，購自倫敦蘇富比，2013年11月6日，拍品174

Note: The current vase imitates the shape and design of Western Zhou dynasty archaistic bronze vessels, zun. It was produced at a time when archaism became popular in the Qing Court. One of the major activities during the Qing dynasty, especially Kangxi, Yongzheng and Qianlong reigns, was the reproduction and imitation of antiquities, ranging from the manufacture of three-dimensional copies to the creation of two-dimensional pictures of objects from preceding dynasties.

Compare this to the Zuobaozunyi Zun (作寶尊彝尊) dated to the mid-Western Zhou dynasty, with similar shape and a pair of large phoenixes as decoration, was in the Qing Court collection and now in the collection of the National Palace Museum, Taipei, museum no. Gu Tong 故銅1933. A rare blue and white ‘immortal’ zun vase decorated with Daoist immortals, closely comparable in the zun form to the present example, marked and dated to the Yongzheng period, was sold firstly at Sotheby’s Hong Kong 2 May 2000, lot 672, and sold later at Beijing Poly, 2-7 June 2011, lot 7281.

此瓶造型與設計仿自西周青銅器「尊」。清宮仿古主義盛行，尤其是康熙、雍正、乾隆時期，主要活動之一是古物的複製和模倣，包括立件及描摹前朝古物的畫作。此件與定年西周中期的「作寶尊彝尊」造型相似，該尊並飾有一對鳳凰，曾為清宮舊藏，現藏於台北故宮博物院，館藏號「故銅1933」。另外一件罕見的青花仙人納福尊，其形制與本品極為相似，清雍正款及年代，先在2000年5月2日香港蘇富比拍出，拍品672

283

CHINESE BLUE AND WHITE ‘EIGHT BUDDHIST

EWER, PENBA HU

QING DYNASTY OR LATER

清或以後白描青花八吉祥賁巴壺

CHINESE BLUE AND WHITE BRUSH POT

of cylindrical form raised on a counter-sunk foot, painted around the shanshui landscape

EMBLEMS’ TIBETAN-STYLE

with a compressed globular body rising from a high splayed foot to a shaped neck, together with a separate beaded-edged disc-shaped top of angled profile, one side of the globular body with a curved s-shaped spout issuing from the moulded jaws of a Makara head, the main body exquisitely decorated with two main registers, each with four of the Eight Buddhist Emblems-bajixiang, depicted beribboned and alternating with four lotus blooms borne on scrolling foliage, all between ruyi bands, the separate top decorated with further bajixiang emblems interspersed with lotus scrolls, all decoration painted with blue and white outlines 19.5cm high

£2,000-3,000

284

PAIR OF CHINESE WUCAI

CIRCULAR PLATES

QING DYNASTY

福’款五彩耕織圖’淤蔭’詩文圖盤（一對）

each finely depicting the process of fertilisation in the Series of Farming and Weaving, inscribed to the right with correspondence poem composed by a Song-dynasty poet Lou Shu (b. 1090), the base inscribed with a character mark within a square panel enclosed by a double-circle (2) 20cm diameter each

£2,000-3,000

CHINESE BLUE AND WHITE ‘PHOENIX’ CHARGER

QING DYNASTY

清青花鳳凰紋大盤

painted with a pair of phoenixes amongst large flowers and rockwork, the base painted with a motif mark within two panels further enclosed by two circles

34.6cm diameter

£1,000-1,500

CHINESE BLUE AND WHITE ‘FIGURAL’ VASE

POSSIBLY QING DYNASTY, KANGXI PERIOD

或為清康熙成化款青花郭子儀祝壽圖瓶

the body finely painted with a scene of the birthday celebration of Guo Ziyi, with officials wishing him and his wife longevity, the base with a six-character Chenghua mark within a double-circle

CHINESE BLUE AND WHITE YENYEN VASE

十九至二十世紀青花山水人物紋鳳尾尊

body of the vase painted with two figures holding a wrapped qin in a landscape on their way to visit a friend lying on a shore with his boy assistant carrying a wrapped qin, the trumpeted top further landscape with figures on sampan

288

CHINESE BLUE AND WHITE BOTTLE VASE

QING DYNASTY, 19TH CENTURY

清康熙款青花如意雲肩花卉螭龍紋賞瓶 decorated with ruyi cloud shoulder above chi dragons near the foot, the base inscribed with a six-character Kangxi mark

40cm high

£600-800

LARGE CHINESE DOUCAI ‘FOUR IMMORTALS’ BASIN

QING DYNASTY

清鬥彩蓬頭四仙圖大缸

painted in a continuous scene with craggy hills and pine trees with four Daoist immortals standing in pairs, including Liu Haichan holding a coin while his toad on his shoulder issuing a chain of coins upwards from its mouth, with an immortal carrying a broom behind, reverse with Hehe Erxian twins, one carrying a ruyi sceptre, the other holding a box and cover, separating the pairs is a deer pulling a cart with ‘hundred antiquities’ 38cm diameter

Provenance: Private collection, acquired from a UK antique market (by repute)

私人收藏，購自英國古玩市場（據傳）

Note: Please note this lot will be offered with no reserve. 本拍品不設底價

十九至二十世紀五彩開光靈獸錦地紋葫蘆大瓶

the lower globular sides painted with four different mythical creatures, Buddhist lion with brocade ball, and dragon-headed heavenly horse, each in a foliated cartouche, all against a geometric ground, the upper bulbous sides decorated with Eight Diagrams, cranes headed clouds, the mouth rim with metal mount

LARGE CHINESE WUCAI ‘MYTHICAL CREATURES’

292

PAIR OF CHINESE BLUE AND WHITE ‘PHOENIXES’ JARS

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初乾隆款青花夔鳳紋螭龍飾罐（一對）

each of oval shape, the sides painted with three large kui-phoenixes in roundels, the mouth rim with a sculpted chi-dragon crawling around together with a bat, the base inscribed with an apocryphal Qianlong mark (2)

18.5cm high each

CHINESE BLUE AND WHITE ‘SEAL’ BOWL 20TH CENTURY

二十世紀江西瓷業公司底款青花印章紋碗

the everted sides decorated on the exterior with various types of Chinese inscriptions and seals, the base inscribed with a six-character ‘Jiang Xi Ci Ye Gong Si’ mark 12.5cm diameter

GROUP OF THREE CHINESE PORCELAIN WARES 20TH CENTURY

二十世紀海雲款景德鎮底款青花金魚紋缸、鶴筠款景德鎮底款粉彩梅紋盤、王錫良款淺降彩《黃山始信峰》瓷板（共三件）

comprising: a blue and white ‘goldfish’ basin, signed ‘Hai Yun’, the base with a four-character Jingdezhen mark; a ‘prunus’ plate, signed ‘He Jun’, the base with a four-character Jingdezhen mark; and a circular plaque painted with Mount Huang Shixin Peak, signed Wang Xiliang and dated 1979AD (3) diameters: basin 25cm; plate 23.5cm; plaque 24cm

Note: Please note this lot will be offered with no reserve. 本拍品不設底價

£300-500

CHINESE BLUE AND WHITE ‘MOUNT QINGLIANG’ PORCELAIN PLAQUE

FU YAOSHENG (1936-2003) MARK

傅堯笙款青花《黃山清涼臺》瓷板木框

painted with a dramatic shanshui landscape, titled ‘Huang Shan Qingliang Tai’ on upper left, dated to the summer of the Ji Si year, corresponding to 1989AD, signed Fu Yaosheng, wooden frame plaque: 89.8cm x 38cm; with frame: 106.3cm x 53cm

£300-500

PRIVATE SCOTTISH COLLECTION (LOTS 295-298)

296

PAIR OF CHINESE UNDERGLAZE

BLUE WITH FAMILLE ROSE ‘LANDSCAPE’ QUATREFOIL VASES

QING DYNASTY, QIANLONG MARK AND OF THE PERIOD

清乾隆款及年代青花加彩山水塔寺人物紋海棠形瓶（一對）

each finely painted in the raised cartouches with shanshui landscape with pagodas and figures, all reserved on a pale celadon dotted ground decorated with floral sprays, the base inscribed with a six-character Qianlong mark (2)

40.7cm high each

Provenance: Private Scottish collection 蘇格蘭私人收藏

£1,000-1,500

PAIR OF CHINESE MOULDED FAMILLE ROSE VASES

QING DYNASTY, QIANLONG PERIOD

清乾隆粉彩松鼠葡萄浮雕人物圖蓋瓶（一對）

each of flattened baluster form, painted on each side with figures within moulded ‘squirrel and vine’ borders picked out in puce enamel and gilding, set with twig handles at the neck, the cover topped with a moulded lion finial (2)

Private Scottish collection

A highly comparable pair of vases, Qing Dynasty, Qianlong Period, converted to lamps and without covers, sold at Sotheby’s New York, 1 Feb 2023, lot 339.

GROUP OF ELEVEN CHINESE BLUE AND WHITE WARES

QING DYNASTY, 18TH CENTURY

清外銷青花山水人物紋盤、碟及杯（共十一件）

comprising: a circular plate, finely painted with a shanshui landscape; seven octagonal saucers and similar three cups, painted freely with figures and landscape (11) largest: 21.2cm diameter

Provenance: Private Scottish collection.

SET OF TWENTY TWO CHINESE CANTON FAMILLE ROSE TABLEWARES

QING DYNASTY, 19TH CENTURY

清廣彩人物花鳥紋花口碟及帶盞把杯（一組二十二件）

comprising: two kidney-shaped foliated dishes, 28.4cm wide; two quatrefoil foliated dishes, 26.9cm wide; five circular dishes, 20.2cm diameter; eight handled-cups, 13.5cm wide, with five saucers, 16.2cm diameter, all similarly decorated with figures and flowers (22)

largest: 28.4cm wide

Provenance: Private Scottish collection.

蘇格蘭私人收藏

£300-500

CHINESE FAMILLE ROSE ‘EIGHT IMMORTALS’ SQUARE-SECTION CUP

QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD 清道光款及年代粉彩描金八仙過海方斗杯

finely painted on four tapered sides with the Eight Immortals holding and standing their attributes on ferocious waves, the counter sunk base inscribed with a six-character Daoguang mark in iron-red

Private Scottish collection, Scottish Borders.

蘇格蘭私人收藏，蘇格蘭邊區

Please note this lot will be offered with no reserve.

QING DYNASTY

清寶善齋製款琺瑯彩錦地玉堂富貴碗

each finely potted, painted around the body with three sprays of yulan magnolia, begonia and peony all against a blue diaper ground decorated with rosettes, the base inscribed with a four-character studio mark ‘Bao Shan Zhai Zhi’ (Studio for Treasuring Goodness) (2)

7.9cm diameter each

£600-800

CHINESE FAMILLE ROSE ‘FEMALE IMMORTAL AND WHITE BUFFALO’ PLATE

QING DYNASTY, 18TH CENTURY

清粉彩仙女白牛圖盤

the interior finely painted with a female immortal holding a lotus flower riding on a white buffalo, received by two other deities respectively holding a bowl of peaches and a vase, their costume finely incised with roundels

23cm diameter

£1,500-2,000

303

CHINESE FAMILLE ROSE ‘BOYS AT PLAY’ JAR

QING DYNASTY, JIAQING MARK AND OF THE PERIOD

清嘉慶款及年代粉彩嬰戲圖鋪首罐

finely painted around the oval body with joyous boys playing in a garden, set on the shoulders with a pair of moulded lion heads holding rings as handles, the base inscribed with a six-character Jiaqing mark in iron-red 24.5cm high

£3,000-5,000

305

CHINESE YELLOW-GROUND FAMILLE ROSE ‘LONGEVITY’ CHARGER

QING DYNASTY, GUANGXU MARK AND OF THE PERIOD 清光緒款及年代黃地粉彩福捧壽紋大盤

decorated with an arrangement of peaches alternating with bats enclosing stylised shou roundels, the base inscribed with a six-character Guangxu mark in underglaze blue

37.4cm diameter

£3,000-5,000

CHINESE LIME-GREEN-GROUND FAMILLE ROSE SGRAFFITO ‘IMMORTALS’ VASE

QING DYNASTY, 19TH CENTURY

清乾隆款綠地粉彩群仙祝壽紋瓶

of baluster form, painted on one side with a gathering of immortals and some pinching lingzhi fungus in their fingers, reverse with three bats in flight, all against an incised lime-green-ground, interior and base covered in turquoise glaze, centre of the base inscribed with a six-character Qianlong mark in iron-red

26.5cm high

Please note this lot will be offered with no reserve. 本拍品不設底價

£300-500

CHINESE FAMILLE ROSE ‘PHEASANT’ PLATE

GUANGXU MARK AND POSSIBLY OF THE PERIOD

光緒款或到代粉彩雉鷄花卉紋盤

painted with a pair of pheasants in a quaint garden, the base inscribed with a six-character Guangxu mark in iron-red

PAIR OF CHINESE FAMILLE ROSE ‘GU’ VASES

LATE QING TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初乾隆款粉彩纏枝花卉紋花觚（一對）

each fine potted, the middle section painted with beribboned auspicious motifs separated by peaches against scrolling lotus, the trumpeted neck further with scrolling lotus, interior and the base covered in turquoise enamel, centre of the base inscribed with a four-character Qianlong mark within double-circle in

heights: 18.3cm and 18cm

Private collection, East Lothian.

私人收藏，東洛錫安郡

308

CHINESE SUSANCAI SQUARE CENSER WITH COVER

QING DYNASTY, 19TH CENTURY

清素三彩團壽萬字錦紋方形香薰帶獅鈕蓋連木座

the square body supported on four lion-mask legs, the two-tiered body decorated with a stylised shou-longevity in roundel against a continuous swastika pattern on the lower part, whilst the upper tier in openwork with similar ground, the square cover with sloping sides and swastika pattern in openwork, mounted with Buddhist lion stepping on a brocade ball as finial, painted on the biscuit in an enamel palette of black, yellow, aubergine and two tones of green, with a fitted wooden stand

30.5cm high x 18.7cm wide; 33cm high with stand

Note: A comparable perfume burner and cover, similar in size and design but dated to the Qing dynasty, Kangxi period (1662-1722), is in the collection of the Fitzwilliam Museum at Cambridge, museum number: C.28 & A-1978.

£500-700

CHINESE EXPORT FAMILLE ROSE

QING DYNASTY, 18TH CENTURY 清外銷粉彩描金人物紋碗

painted with two main and two smaller cartouches with figures in outdoor setting, all against a gilded scrolling ground

Private Scottish collection, 蘇格蘭私人收藏，愛丁堡

310

PAIR OF CHINESE FAMILLE ROSE WITH UNDERGLAZE BLUE VASES

QING DYNASTY, QIANLONG PERIOD

清青花加彩開光人物圖瓶（一對）

each painted with family activities in garden setting in cartouches, against a gilt-decorated geometric ground

32cm high

£400-600

CHINESE EXPORT FAMILLE ROSE FIVE-PIECE GARNITURE

QING

DYNASTY, QIANLONG PERIOD

清乾隆外銷粉彩人物紋瓶（一組五件）

comprising: three baluster vases, one cover, and two beaker vases, each finely and similarly decorated with idyll figures within leafy cartouches reserved on gilded ground (5) heights: 40.4cm to 52.3cm

Provenance: From Penicuik House, Midlothian, Scotland.

Penicuik Estate, situated to the southwest of Edinburgh at the foot of the Pentlands, has been owned by the Clerk family since the middle of the 17th century. Sits at the heart of this designed landscape is Penicuik House, the finest and most influential example of Palladian architecture in Scotland. The 18th-century Palladian mansion was built by Sir James Clerk, 3rd Baronet, in 1761.

It was devastated by fire in 1899. During the fire, a great deal of effort was channelled into salvaging the furnishings. The once magnificent building has stood as a roofless shell for over 100 years. The stables and coach house of the original Penicuik House, converted after the fire into the ‘new’ Penicuik House where the Clerk family reside to this day.

A significant selection of property from Penicuik House was sold in this saleroom, 27 March 2024, lot 1-69; A smaller selection of Asian Art from Penicuik House was also sold in this saleroom, 13 March 2024, lot 189-198.

The most famous interior feature of the house was the Ossian Hall. A watercolour by G. Carelli, dated 1878, depicts the lavish interior of the Ossian Hall furnished by this garniture set on the fireplace (see illustration 1, circled). A Victorian photograph of the Ossian Hall also shows this garniture set features in the centre of the hall on the fireplace (see illustration 2, circled). One of the covered vases from this garniture set is shown displayed in the drawing room of the ‘new’ Penicuik House (see illustration 3, circled).

佩尼庫克莊園，蘇格蘭中洛錫安。

佩尼庫克莊園是蘇格蘭帕拉第奧建築最精美、最有影響力的典範。這座18世紀的帕拉第奧宅邸由第三代男爵Sir James Clerk 於1765年建造。1899 年，佩尼庫克莊園被大火摧毀。火災期間，人們投入大量精力搶救其家具及内容，這些家具後來被搬入附近改建的馬厩，Clerk家族後嗣居住於此。

佩尼庫克莊園一大部分歐洲藏品於2024年3月27日售於禮昂騰博，拍品1-69；另一部分亞洲藝術藏品於2024年3月13日售出，拍品189-198。

佩尼庫克莊園最具代表性的其奧西安大廳（Ossian Hall）。一幅由G. Carelli 1878年繪製的水彩畫描繪了富麗堂皇的奧西安大廳，其中壁爐上陳設的正是此清乾隆外銷粉彩人物紋瓶（附圖，紅圈）；另一幅維多利亞時期拍攝的老照片也顯示Clerk家族成

3. Drawing Room, New Penicuik House

2. Sir George Clerk, 6th Baronet, taken in the 1860s in Ossian’s Hall, Penicuik House

1. Ossian’s Hall, Penicuik House watercolour by G. Carelli

TWO CHINESE FAMILLE ROSE ‘BUTTERFLY’ DISHES

QING DYNASTY, XUANTONG MARK AND OF THE PERIOD

清宣統款及年代粉彩八卦太極百蝶圖碟（兩件）

each painted to the centre with a taiji yin-yang symbol enclosed by the Eight Trigrams, further surrounded by butterflies, the base inscribed with a six-character Xuantong mark in ink (2)

CHINESE FAMILLE ROSE ‘CAVALIER’ RECTANGULAR TEAPOT WITH COVER QING DYNASTY, 19TH CENTURY

清粉彩刀馬人物紋方壺帶蓋 of tapered form, the wider two sides painted with warriors on horses, shorter sides flanked with a handle and a

清粉彩無雙譜對瓶、道光款無雙譜仰鐘杯帶盞及道光款花卉人物紋杯碟（共六件）

comprising: two hexagonal vases, decorated with figures and corresponding poems from Wu Shuang Pu- Table of Peerless Heroes; a bell-form teacup and foliated quatrefoil saucer similarly decorated as the previous minus the poems, the bases inscribed with a six-character Daoguang mark in iron-red; and a handled teacup with an associated saucer, base of the latter inscribed with a four-character Daoguang mark (6) largest: 22cm high each

Provenance: Private Scottish collection, Edinburgh. 蘇格蘭私人收藏，愛丁堡

£400-600

315

CHINESE INSCRIBED LIME-GREEN-GROUND FAMILLE ROSE TEA TRAY

JIAQING MARK AND POSSIBLY OF THE PERIOD

嘉慶款或到代洋彩綠地御製詩文海棠式茶盤

with shallow lobed sides, supported on four short bracket feet, the interior inscribed with an imperial poem of the preparation of tea and dated to the Dingsi year of the Jiaqing reign (corresponding to 1797), surrounded by a band of scrolling lotus and florets repeated on the interior and exterior walls with a variation on the central bloom, the base inscribed with a six-character Jiaqing seal mark in iron-red 15.7cm wide

Provenance: Private Scottish collection, Aberdeen; Acquired in Forfar about 10 years ago.

蘇格蘭私人收藏，亞伯丁；十數年前入藏於蘇格蘭佛爾法爾鎮。

Note: The poem on this tea tray, composed by the Jiaqing Emperor, praises the pleasure of drinking tea and appears on tea trays and teapots of different palettes. S.W. Bushell translates the poem in Oriental Ceramic Art, London, 1981, p. 239, as: ’Finest tribute tea of the first picking.

And a bright full moon prompts a line of verse.

A lively fire glows in the bamboo stove, The water is boiling in the stone griddle, Small bubbles rise like ears of fish or crab.

Of rare Chi’i-ch’iang tea, rolled into tiny balls, One cup is enough to lighten the heart, And dissipate the early winter chill.’

A comparable begonia-shaped tea tray decorated with imperial poem on green ground in yangcai-painted enamels, Jiaqing mark and of the period, is in the Palace Museum, Taipei, museum number Gu Ci 故瓷012502N.

£2,000-3,000

317

SET OF CHINESE FAMILLE ROSE ‘DEER’ CUP AND SAUCER

each finely potted, supported on the short foot with everted rim, the exterior of the cup and interior of the saucer similarly painted with two deer in an outdoor setting

CHINESE YELLOW-GROUND GREEN-ENAMELLED ‘BAMBOO’ CUP

QING DYNASTY

清黃地綠彩竹紋杯

painted with green bamboo shoot highlighted in gilt

9cm diameter

Note: A closely comparable example of similar colour palette, marked and period of Tongzhi, was sold at Sotheby’s Paris, 30 November 2023, lot 1025.

£600-800

CHINESE FAMILLE ROSE ‘LADIES’ VASE

十九至二十世紀粉彩仕女梳妝圖瓶

finely painted with a seated lady looking at a bronze mirror fixing her elaborate hairdo, an assistant behind her holding a fan, reverse with

Please note this lot will be offered with no reserve. 本拍品不設底價

CHINESE FAMILLE ROSE ‘FIGURAL’ BRUSH POT 20TH CENTURY

二十世紀萬雲岩款石山底款粉彩《多子多福》筆筒

of cylindrical form, painted with a hunched male figure bearing a basket with a double gourd and other plants on his back, holding an opened pomegranate fruit leaning downward with a bat in flight, an allegory of fertility and good fortune, reverse titled accordingly, dated to the year of Gui Wei, corresponding to 1943AD, signed and sealed ‘Yun Yan’ (Wan Yunyan, ac. 1930-50), the base further with a ‘Shi Shan’ seal mark

13.4cm high

£400-600

321

CHINESE FAMILLE ROSE ‘EIGHT IMMORTALS’

RECTANGULAR TRAY

QING DYNASTY, 19TH CENTURY

清粉彩描金八仙人物圖長方盤

with shaped corner edges, painted with the eight Daoist immortals gathering under a large pine tree in a garden setting, the rim with traces of gilt

33cm x 21.5cm

£400-600

TWO CHINESE FAMILLE ROSE ‘FIGURAL’ WARES

19TH-20TH CENTURY

十九至二十世紀道光款粉彩人物紋筆筒及人物故事紋盤（共兩件）

including a brush pot and a dish, both bases inscribed with a six-character Daoguang mark in iron-red (2) brush pot: 11.8cm high; dish: 18.5cm diameter

£500-700

QING DYNASTY, 19TH CENTURY

清吉祥如意款粉彩桃鶴紋碗（一對）

each painted on the exterior with cranes amongst a large fruiting peach tree, reverse painted with a bat in fight, the base inscribed with a four-character ‘Ji Xiang Ru Yi’ mark in iron-red (2) 16.2cm diameter each

£300-500

323

CHINESE FAMILLE ROSE ‘BOYS AT PLAY’ BOWL AND COVER

QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD

清道光款及年代粉彩嬰戲圖蓋碗

finely painted on the exterior of the bowl and cover with boys at play in garden setting, the base and top of the lid inscribed with a six-character Daoguang mark in iron-red 11.3cm diameter

£2,000-3,000

324

PAIR OF CHINESE TURQUOISE-GROUND FAMILLE ROSE BOWLS

19TH-20TH CENTURY

十九至二十世紀光緒款綠地粉彩蝈蝈花卉纹碗（一對）

each painted with a mantis resting in a dense floral bush reserved on turquoise-coloured ground, the base inscribed with a Guangxu mark in iron-red (2) 11.3cm diameter each

£300-500

CHINESE BLUE-GROUND FAMILLE ROSE ‘PRUNUS AND BAMBOO’ BOWL

QING DYNASTY, DAOGUANG PERIOD

清道光山解竹主人造款藍地粉彩梅竹紋碗

finely painted on the exterior with pink prunus with green bamboo leaves against a blue enamelled ground with gilt-painted crackle pattern, the base inscribed with a s six-character ‘Shang Jie Zhu Zhu Ren Zhao’ mark in square in underglaze blue

10.5cm diameter

Note: A closely comparable famille rose bowl, with similar decoration and the same six-character mark, also dated to the Daoguang period, is in the

CHINESE FAMILLE VERTE ‘LADY AND BOY’ JAR

QING DYNASTY, 19TH CENTURY

painted with ladies with playful boys in a garden, the base painted in underglaze blue with a double-circle

PAIR OF CHINESE FAMILLE ROSE ‘DEER AND BATS’ CUPS

20TH CENTURY

二十世紀光緒款粉彩祥鹿福慶對杯

each painted on the exterior with two deer holding a stalk of lingzhi-fungus in its mouth, interspersed with a bat in flight carrying a qin musical instrument (2) 7.2cm diameter each

329

CHINESE YELLOW-GROUND FAMILLE ROSE ‘MARRIAGE AND BUTTERFLY’ CUP

QING DYNASTY, TONGZHI MARK AND OF THE PERIOD

清同治款及年代黃地粉彩’囍’字百蝶紋杯

the exterior painted with various butterflies in flight amidst ’xi’ (doublehappiness for marriage) characters, all against a bright yellow ground, the base inscribed with a four-character Tongzhi mark in iron-red

SET OF SIX CHINESE FAMILLE ROSE TEA WARES

20TH CENTURY

二十世紀潤興祥款粉彩人物茶壺、茶杯及茶盤（共六件）

comprising: one teapot painted with one archer and two soldiers surrounded by flags; four small cups with flared rim, each painted with a boy holding books in hands; together with foliated tea tray decorated with two scholars and their attendant seated under a large pine tree; each inscribed with title and signed ‘Run Xing Xiang’ (6) widths: teapot 19.8cm; each cup 6.8cm; tray 28.7cm

£1,000-1,500

CHINESE FAMILLE ROSE AND UNDERGLAZE BLUE TIBETAN-STYLE

EWER, PENBA HU

QING DYNASTY

清乾隆款青花加彩纏枝番蓮紋賁巴壺 the globular body raised on a spreading foot to a stepped neck, thick disc-shaped mouth, applied with a curved spout issuing from the moulded makara head, the body painted with lotus flowers interspersed by leafy lotus flowers and scrolling, intertwining tendrils, framed by lotus lappets and ruyi-head motifs, the foot and mouth rims decorated with bands of raised beads, the base with a sixcharacter Qianlong mark but with a hole drilled through 19.8cm high

£10,000-15,000

Provenance: Private Dutch collection, acquired from a private Belgium collection in 2002; Private Belgium collection, acquired from England in 1977, with an export document issued by P. Turnbull, Newcastle on 17 March 1977.

荷蘭私人收藏，2002年購自比利時私人收藏；

比利時私人收藏，1977年購自英格蘭，含位於紐卡斯之P. Turnbull 1977年3月17日發出的出口證明原件。

Note: Ewers such as the present example are believed to have been produced for Buddhist altars in the palaces and temples of Beijing and Chengde, where the Qing Court’s Summer retreat was located. It has been suggested that the exotic monster- makara at the base of the spout indicates their use within a Tibetan-inspired Lamaist sect: see R. Kerr, Chinese Ceramics. Porcelain of the Qing Dynasty 1644-1911, London, 1986, p.114.

A very similar ewer with beaded decoration at the mouth and bearing a Daoguang seal mark from the Simon Kwan Collection is illustrated in The Chinese University of Hong Kong, Imperial Porcelain of Late Qing from the Kwan Collection, Hong Kong, 1983, Catalogue, no.62. A Qianlong mark and period famille rose example, also with the distinctive beaded decoration at the rims in the Victoria and Albert Museum, London, is illustrated in ibid., p.115, fig.101, museum accession number: CIRC.139-1932. Another related example from the Evelyn Annenberg Hall Collection was sold at Christie’s New York, 29 March 2006, lot 172. Doucai variations of this shape of ewer are also known; see a Qianlong mark and period example in the Asian Art Museum of San Francisco, illustrated by He Li, Chinese Ceramics. The New Standard Guide, London, 1996, p.295, fig.612, and a very similar example sold at Sotheby’s Hong Kong, 2 May 2000, lot 677. 據信，像本例這樣的賁巴壺是為北京和承德（清朝宮廷避暑所在地）的宮殿和寺廟的佛壇所製作。有學者認為，壺嘴底部的奇異生物-魔羯顯示出，它們在藏傳佛教的儀式中使用。參見 R. KerrChinese Ceramics. Porcelain of the Qing Dynasty 1644-1911，倫敦，1986 ，114 頁。

參考香港關善明收藏的一件道光款賁巴壺，口部有類似串珠裝飾，著錄於香港中文大學出版, Imperial Porcelain of Late Qing from the Kwan Collection, 1983年，圖錄 62號。倫敦維多利亞與艾爾伯特博物館藏有一件乾隆款及年代的粉彩賁巴壺，其邊緣也帶有串珠裝飾，參見同上，115 頁，圖 101，博物館藏品號：CIRC.139-1932 。Evelyn Annenberg Hall 收藏的另一件賁巴壺，於 2006 年 3 月 29 日在紐約佳士得拍賣行售出，拍品172。另參考其他可比較的鬥彩賁巴壺: 舊金山亞洲藝術博物館的一件乾隆款及年代的鬥彩賁巴壺，著錄於He Li, Chinese Ceramics. The New Standard Guide，倫敦，1996 ，295 頁，圖 612; 另一例由香港蘇富比2000 年 5 月 2 日拍出，拍品 677.

SET OF CHINESE FAMILLE ROSE ‘BOYS AT PLAY’ TEA BOWL WITH COVER AND SAUCER

20TH CENTURY

二十世紀 ‘江西瓷業公司’款粉彩嬰戲圖帶托茶碗

及蓋（一組三件）

the flaring bowl painted with boys at play in an outdoor setting, the lid decorated with sanduothe ‘Three Abundances’ sprays, base of the bowl and inner well of the finial on the lid inscribed with a six-character ‘Jiang Xi Ci Ye Gong Si’ mark in underglaze blue diameters: cup 10.6cm; saucer 11.1cm

£600-800

333

TWO CHINESE FAMILLE ROSE ‘FIGURAL’ CUPS AND A SAUCER

19TH-20TH CENTURY

十九至二十世紀同治款粉彩三星紋花口碟、道光款粉彩春宮圖杯及粉彩三星紋杯（共三件）

comprising: one cup painted with Sanxing motif, unmarked; the other painted with an erotic lady, the base inscribed with a four-character Daoguang mark in iron-red; and the foliated saucer painted with Sanxing motif, the base inscribed with a four-character Tongzhi mark in iron-red (3) diameters: saucer 12.8cm; cups: 9cm and 7.8cm

£800-1,200

334

CHINESE RUBY-RED-GROUND FAMILLE ROSE ‘FLORAL’ BOWL

20TH CENTURY

二十世紀乾隆款胭脂紅地粉彩折枝番蓮圖碗

potted with deep rounded sides with flared rim rising from a short straight foot, the exterior decorated in multi-coloured enamels against a ruby-red ground with four lotus blooms borne on interlocking meandering foliate stems, the base inscribed in underglaze blue with a six-character Qianlong mark

16.6cm diameter

A bowl in related design, but with Caixiu Tang mark, dated to the Qing Dynasty, 18th Century, sold at Sotheby’s Hong Kong, 26 May 2014, lot 737.

Please note this lot will be offered with 本拍品不設底價

£300-500

MASSIVE CHINESE FAMILLE ROSE ‘FOREIGN TRIBUTE BEARERS’ VASE

QING DYNASTY

清粉彩胭脂紫地通景進寶圖螭龍耳大瓶

the tapered cylindrical body below a waisted neck and flaring rim with stylised flowerheads amongst scrolling foliage on a ruby ground, flanked with two pale blue chi-dragon handles, the central band painted with a continuous scene of foreigners on horses, extraordinary animals, and foot travellers through a dramatic shanshui landscape, they hold in their hands precious produce and objects, including vases with ruyi, coral, jewels, fruits and many others, further loaded with valuable gifts in carrying poles and wheeled carts as tributes, the base unglazed 76cm high

Note: Compare to a pair of slightly smaller vases, 68cm high each, with similar decorations but on yellow ground, further with a Jiaqing mark and of the period, sold at Christie’s London, 15 May 2012, lot 318. £2,000-3,000

CHINESE FAMILLE ROSE ‘BUDDHIST EMBLEMS’ CUP

QING DYNASTY, TONGZHI

MARK AND OF THE PERIOD

清同治款及年代粉彩八吉祥纹杯

the rounded sides rising from a circular foot to an everted rim, painted with four of the Eight Buddhist Emblems between a key fret and a ruyi-shaped border, the base inscribed with a six-character Tongzhi mark in underglaze blue

4.6cm high

£800-1,200

337

CHINESE FALANGCAI-ENAMELLED ‘DOG’ VASE

REPUBLIC PERIOD, 20TH CENTURY

民國乾隆款琺瑯彩駿犬圖瓶

finely painted on the exterior with a black greyhound in a garden setting with bamboo and rockworks, the base inscribed with a four-character Qianlong mark within double squares in blue enamel

19.7cm high

£500-700

and a ‘wushuangpu’ cover for a teabowl, the well of the finial inscribed with a six-character Jiaqing mark (3)

largest: 25cm wide

£500-700

CHINESE FAMILLE ROSE ‘BOYS AT PLAY’ JAR

QING DYNASTY, 19TH CENTURY

清粉彩嬰嬉圖罐

painted underneath a broad blue diaper band with five boys at play, the base with an unglazed groove band 15cm high

Note: Please note this lot will be offered with no reserve. 本拍品不設底價

£300-500

CHINESE FAMILLE ROSE ‘BUTTERFLY’ BRUSH POT 19TH-20TH CENTURY

十九至二十世紀光緒款粉彩百蝶囍字筆筒

the exterior painted with ‘one hundred butterflies’ motif with occasional ‘double happiness’ characters in the middle, the base inscribed with a sixcharacter Guangxu mark in iron-red

341

PAIR OF CHINESE FAMILLE ROSE PLATES

QING DYNASTY, YONGZHENG PERIOD

清雍正花押款粉彩虞美人盤（一對）

painted with flowering poppies elegantly issuing from one side of the rim, the base painted with a square motif mark within a double-circle in underglaze blue (2) 15.8cm diameter each

£800-1,200

342

TWO CHINESE FAMILLE ROSE ‘LANDSCAPE’ PLAQUES

19TH-20TH CENTURY

十九至二十世紀粉彩山水圖瓷板木框（兩件）

one painted with a scenic shanshui landscape with a figure crossing a bridge; the other with houses on a river bank amongst flowering trees, framed (2) plaques: 25cm x 38cm each; with frames: 44cm x 57.6cm each

Provenance: Private collection, Edinburgh; Inherited from current owner’s parents who acquired in Singapore during the 1950s and 1960s. 私人收藏，愛丁堡；現任藏家父母於1950至60年代入藏自新加坡，

後家族遞藏。

£400-600

344

343

CHINESE FAMILLE ROSE

‘SUBLIME PEAK’ PLAQUE

WANG XILIANG (1922-2023) MARK

王錫良款粉彩《奇峰雄峙》瓷

板木框

painted with two small figures admiring two confronting ‘peculiar rock mountain peaks’, inscribed with a poem on right margin, signed ‘Wang Xiliang’, dated to the summer of Xin Mo Year, corresponding to 1991AD, wooden frame plaque: 52.5cm x 30cm; with frame: 73cm x 51cm

£300-500

CHINESE FAMILLE ROSE ‘LANDSCAPE’ PORCELAIN PLAQUE

WANG GUIYING (1931-2012) MARK

桂英款粉彩《秋江雲樹》瓷板木框 of rectangular form, finely painted with a dramatic shanshui landscape with sampans and junks, a poem on upper right, dated to the summer of the Yi Si year, corresponding to 1989AD, signed ‘Gui Ying’, wooden frame plaque: 109cm x 56.5cm; with frame: 130.5cm x 75.4cm £300-500

CHINESE BLACK-LACQUER GROUND FAMILLE ROSE ‘PRUNUS AND VASE’ PORCELAIN PLAQUE

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初環翠亭製款黑漆地嵌粉彩梅花葫蘆瓶瓷片掛屏木框

finely decorated with flowering prunus branches issuing out from a blue ‘double-gourd’ vase with crackled-ice ground on stand, lower right with a four-character ‘Huan Cuiting zhi’ hall mark within a square panel, all against a textured black-lacquer ground, framed plaque: 78cm x 41cm; with frame: 87cm x 50cm

Note: The decorative technique of inlaying porcelain against blacklacquer ground was popular in the Qing Dynasty. A comparable example of a famille rose ‘literati’ porcelain plaque with a similar undulating-textured black-ground, dated to the Qing dynasty, Qianlong period, sold at Poly Beijing, 5 Dec 2019, lot 6209; Also see an example of a ‘floral’ porcelain inlaid panel, Qing dynasty, in the Nanjing Museum, museum link: https://www.njmuseum.com/ zh/collectionDetails?id=332. A related example of a famille verte ‘luohan’ porcelain plaque in relief, Qing dynasty, Kangxi period, later inlaid in a black lacquered panel, sold at Sotheby’s Paris, 11 December 2020, lot 220.

£1,000-1,500

346

CHINESE FAMILLE ROSE ‘MILLEFLEUR’ PLAQUE INSET WOODEN TABLE SCREEN

19TH-20TH CENTURY

十九至二十世紀粉彩百花不落地瓷板嵌木透雕仿竹葡萄紋桌屏 the rectangular ‘floral’ porcelain plaque inset into a pierced carved grape and faux bamboo frame supported on two feet plaque: 37.7cm x 24.2cm; overall: 80cm high

£1,000-1,500

PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE (LOTS

348

CHINESE BRONZE ‘MYTHICAL BEAST’ SEAL

QING DYNASTY, GUANGXU MARK AND OF THE PERIOD

清光緒款及年代銅獅鈕「洪聖」章

款識: 光緒壬寅年、闔鄉敬送

印文: 南海廣利洪聖寶璽

347

CHINESE CARVED SOAPSTONE ‘CHI DRAGON’ SEAL

QING DYNASTY

清壽山石雕螭龍鈕印

of oval form, the finial pierced carved with a chi dragon striking on an uneven rock holding a lingzhi in its mouth

3.8cm wide

Provenance: Private Scottish collection, Renfrewshire.

蘇格蘭私人收藏，連夫魯郡

£300-500

the seal panel of square-section tile form, set with a cylindrical handle topped with seal lion as finial, the upper side of the seal carved with a nine-character mark containing the date Ren Yin year during the Guangxu period, corresponding to 1902AD, the seal side with an eight-character mark ‘Nanhai Guangli Hong Sheng Baoxi’, meaning the Saint King Hung the Widely Beneficial of South Sea 19.6cm high; 1627g

Provenance: Private Scottish collection, Renfrewshire.

蘇格蘭私人收藏，連夫魯郡

£300-500

CHINESE CLOISONNÉ ENAMEL ‘FLORAL’ LOBED VASE

LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

刻款銅胎掐絲琺梅竹菊紋瓜棱瓶

each lobe decorated with repeated prunus, bamboo, and chrysanthemum against key fret ground underneath scrolling flowers on the waisted neck, the base carved with a four-character

Private Scottish collection, Renfrewshire.

蘇格蘭私人收藏，連夫魯郡

350

CHINESE POWDER-BLUE-GROUND

GILT-DECORATED ‘DOG OF FOO’ BOWL WITH COVER QING DYNASTY, 19TH CENTURY

清灑藍地描金佛獅紋蓋碗

the exterior gilt-painted with four playful Buddhist lions with beribboned brocade balls, against a blue ground, cover similarly decorated 22.cm diameter

Provenance: Private Scottish collection, Renfrewshire.

蘇格蘭私人收藏，連夫魯郡

£300-500

351

CHINESE BLUE AND WHITE ‘BOGU’ PORCELAIN PLAQUE

19TH-20TH CENTURY

十九至二十世紀青花清供圖瓷板

painted with ‘one hundred antiques’ motif with vases, censer, jardinieres, fruits and other objects 21cm square

Provenance: Private Scottish collection, Renfrewshire.

蘇格蘭私人收藏，連夫魯郡

£300-500

352

JAPANESE ENAMELLED GREEN-GLAZED ‘FLORAL’ BOWL

MEIJI PERIOD

明治綠釉加彩花卉紋碗

decorated inside out with floral scrolls, the central medallion with a lotus head borne on leafy scrolls, all against a tea dust green-glaze

14.6cm diameter

Provenance: Private Scottish collection, Renfrewshire.

蘇格蘭私人收藏，連夫魯郡

353

JAPANESE CLOISONNÉ ENAMEL ‘CHICKEN AND DUCK’ VASE

MEIJI PERIOD

明治銅胎掐絲琺瑯鷄鴨紋扁瓶帶木座 of flattened form, one side painted with a mother hen and three chicks, the reverse with a duck in a pond, reserved on a brown ground decorated with tendrils and autumnal leaves, on a fitted wooden stand

31.6cm high

Provenance: Private Scottish collection, Renfrewshire.

蘇格蘭私人收藏，連夫魯郡

£300-500

LARGE JAPANESE SATSUMA ‘RAKAN’ VASE

BY HAKUSAN, MEIJI PERIOD

明治 ‘日本白山’款薩摩燒羅漢圖貼塑龍紋大瓶

of baluster form, painted around the body with rakans with bulging eyes and solemn expressions, shoulders set with a moulded dragon, the base inscribed with a four-character ‘Nihhon Hakusan’ mark, with carved wooden stand 54cm high

Provenance: Private Scottish collection, Renfrewshire.

蘇格蘭私人收藏，連夫魯郡

£1,000-1,500

JAPANESE ART

355

GROUP OF THREE JAPANESE SATSUMA VASES

MEIJI PERIOD

明治祥雲等款薩摩燒花鳥、山水、人物紋小瓶（共三件）

the largest finely painted on one side with a bird perching on flowering tree, reverse a landscape, the base inscribed with a two-character ‘Shoun’ mark, 12.3cm high; a blue ground baluster vase painted on both sides in two panels with figures, mark obscured, 9.2cm high; and a square-section vase decorated with figures and landscape, unmarked, 9.1cm high (3)

heights: 9.1cm to 12.3cm

Provenance: Private Scottish collection, Edinburgh.

蘇格蘭私人收藏，愛丁堡

£300-500

357

JAPANESE SATSUMA ‘SAMURAI IN FIGHT’ PLATE

MEIJI PERIOD

明治 ‘大日本錦光山製’款薩摩燒武士對峙圖盤

delicately decorated in gilt and enamels with a warlord and a group of samurai clad in full armour gathered before a war curtain and surrounding an unwelcome visitor, the scene set in a sakura-cherry blossom cartouche, bordered by a repeated geometric motif, the base signed with a rubbed mark Dai Nihon Kinkozan

31cm diameter

£300-500

SET OF FIVE JAPANESE SATSUMA BOWLS

FOUR BY KOSHIDA, MEIJI PERIOD

明治越田、薩摩款薩摩燒百菊紋花口碗帶木

each of deep bowl form, rising from a short straight foot, to slightly inverted notched rim, densely decorated with various patterns of chrysanthemums all against gilded ground, four with their bases marked ‘Koshida’, one of the smaller marked ‘Satsuma’, with four display stands (5) diameters: 25cm and 15.7cm

Private English collection, North England.

英格蘭私人收藏，北英格蘭

TWO JAPANESE GOLD LACQUERED TORTOISESHELL

CYLINDRICAL BEAKERS

MEIJI PERIOD

明治朱金漆彩玳瑁雄鷹紋圓筒（兩件）

JAPANESE WOOD NETSUKE OF A SHISHI MINKO MARK AND POSSIBLY BY TANAKA MINKO (1735-1816)

或爲田中岷江岷江款木雕獅子根付

the beast standing on all fours with upward curling tail, head straight, mouth ajar with inlaid bulging eyes and alert expression, the underside incised with a two-character ‘Minko’ mark

5cm wide

Provenance: Private Scottish collection

蘇格蘭私人收藏

Note: Compare to a wood netsuke of a shishi by Tanaka Minko, Tsu, early 19th century, sold at Bonhams, 15 May 2014, lot 36.

£500-700

each embellished in gold and red lacquer with complementary designs, one decorated with a large and magnificent hawk perching on a rockwork with one leg, looking over a landscape with water and mountain; the other depicting a hawk in flight with its eyas amidst a landscape, both unsigned (2) heights: 16.3cm and 16.5cm

Provenance: Estate of Prof Francis Wormald (1904-1972), palaeographer and art historian.

法蘭西斯沃麥爾德教授（1904-1972）舊藏，古文獻學家和藝術史學家。

£300-500

JAPANESE EMBROIDERED ‘DRAGON’ PANEL

MEIJI PERIOD

明治刺綉雙龍戲珠橫幅 of rectangular form, finely embroidered with two confronting dragons in blue, the mythical beasts coiling amidst clouds chasing a large pearl in the centre 60cm x 242.5cm

Provenance: Private English collection, Scottish Borders; Inherited from current owner’s grandmother who acquired this in Hampshire. 英格蘭私人收藏，蘇格蘭邊區；現任藏家祖母入藏自漢普郡，後家族遞藏。

£500-700

361

FINE AND SMALL JAPANESE SATSUMA ‘PROCESSION’ KORO

SOZAN FOR THE KINKŌZAN WORKSHOP, MEIJI PERIOD, CIRCA 1900

明治約1900 ‘錦光山造’ 及 ‘素山’款薩摩燒出行圖三足爐帶蓋

of tapered circular form standing on three bracket feet, minutely and finely painted with figures in a procession, with a reticulated domed cover, signed on the underside in red enamel in an oval reserve Sozan and in gilt panel Kinkozan tsukuru

7cm diameter

Provenance: Private Scottish collection, Edinburgh.

蘇格蘭私人收藏，愛丁堡

Note: A comparable lobed incense burner, slightly larger, decorated with a procession of samurai, Sozan for the Kinkozan workshop, offered at Bonhams New York, 22 July 2020, lot 1037.

£600-800

GROUP OF FOUR JAPANESE MIXED METAL EDGED-WEAPON ACCESSORIES

MEIJI PERIOD

明治安親款象紋鐡鍔、龍紋銅鍔、山水紋縁及漁翁紋頭（共四件）

comprising: an iron ‘elephant’ tsuba rounded rectangular form, carved in relief with a large elephant with a flaming (jewel) on its back, partly covered with gold and silver foil, the reverse with a description of the elephant’s arrival to Japan on a shikishi and decorated with clouds in gold nunomezogan, signed a ‘Dragon’ quatrefoil-shaped and inlaid tsuba, unmarked; a sword-hilt collar (fuchi cap (kashira) (4)

widths: tsubas 8.5cm and 8.1cm; fushi 3.9cm; karashi 3.5cm

Provenance: Private Scottish collection, Edinburgh.

蘇格蘭私人收藏，愛丁堡

Note: Two highly comparable ‘elephant’ iron with the same subject matter and inscriptions, both signed Yasuchika, Edo Period, were sold at Bonhams New York, 20 Oct 2015, lot 100, and Christie’s London 7 Nov 2012. £800-1,200

364

JAPANESE KOMAI-STYLE ‘EGYPTOMANIA’ CASE

MEIJI PERIOD

明治京都住駒井風格金工古埃及主題盒

decorated front and back with ancient Egyptian scenes, left interior with a fuji motif and marked ‘K.24 GOLD INLAID’

9.2cm x 8.8cm; 109g

Provenance: Private Scottish collection, Edinburgh.

蘇格蘭私人收藏，愛丁堡

£300-500

JAPANESE KOMAI-STYLE HEXAGONAL BOX WITH COVER MEIJI PERIOD

明治京都住駒井風格金工孔雀紋六角蓋盒

top of the hinged lid decorated with a pair of peacocks perching on a foliated tree branch, interior gilt and incised with a landscape, raised on low tripod supports, the base with a fuji motif and marked ‘24.CARAT’

7.2cm wide; 171g

Provenance: Private Scottish collection, Glasgow; Inherited from current owner’s aunt.

蘇格蘭私人收藏，格拉斯哥；繼承自現任藏家之姑母。

JAPANESE SILVERED BRONZE OKIMONO OF A PHEASANT MEIJI PERIOD

明治豊楽款鍍銀銅鑄雉雞置物帶木座 naturalistically cast standing with its head lowered, resting on an associated gnarled wood stand, signed on the underside in an oval reserve with two characters, possibly reading as ‘Hōraku’

26cm long; 17cm high on the stand; 769g without stand

£400-600

蘇格蘭私人收藏，蘇格蘭邊區；約廿年前入藏自愛丁堡。

Note: Shobido was a shop in Osaka that specialized in metalwork, jewellery, clocks, and flower vases.

£300-500

367

JAPANESE GOLD-LACQUER KODANSU, MINIATURE CABINET

MEIJI PERIOD

明治蒔絵山水圖提箪笥

of rectangular form, with a hinged door opening to reveal three drawers, decorated in gold and silver takamaki-e and hiramaki-e on black lacquer ground on all sides with scenic landscapes, the interior with a house on a stream amidst a landscape with pine trees 17.5cm wide x 20cm high x 25.1cm deep

Provenance: Private Scottish collection, East Lothian

蘇格蘭私人收藏，東洛錫安郡

£800-1,200

PRIVATE ENGLISH COLLECTION, HOME COUNTIES (LOTS 368-370)

368

JAPANESE NEGORO FOOTED CEREMONIAL BASIN, ASHITSUKI-DARAI

MOMOYAMA-EARLY EDO PERIOD, 16TH-17TH CENTURY

安土桃山至江戶根来足付盥 of turned and assembled wood, the exterior of slightly tapered sides with two raised rings on top and bottom, raised on three high scrolling feet, the interior, the upper and lower bands of the sides and the legs lacquered red, the middle band with clear lacquer revealing the wood beneath

35cm diameter

Provenance: Private English Collection, Home Counties.

英格蘭私人收藏，倫敦周圍各郡

Note: For a similar ritual wash basin, dated to Momoyama to early Edo period, sold at Christie’s London, 15 May 2013, lot 312. Also see another example, with shorter feet, offered at Bonhams New York, 15 September 2015, lot 3086. Earlier examples dated to the Muromachi period (1392–1573), one is in The Metropolitan Museum, accession no: 2015.500.2.10, the other in the National Museum of Asian Art, Smithsonian Institution, accession no. F1967.12a-c.

£1,500-2,000

JAPANESE BAMBOO HANAKAGO BASKET

MORITA CHIKUAMI (1877-1947)

森田竹阿弥手付竹籠

woven with a tall loop handle, signed Chikuami zo 48cm high

Provenance: Private English Collection, Home Counties; Christie’s London, 15 May 2013, lot 311. 英格蘭私人收藏，倫敦周圍各郡；購自倫敦佳士得，2013 年5月15日，拍品311

£800-1,200

JAPANESE BAMBOO HANAKAGO BASKET

HAYAKAWA SHOKOSAI III (1862-1922)

三代早川尚古斎手付竹籠

woven with a tall loop handle, signed Sansei Shokosai Zo

Private English Collection, Home Counties; Christie’s London, 15 May 2013, lot 310.

英格蘭私人收藏，倫敦周圍各郡；購自倫敦佳士得，2013年5月 310

£1,000-1,500

JAPANESE LACQUER OKIMONO FIGURES OF JUROJIN AND A BOY

MEIJI PERIOD

明治木雕金漆壽老人及童子置物（共兩件）

the God of Longevity holding two peaches in his hands looking to the lower right, wears a long robe detailed with trellis ground and roundels with flowers and phoenixes, the boy with a joyous expression on his face (2) heights: 18.5cm and 10.1cm

The Estate of Sir John and Lady Clare Keswick at Portrack House, Dumfriesshire. See Provenance details in lot 74.

black-lacquer cases with double-hinged doors opening to reveal various deities, all interiors gilded, one further inscribed (6) largest: 14cm high

£300-500

373

JAPANESE PARCEL-GILT AND LACQUER WOODEN FIGURE OF UGA BENZAITEN

EDO PERIOD

江戶金漆木雕宇賀弁才天座像

Benzaiten, the deity of all that flows, shown seated holding a sword and a wishgranting jewel, crowned with Ugajin, the harvest and fertility kami

34cm high

£400-600

SUZUKI HARUNOBU (JAPANESE, 1725-1770)

CHERRY, THE KING OF FLOWERS, EDO PERIOD, ABOUT 1769

江戸「花王」　桜花の下の二美人鏡框

A chuban tate-e print depicting two young ladies under blossoming cherry tree, with a poem above, from an untitled series of flowers; signed Harunobu ga 28.4 x 21cm; 50.5cm x 42.2 with frame

Provenance: From the Estate of Dorothy Bohm (1924-2023).

See Provenance details in lot 91.

£600-800

375

THREE JAPANESE WOODBLOCK PRINTS

EDO PERIOD

江戸勝川春章美人圖、喜多川歌麿《新後撰集・摘草》及歌川広

重《十一月十五日火性之有卦二入》（共三幅）

comprising: a hosoban depicting a lady, by Katsukawa Shunsho (1726-1792); an ōban tate-e ‘Picking Grass’ from the series Allusions to the ‘New Later Collections of Waka’, by Kitagawa Utamaro (1754-1806); and a harimazi-e titled ‘Ju ichi gwatsu ju no ichi: Hi sho no uki ni iru’ (Collection of Lucky objects to ward off evil influences), by Utagawa Hiroshige (1797-1858), all framed (3) largest: 50.3cm x 40.3cm

Provenance: From the Estate of Dorothy Bohm (1924-2023).

See Provenance details in lot 91.

£300-500

376

KITAGAWA UTAMARO I (JAPANESE, EARLY 1750S–1806)

EDO PERIOD

喜多川歌麿「男踏歌鶯の餌す

り」版畫鏡框

ôban yoko-e, ‘Preparing Food for a Nightingale’, from the album Men’s Stamping Dance (Otoko tôka), framed 25cm x 38cm

Provenance: By repute previously in the collection of Peter Collins RSA (1935-2023).

據傳蘇格蘭藝術家Peter Collins RSA（1935-2023）舊藏

£800-1,200

377

COLLECTION OF TWENTY NINE JAPANESE WOODBLOCK PRINTS 19TH-20TH CENTURY

高橋松亭（佳惠）、山本昇雲、楢崎栄昭（扶陽）、幸野楳嶺等木刻版畫共二十九幅

comprising: twenty-two prints by or in the style of Takahashi Shotei (1871-1945), signed either Shotei or Kakei; five prints by Yamamoto Shoun (1870-1965); one print by Narazaki Eisho (Fuyo) (1864-1936); and one print by Kono Bairei (1844-1895) (29) the largest: 17cm x 38cm

Provenance: Private English collection, Surrey. 英格蘭私人收藏，薩里郡

£500-700

378

UTAGAWA HIROSHIGE I (JAPANESE, 1797-1858)

EDO PERIOD

江戶歌川廣重「名所江戸百景するがてふ」版畫鏡框

oban tate-e print, titled ‘Suruga-chô’, from the series One Hundred Famous Views of Edo (Meisho Edo hyakkei), framed

36.2cm x 24cm

£500-700

379

UTAGAWA HIROSHIGE I (JAPANESE, 1797–1858)

EDO PERIOD

江戶歌川廣重「東海道五十三次之内川崎六郷渡船」版畫鏡框

horizontal oban, titled ‘Kawasaki: The Rokugô Ferry’ (Kawasaki, Rokugô watashibune), from the series Fifty-three Stations of the Tôkaidô Road (Tôkaidô gojûsan tsugi no uchi), also known as the First Tôkaidô or Great Tôkaidô, framed 22cm x 35cm

£400-600

380

UTAGAWA HIROSHIGE I (JAPANESE, 1797–1858)

EDO PERIOD

江戶歌川廣重「富士三十六景東都佃沖」版畫鏡框

oban tate-e print, titled ‘The Sea at Tsukuda in Edo’ (Tôto Tsukuda oki), from the series Thirty-six Views of Mount Fuji (Fuji sanjûrokkei), framed

33.8cm x 22.5cm

Provenance: Private Scottish collection, Aberdeenshire.

蘇格蘭私人收藏，亞伯丁郡

£300-500

381

MOCHIZUKI GYOKUSEN III (JAPANESE, 1794-1852)

INK PAINTING OF OTOWA WATERFALL

望月玉川台嶽音羽瀑布図絹本設淡色立軸

款識: 台嶽音羽瀑布図、望玉川

鈐印: 東壑(?)、計興

ink and slight colour on silk, titled, signed and sealed of the artist, mounted as a scroll

128.1cm x 55.8cm

Provenance: Private Scottish collection, Edinburgh; inherited from current owner’s grandparents, an established legal family in the early 20th century.

蘇格蘭私人收藏，愛丁堡；家傳自現任藏家祖輩，祖輩乃愛丁堡顯赫司法世家。

£800-1,200

382

COLLECTION OF MIXED JAPANESE CATALOGUES

comprising: Christie’s London, ranging from 1968-1996, 27; Christie’s New York 1989, 1; Christie’s Paris 2016, 1; Sotheby’s London, ranging from 1965-2019, 60; Sotheby’s New York, ranging from 1991-1999, 4; 93 books in total (93)

Provenance: Private collection, England.

£300-400

KOREAN ART PRIVATE KOREAN CERAMIC COLLECTION, LONDON

(LOTS 383-389)

383

KOREAN INLAID CELADON OIL BOTTLE

GORYEO DYNASTY, 12TH-13TH CENTURY

청자 상감 유병

crafted in a compressed globular form, with short waisted neck with a wide flared mouth, features beautifully decorated semi-circular floral medallions in sanggam-inlaid iron oxide and white slip that encircle the shoulder 7.5cm wide

Provenance: Private collection, London.

Note: Smaller bottles, such as this example, were typically used to store perfumed oils. Bottles of this shape have been in use since the Unified Silla period (676–935) and became more refined during the Goryeo dynasty (918–1392). By the mid-twelfth century, Goryeo potters and patrons began to articulate native tastes more distinctly. The decorative technique known as sanggam (상감) refers to an inlay method unique to Korean potters during the Goryeo dynasty, a technique rarely seen in Chinese ceramics. This process involved incising designs into the clay, filling the incisions with slip, and then covering the piece with a translucent celadon glaze before final firing. Flourishing in the 12th century, this inlay technique is celebrated for its precision and elegance. Comparable examples with nuances of form and detail from the 12th - 13th century could be found in the collection of the Princeton University Art Museum, object no. y1966-54 and in the collection of the Metropolitan Museum, New York, accession no.19.39.17.

£700-900

384

KOREAN BLUE AND WHITE ‘LANDSCAPE’ WATER DROPPER

JOSEON DYNASTY, 19TH CENTURY

백자

the square-shaped water dropper with a flat base, painted in underglaze blue on all five sides, depicting a riverscape with sailing boats and mountain peaks, the scene on the top enclosed within a line border, and the piece includes a cylindrical spout 7cm high

Provenance: Private collection, London; acquired from Mainichi Auction, Tokyo.

Note: This square-shaped blue-and-white porcelain water dropper was produced in the 19th century at the official government kiln in Bunwon-ni. Each side of the water dropper is adorned with an abbreviated landscape scene depicting boats sailing on the Han River, with hills in the background. These images reflect the scenery near the royal kilns, from which artisans drew inspiration. Pieces such as this one were highly prized by the yangban class. The scenery reflects the transition in Korean art during the late Joseon Dynasty when artists began depicting real landscapes rather than the imaginary scenes rooted in Chinese traditions. Such motifs would have appealed to the yangban elite, who often sought intellectual and spiritual reflection through the observation of nature. Comparable examples could be found in the collections of the Brooklyn Museum, accession no. 79.273.2 and the Harn Museum of Art, object no. 2004.36.3.

£500-700

385

KOREAN BUNCHEONG STONEWARE BOTTLE WITH IRON OXIDE PEONY PATTERN

JOSEON DYNASTY, 15TH-16TH CENTURY

분청사기 철화 모란무늬 병

the pear-shaped bottle raised on a ring foot with its body entirely covered in white slip adorned with a stylised peony leaves in iron oxide, bordered by incised lines that expose the greyish stoneware beneath 29cm high

Provenance: Private collection, London; acquired from Steven’s Art & Antiques, CA.

Note: This Buncheong bottle features a full body covered in white slip, decorated with a painterly motif of peony leaves in rich iron oxide pigment, a style that is closely tied to the kilns of sacred Mount Gyeryong, located near Hakbong-ri, west of Daejeon. The craftsmanship reflects a pivotal period in Korean history, particularly after the early Joseon Dynasty rulers shifted from Buddhism to Confucianism. This transition forced many Buddhist monks back into secular life, with some former monks from Gyeryong establishing kilns to create Buncheong pottery. Renowned for its fresh and spontaneous aesthetic, this bottle exemplifies the quick decoration methods used by artisans who frequently employed simple iron oxide designs against a cream-coloured backdrop. These wares were admired for their immediacy and natural charm, marking a unique moment in Korean ceramic art. Iron-painted Buncheong was produced for a short duration in Hakbong-ri, from the late 15th to the early 16th century. Following this period, the kilns shifted exclusively to porcelain production, making pieces like this Buncheong bottle highly sought after by collectors due to their rarity and historical importance. Pieces with similar motifs could be found in the collections of the National Museum of Korea, accession no. Bongwan 12457 and the Minneapolis Institute of Art, accession no. 2015.79.494. Comparable bottles were sold by Bonhams, 15 March 2017, lot 7042 and Auction Artbank, Korea, 16 December 2009, lot. 23.

£7,000-9,000

KOREAN BLUISH-GLAZED MEDICINE JAR

JOSEON DYNASTY, 19TH CENTURY

백자 약호

crafted with precision, the jar features a bluish glazed surface and a well proportioned form, presenting a flared round mouth, a gently tapering neck, and a bulbous body, all resting on a raised foot

8cm high

Provenance: Private collection, London; acquired from a private Japanese collection.

Note: This jar was primarily used for storing medicinal herbs, exemplifying the craftsmanship of the Joseon era by merging functionality with aesthetic appeal. Its fine, translucent glaze and minimalistic design highlight a significant artistic expression in Korea, reflecting the cultural values of the time. This refined simplicity aligns with Confucian ideals, emphasising elegance and practicality in everyday objects. Similar jar was sold by Auction Artbank, Korea, 16 December 2009, lot. 44. Comparable example with nuances of form could be found in the collection of the HanDoc Medical Museum, collection no. 한 78.

£1,000-1,500

387 KOREAN BLUE AND WHITE PORCELAIN JAR

JOSEON DYNASTY, 19TH CENTURY

청화백자호

the porcelain jar featuring a slightly flared rim, a gently tapering neck, and a rounded body resting on a raised foot, the jar adorned with cobalt blue bands along the top of the rim and around the neck, while the body decorated with auspicious symbol 14.5cm diameter

Provenance: Private collection, London; acquired from a Private Japanese collection.

Note: This porcelain jar is decorated with underglaze blue designs showcasing various auspicious symbols, including peonies, tied scrolls, and intertwined circles with flora-like ribbons. These motifs symbolise wealth and prosperity, intended to bring good fortune to its owner. Such jars were typically found in women’s quarters and were used to store cooking sauces, combining functionality with decorative beauty. Similar pieces were sold by Fukuoka Yumekai Auction, 30 September 2023, lot. 594 and Bukowski Auction, 11 13 June 2024, lot. 1180.

£2,000-3,000

KOREAN WHITE PORCELAIN BRUSH WASHER, PILSE

JOSEON DYNASTY, 15TH CENTURY

백자 필세

the pure white jar featuring a wide, rounded rim and a voluptuous, shallow disc-like body, elegantly set upon a raised foot

9.5cm wide

Provenance: Private collection, London; acquired from a private Japanese collection, Kyoto.

Note: Brush washers were essential items in the study rooms of the yangban elite during the Joseon Dynasty. These shallow ceramic vessels, served the practical purpose of rinsing brushes used in calligraphy and painting, reflecting the yangban’s focus on education and the arts. Their elegant design and undecorated surface, aligning with Confucian ideals of simplicity and refinement, emphasising harmony and scholarly pursuit. Similar pieces could be found in the collection of the National Museum of Korea, collection no. 남 산 374 and the National Folk Museum of Korea, relic no. 028913.

£1,500-2,000

KOREAN BLUE-GLAZED WINE BOTTLE

the bottle features a flared rim that transitions into a tall, spreading neck, complemented by a compressed pear-shaped body, the entire vessel completely covered in underglaze cobalt blue

Private collection, London; acquired from a private

In the late Joseon period, a burgeoning economy stimulated increased porcelain production in commercial kilns. This bottle, featuring a round mouth, a long and slender neck, and a bulbous body, exemplifies one of the new vessel shapes that emerged in the nineteenth century. During this time, the use of underglaze cobalt blue became particularly prominent, with many vessels being entirely covered in this vibrant hue. The widespread popularity of cobalt blue wares reflected changing societal values, serving as symbols of status and sophistication among the elite. A similar piece, smaller in scale, was sold by Fukuoka Yumekai Auction, 27 July 2024, lot 50. Comparable bottle can be found in the collection of the Brooklyn Museum,

KOREAN CELADON-GLAZED INCISED ‘PARROTS’ BOWL

GORYEO DYNASTY, 12TH-13TH CENTURY

高麗王朝十二至十三世紀青磁刻鸚鵡紋碗 of conical form with very gently rounded sides, incised to the interior with a pair of long-tailed parrots in flight within two circles, covered overall save for the foot ring and spur marks on the wall with a green glaze 16cm diameter

Note: As an auspicious pattern signifying harmony, a parrot design was widely adopted in the earliest days of Korean celadon from the Chinese Yue ware, and particularly popular between the twelfth and early-thirteenth century. The pattern commonly features a pair of parrots. A comparable example is in the British Museum, museum no. 1973,0726.393, one in the Cleveland Museum of Art, museum no. 1924.136., and the other in the University of Michigan Museum of Art, accession no. 1965/2.69; Also see examples in the open market, one sold at Christie’s New York, 21 July 2016, lot 34, and the other at Sotheby’s New York, 30 Sep 2020, lot 1070.

£3,000-5,000

SOUTHEAST ASIAN ART

391

SEAH KIM JOO (SINGAPOREAN, B. 1939)

DATED 1963

佘金裕街景圖紙本設色鏡框

ink and colour on paper, signed lower left margin ‘Seah Kim Joo, 63’ 70.5cm x 51.2cm

Provenance: Private collection, Edinburgh; Inherited from current owner’s parents who acquired this painting from ‘Art Exhibition in Aid of St. Andrew’s Mission Hospital for Children’ in Singapore. With an original receipt in a booklet and artists introduction, the receipt dated 1 Sep 1966.

私人收藏，愛丁堡；現任藏家父母購自新加坡聖安德烈教會醫院1966年舉辦的慈善畫展。含院方/舉辦方1966年9月1日發佈的收據原件及畫展小冊，後家族遞藏。

£600-800

392

TAY BAK KOI (SINGAPOREAN, 1939-2003)

DATED 1964

鄭木奎水上人家圖紙本設色鏡框 ink and colour on paper, signed ‘64 Bak Koi’ in the right upper centre, framed 94cm x 42.4cm

Provenance: Private collection, Edinburgh; Inherited from current owner’s parents who acquired in Singapore during the 1950s and 1960s.

私人收藏，愛丁堡；現任藏家父母於1950至60年代入藏自新加坡，後家族遞藏。

£800-1,200

391 receipts

393

BURMESE FOLDING BOOK, PARABAIK

LATE 19TH CENTURY

緬甸十九世紀末木簡繪本摺叠冊

watercolour and gouache on mulberry bark paper, depicted with eight scenes, composed in a series of two, and four page compositions, spanning a total of 28 pages, with the scenes of court processions, ceremonies and entertainments, front and back covers similarly decorated with gilded flowers in four panels aligned as a rectangular panel 40.5cm x 17.7cm each leaf

Provenance: Private Scottish collection, Perth and Kinross 蘇格蘭私人收藏，珀斯-金羅斯

Note: A comparable Burmese parabaik, dated to 1870s–1880s, from the Court of King Mindon or Thibaw, or associated workshops, is in The Metropolitan Museum, accession no. 2017.209. There are notable similar scenes in this parabaik, compared to the lot offered here. For example, the tiger and elephant fighting scene, the cock fighting scene, the procession scenes with elephants and gilded carriages, etc. According to the catalogue, the painting style was developed in the reign of King Mindon and continued under King Thibaw. It displays a hybridity born of traditional Burmese religious narrative painting blended with European pictorial devices.

Please note this lot will be offered with no reserve. 本拍品不設底價

£500-700

394

BURMESE SILVER BOWL 19TH-20TH CENTURY

緬甸十九至二十世紀銀製人物紋碗 deep circular form, various decorative bands below the plain top rim, the body in high and low relief with traditionally dressed figures in various narrative scenes delineated by shaped cartouches, a repeating decorative leaf and bird border around the circular base 21cm diameter; 890g

Provenance: The property of Mrs. Margaret Duguid of Belhelvie who lived in India and Burma in the 1920s-40s, where her husband served with the Burma Rifles. Her favourite posting is a remote station on the borders of China, French Indochina and Thailand. An intrepid spirit she travelled extensively throughout the Far East.

蘇格蘭亞伯丁郡Belhelvie鎮瑪格列特·杜格夫人藏品。隨夫於 1920至40年代為緬甸步槍隊服役時居住在印度和緬甸。一生多遷，最鍾情於中國、法屬印度支那及泰國邊境的偏遠小鎮。憑藉著勇敢的精神，足跡遍佈遠東各地。

£300-500

JAEGER LECOULTRE

STAINLESS STEEL

‘SHARK DEEP SEA

CHRONOGRAPH’

Ref: E2643, made circa 1968

£7,000-9,000 + fees

LONDON WATCHES

AUCTION 21 NOVEMBER

LIVE ONLINE | VIEWING IN LONDON

FOR BUYERS (UK)

These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.

Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales.

In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (��) next to its lot number.

A. BEFORE THE SALE

1. DESCRIPTIONS

OF LOTS

Whilst we seek to describe Lots accurately, it may be impractical for us to carry out exhaustive due diligence on each Lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a Lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or Estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only.

2. OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS

We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below.

(a) Condition Reports: Condition Reports are provided on our Website or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way.

(b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon.

(c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

3. WITHDRAWAL

Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.

4. JEWELLERY, CLOCKS & OTHER ITEMS

(a) Jewellery:

(i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future.

(ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report

if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report.

(iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report.

(iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced.

(b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/ newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys.

(c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given.

(d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300.

(e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.

(f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.

B. REGISTERING TO BID

1. NEW BIDDERS

(a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following:

(i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement)

(ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and;

(iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements.

(b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844.

2. RETURNING BIDDERS

We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition

of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.

3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS

If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller.

4. BIDDING ON BEHALF OF ANOTHER PERSON

(a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/her.

(b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party.

5. BIDDING IN

PERSON

If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration.

6. BIDDING SERVICES

The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services.

(a) Phone bids

Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections.

(b) Internet Bids

For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.

(c)

Written Bids

While 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 shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we Reserve the right in our absolute discretion to prefer the first bid so made. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

C. DURING THE SALE

1. ADMISSION TO OUR AUCTIONS

We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction.

2. RESERVES

Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot.

3. AUCTIONEER’S DISCRETION

The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen.

4. BIDDING

The Auctioneer accepts bids from:

(a) Bidders in the saleroom;

(b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and;

5. BIDDING

INCREMENTS

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

6. CURRENCY CONVERTER

The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services.

7. SUCCESSFUL BIDS

Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.

RELEVANT LEGISLATION

You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY

1. THE PURCHASE PRICE

For each Lot purchased a Buyer’s Premium of 26% of the Hammer Price of each Lot up to and including £20,000, plus 25% from £20,001 to £500,000, plus 20% from £500,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction.

Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above.

2. VALUE ADDED TAX

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.

(a) Lots affixed with (†): Value Added Tax on the Hammer Price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme.

(b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This

reduced rate is applicable to Antique items.

(c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category outlined above.

3. ARTIST’S RESALE ROYALTY (DROIT DE SUITE)

This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than £1,000. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. More information on Droit de Suite is available at www.dacs.org.uk.

E. WARRANTIES

1. SELLER’S WARRANTIES

For each Lot, the Seller gives a warranty that the Seller;

(a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.

2. AUTHENTICITY GUARANTEE

We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as

amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser.

This Guarantee does not apply if:

(a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or

(b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or

(c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.

This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must:

(a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and

(b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional

expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

3. YOUR WARRANTIES

(a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes.

(b) Where You are bidding on behalf of another person You warrant that:

(i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant antimoney laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so;

(ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and;

(iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of moneylaundering, terrorist activities, or other crimes.

F. PAYMENT

1. MAKING PAYMENT

(a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year.

(b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied.

(c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name.

(d) 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. The risk in

and the responsibility for the Lot will transfer to You from whichever is the earlier of the following:

(i) When You collect the Lot; or

(ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing.

(e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any payment whichever is later. Please note we do not accept cheques. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us.

(f) No purchase can be claimed or removed until it has been paid for.

(g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time.

2. IN THE EVENT OF NONPAYMENT

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 Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:

(a) To proceed against You for damages for breach of contract;

(b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You;

(c) To resell the Lot(s) (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).

(d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof;

(e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale;

(f) To retain that or any other Lot sold to You until You pay the Total Amount Due;

(g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted;

(h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any

purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and

(i) Take any other action we see necessary or appropriate.

G. COLLECTION & STORAGE

(1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website

(2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received.

(3) If You do not collect any Lot within seven days following the auction we can, at our discretion;

(i) Charge You storage costs at the rates set out on our Website.

(ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs.

(iii) Sell the Lot in any way we think reasonable.

H. TRANSPORT & SHIPPING

TRANSPORT AND SHIPPING

We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements.

2. 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, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot.

3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION

Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites

We accept no liability for any Lots which may be subject to CITES but have not be identified as such.

I. OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties.

(b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or

(ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph.

(c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services.

(d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot

(e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS

1. OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if;

(i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or

(iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS

We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction.

3. COPYRIGHT

We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot.

4. ENFORCING THIS AGREEMENT

If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities.

6. REPORTING ON WWW.LYONANDTURNBULL.COM

Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.

7. SALE BY PRIVATE TREATY

(a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty.

(b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers.

(c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids.

(d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

8. 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 premises, safety and security

arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

9. DATA PROTECTION

Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com.

10. FORCE MAJEURE

We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

11. LAW AND JURISDICTION

(a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law

(b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

DEFINITIONS & GLOSSARY

The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with.

DEFINITIONS

“Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate;

“Bidder” a person who has completed a Bidding Form

“Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form.

“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words

“You” and “Your”

“Buyer’s Premium” the sum calculated on the Hammer Price at the rates

stated in Catalogue.

“Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website

“Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller.

“Estimate” a statement of our opinion of the range within the hammer is likely to fall.

“Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer;

“High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above;

“High Value Lot” a Lot with a lower Estimate of £30,000 or above;

“Lot” each Item offered for sale by Lyon & Turnbull;

“Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses;

“Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty;

“Sale” the auction sale at which a Lot is to be offered for sale by us.

“Seller” the person who offers the Lot for Sale. We act as agent for the Seller.

“Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions;

“VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom.

“Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com

GLOSSARY

The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings:

“Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to

“Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.

“Lien” a right for the person who has possession of the Lot to retain possession of it.

“Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value.

“Title” the legal and equitable right to the ownership of a Lot.

GUIDE TO BIDDING & PAYMENT

REGISTRATION

1 – Government issued photo ID (Passport/ Driving licence)

2 – Proof of address (utility bill/bank statement).

We may, at our option, also ask you to provide a bank reference and/or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

BIDDING LIMITS

BIDDING

Please note that in-room bidding is not available for this auction.

Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. All lots will be invoiced to the name and address given on your registration form, which is nontransferable.

HOW TO BID BY COMMISSION/ ABSENTEE BID

Leave a bid online through our website, call us on 0131 557 8844 or email info@ lyonandturnbull.com

BY PHONE

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Please note that telephone bidding will only be available for lots over £3,000 and all bids must be booked by Thursday 7th November. First come-first served basis.

Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

BID LIVE ONLINE

Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register. Our sales are also available for viewing and live bidding through TheSaleroom, Invaluable, LiveAuctioneers, 51bidlive, Epailive, and Auction Home (additional charges applicable).

PAYMENT

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods:

BANK TRANSFER

Account details are included on any invoices we issue or upon request from our accounts department.

ONLINE CREDIT OR DEBIT CARD PAYMENTS

Payment can be made by Visa Debit, Maestro, Mastercard, Visa Credit or Union Pay cards. We do not accept card payments by phone. Please use our online payment service (provided by Opayo). You will find a link to this service in the email invoice issued after the sale or you can visit the payments section of our website.

CASH

Cash payments can be made at London office (22 Connaught Street, W2 2AF) after the sale. Cash payments are limited to £5,000 per person per annum.