Asian & Islamic Works of Art by Lyon & Turnbull

ASIAN & ISLAMIC WORKS OF ART 13TH MAY 2020 ONLINE

ASIAN & ISLAMIC WORKS OF ART WEDNESDAY 13 MAY 2020 AT 10AM Sale Number LT600

Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR

無預展在線拍賣

截至此圖錄的完成，本公司愛丁堡辦公室及拍賣會場因英國行動管制令而關閉。因此，拍賣前及拍賣期間謝絕訪客。我們的專家很樂意爲您提供詳細的品相報告、更多圖片以及影片。

此次拍賣屬在線拍賣，在本公司員工及客戶零接觸的安排下執行，以確保衛生與安全。 Front Cover Lot 60

Inside Front Cover Lot 121

拍賣後不允許客戶自行提貨。我們建議您使用疫情期間與我們合作的幾家運輸公司，進行有限但有效率的提貨及運輸。買家將在拍賣後收到更多詳情。不便之處，敬請見諒。

ONLINE ONLY - NO VIEWING PERMITTED At time of printing our Edinburgh saleroom is closed to the public, there will be no admittance before or during the auction until further notice. To accommodate more detailed online viewing, specialists will be creating condition reports with images and video on request. The auction will be conducted as an onlineonly sale with no members of either staff or public in physical contact. After the sale collections in person will not be permitted, however select courier firms will be conducting limited collections and deliveries. Successful bidders will be contacted after the auction with further details.

BUYER'S GUIDE 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.

BUYER’S PREMIUM

BIDDING & PAYMENT

ENDANGERED SPECIES

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

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

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/imports-exports/cites

25% up to £300,000 / 20% 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 †V AT at the standard rate payable on the hammer price *5 % import VAT payable on the hammer price 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. Registration information may be submitted in person at our registration desk, by email, by fax or on our website. Please note that all firsttime 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). 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 (available at the back of every catalogue and on our website).

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. There will be no public viewing for this auction, 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.

COLLECTIONS & STORAGE We will be offering free storage of any purchases in our Edinburgh saleroom until such time as collections become less restricted. We have been working with our local Mailboxes Etc branch and Aardvark Art Services to maintain a limited safe and contact-free collections and shipment service for smaller items for as long as possible. MAIL BOXES ETC 0131 652 3672 www.mbe.co.uk/edinburghsouthbridge AARDVARK ART SERVICES 01253 794 673 www.aardvarkartservices.com For safety reasons no personal collections or alternative carriers will be allowed to pick-up or drop-off items at any of our UK venues until restrictions are lifted. Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Sage Pay) - details will be shown on your invoice also. Please note we are unable to take payments over the phone.

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 Junior Specialist & Sale Administrator tsai.yiinging@lyonandturnbull.com

Alex Tweedy Specialist alex.tweedy@lyonandturnbull.com

禮昂騰博拍賣會亞洲部門微信號: ID: Lyonandturnbull1826

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，我們將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： 300,000英鎊以内的拍品佣金為25%；

300,000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5%的拍賣進口稅。所有書籍類拍品無需支付增值稅。提貨

拍品的包裝、運輸和保險則僅限於買方。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。此次拍賣不提供預展，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

請注意標有 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.gov.uk/cites-imports-and-exports 取貨與倉儲

倉儲：英國行動管制令取消前，本公司提供所有於愛丁堡辦公室的拍品免費倉儲。在這段期間，買家可以通過本公司指定的Mail Boxes分公司及Aardvark Art Services進行安全衛生的“無接觸”取貨。此項服務僅提供給小型拍品。 Mail Boxes Etc 電話：+44(0)131 652 3672 網站：www.mbe.co.uk/edinburghsouthbridge 電郵：mbepacking@gmail.com Aardvark Art Services 電話：+44(0)125 379 4673 網站：www.aardvarkartservices.com 電郵：info@aardvarkartservices.com

若您需要中文運輸服務，請聯繫以下兩家運輸公司及服務人員: Mail Boxes Etc. Romford, Mr. Xigang Hu 胡夕剛, Wechat ID: xiganghu

Zixis Fine Art Ltd., Mr Xiaoyang Zhang 張曉陽先生, Wechat ID: seanzhang1986

出於安全及衛生原因，在行動管制期間，買家不可親臨本公司任何辦公室取貨，其他運輸公司亦恕不受理。

請確保在取貨之前已完成付款。買家可通過在線支付、支票、銀行轉帳完成付款 – 付款詳情將顯示在您的發票上。敬請注意，我們無法通過電話接受付款。

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）。現場競拍

由於2019冠狀病毒於英國爆發，此次拍賣不接受現場競拍。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2020年5月12 日（星期二）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。競拍人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。買家也可通過以下方式實時在線出價： • L &T Live – 通過本公司網站訪問或下載實時出價軟件L&T Live （禮昂騰博在線），此項服務不收取額外費用。

• Invaluable – 通過訪問 invaluable.com。 Invaluable公司就此項服務額外收取5%加增值稅的費用。 • T he-Saleroom – 通過訪問thesaleroom.com。 The-Saleroom 公司就此項服務額外收取 4.95%加增值稅的費用。

• 聯拍在線– 通過訪問51bidlive. com。聯拍在線公司就此項服務額外收取3%加增值稅的費用。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或Visa 信用卡付款。

在一般狀況下，本公司曾接受銀聯現場支付，無法接受銀聯電話及線上支付。但因2019冠狀病毒的爆發，此次拍賣在零接觸的安排下執行，因此無法接受銀聯付款。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 Sage Pay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

由於2019冠狀病毒於英國爆發，出於安全及衛生考量，此次拍賣不接受現金支付。禮昂騰博拍賣會亞洲部門微信號: ID: Lyonandturnbull1826

ORDER OF SALE Lot No.

1-30

Lot No. Chinese Works of Art

260-278

Japanese Works of Art

31-50

Chinese Metalwares

51-64

Property of the Earls of Crawford

293-299

Japanese Paintings & Works on Paper

and Balcarres, from Balcarres

300-302

Southeast Asian art

303-308

Islamic & Indian Art

House, Fife, Scotland

65-73

Chinese CloisonnĂŠ &

273 & 281-292

Japanese Ceramics

Painted Enamel Wares

74-84 85-118

Chinese Snuff Bottles

119-125

Chinese Paintings & Works on Paper

This sale is subject to our Standard conditions of Sale (available at the back of every catalogue and on our website).

126-133

Thangkas

If you have not bought before we will be delighted to help you.

134-147

Property from a Private English

Chinese Jade & Hardstones

Collection, Brighton

148-259

Chinese Ceramics

1 TWO CINNABAR LACQUER BOXES QING DYNASTY, 19TH CENTURY

清剔紅人物紋桃形及嬰戲紋長方蓋盒（兩件）

comprising: one box of peach form, carved on the cover with an elderly scholar gazing afar in a rocky landscape setting, reserved on a triangular ground; and one rectangular box carved with three boys playing amongst craggy rocks with mountains in the distance, both the interior lacquered in black (2) 14.9cm and 10.4cm wide Provenance: Private English collection, Isle of Wight

£200-300

2 CARVED COCONUT BOWL QING DYNASTY, 19TH CENTURY

清椰殼雕壽紋碗

rising from a short straight foot, the rounded exterior carved in low relief with shou longevity symbols flanked by Daoist attributes 12.2cm diameter Provenance: Private English collection, Isle of Wight

£100-150

3 GILT AND BLACK LACQUER BRISÈ FAN QING DYNASTY, 19TH CENTURY

清黑漆描金亭臺閣樓人物紋摺扇帶漆盒

painted on both sides with Chinese figures pursuing leisurely activities in outdoor settings amidst pagodas and pavilions inside a central cartouche, surrounded by Daoist motifs in tendrils and under a band of figures in landscape setting, with a gilt and black lacquer wooden box fan: 38cm wide; box: 32cm long Provenance: Private London collection

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

4 SANDALWOOD ROSARY 迦南香念珠

comprising one hundred and eight fragrant beads, spaced with three larger carnelian beads, topped with a carnelian double-gourd with a suspending tassel, with a cast bronze circular box decorated with a dragon on top wooden bead: 3.5mm diameter; Carnelian bead: 5mm diameter

£300-500

5 AGARWOOD AND MULTIGEMSTONE COURT NECKLACE 沉香木朝珠

comprising one hundred and eight agarwood beads, spaced with translucent blue beads, the main tassel adorned with a pearl and carved blue glass double-gourd and tear-shaped pendants, the auxiliary tassels decorated with jade beads, pearls and tear-sharped pendants wooden bead: 8mm; blue stone bead: 12mm

£300-500

6 WOOD WITH JADE INLAID RUYI SCEPTRE LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初木如意嵌玉牌帶座擺件

the brown wood sceptre inset with three shaped jade plaques, the top and largest jade plaque carved in low relief with an elderly scholar accompanied by his attendant in a rocky landscape, the middle plaque with similar theme, the last plaque carved with a scholar surrounded by rocks, the wood sceptre with a tassel attachment, with a fitted wooden stand sceptre: 59.5cm long; largest jade: 14.5cm wide Provenance: Private English collection

£2,000-3,000

7 MOTHER-OF-PEARL AND HARDSTONE INLAID RECTANGULAR TREASURE BOX QING DYNASTY

清孚道用仁款百寶嵌花卉紋疊盒

in the form of layered albums piled atop a stand, the covered decorated with branches of blossoming peonies and narcissus flowers growing from the rocky ground, a fourcharacter ‘Fu Dao Yong Ren’ mark within a retangular panel in the centre, all design finely inlaid with mother-of-pearl, coloured soapstones and spinach-green jade 30cm wide x 23.5cm high x 18.2cm deep

£8,000-12,000

8 PAIR OF CARVED ZITAN VASES QING DYNASTY, 19TH CENTURY

清紫檀雕花插（兩件）

each of elongated pear-shape and spirally fluted, the carved base resembles a blossoming flower (2) 12cm high Provenance: Private Paris collection

£400-600

9 ZITAN CHESS BOX 紫檀題詩棋笥

of bulbous body, incised in cursive script with poetry to the sides 12cm wide

£800-1,200

10 ROOTWOOD CARVING OF A FU DOG LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初木根雕瑞獅戲球擺件

composed from highly textured rootwood, the fu dog in seated position with its right leg raised and tapped on a crystal ball balanced on a metal tripod stand, its head detailed with applied eyes, carved teeth and painted tongues, the lumpy surface of the rootwood resembles the texture of its furry body 36cm wide Provenance: Private Scottish collection

£600-800

11 BAMBOO BRUSH POT QING DYNASTY, 18TH-19TH CENTURY

清竹雕山水高士紋筆筒

of cylindrical form, rising from three short feet, finely carved in low relief with scholars on boat, in pavilion or accompanied by attendant, all against a landscape setting, the surface of a warm light brown patina 12.8cm high

£1,200-1,500

12 BAMBOO BIRD CAGE 20TH CENTURY

二十世紀竹製鳥籠

of cubic form, tortoiseshell base on the interior, the walls and interior fitted with carved bone utensils and miniature ceramic bird feeders, topped with brass hook and smaller pieces of tortoiseshell sheet, mounted on cloth base, with a wooden box 21.7cm high x 20 wide x 20cm deep

£500-800

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

13 PAIR OF HONGMU LOW TABLES REPUBLIC PERIOD, 20TH CENTURY

民國紅木有束腰帶屜馬蹄足方几（兩件）

each of rectangular form, the top panel with recessed square frame, one side carved with confronting chi dragons as handle opened up to a drawer, four hoof feet (2) 45.5cm wide x 53cm high x 55.8cm deep each Provenance: Private English collection

£300-500

14 PAIR OF LACQUERED AND HARDSTONE INLAID CABINETS REPUBLIC PERIOD, 20TH CENTURY

民國黑漆百寶嵌博古圖櫃（兩件）

each of rectangular form supported on four straight short feet, black lacquer applied allover with gilt decorations to the edges and top panel, the front door panels and side walls decorated with flower bouquets in vases, the design inlaid with semi-precious hardstones (2) 63.5cm wide x 94.5cm high x 30.5cm deep each Provenance: Private English collection

£400-600

15 HONGMU RECTANGULAR TABLE WITH HANDLES QING DYNASTY, 19TH CENTURY

清紅木竹節式帶屜雙提耳矮桌

with a plain top and two curved handles attached to the sides, carved with grapes and vines on the friezes, raised on straight offset legs 62cm wide x 69cm high x 36cm deep

£500-700

16 HONGMU SIDE TABLE REPUBLIC PERIOD, 20TH CENTURY

民國紅木翹頭帶屜香几

the top with everted ends set above a drawer and decorative half ruyi panels, above an opened middle storage section 66.6cm wide x 79cm high x 40cm deep Provenance: Private English collection

£150-250

17 LARGE HONGMU SIDEBOARD REPUBLIC PERIOD, 20TH CENTURY

民國紅木書卷式櫃

of rectangular form supported on four feet, the bookscroll-shaped top panel with both sides scrolling downward carved with stylised wave patterns, the body with two drawers atop a pair of cabinet with each handle carved with confronting twin chi dragons 148cm wide x 81.5cm high x 45.5cm deep Provenance: Private English collection

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

18 EMBROIDERED SILK ‘BIRDS AND FLOWERS’ PANEL LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初象牙白地刺繡花鳥圖橫幅

embroidered on an ivory-hued ground with a pair of peacocks perched on blossoming peony and prunus branches, accompanied by ducks, orioles and further small birds 86cm x 325cm Provenance: Private English collection

£600-800

19 SILK EMBROIDERED ‘DRAGON’ RANK BADGE QING DYNASTY, 19TH CENTURY

清橘地刺繡海水江崖龍紋方補

depicting a ferocious front-facing, five-clawed dragon chasing a flaming pearl in gold thread, surrounded by auspicious clouds, bats, flaming coin, endless knot with a fish and other motifs, all above three pointed mountains and peonies raised from crashing waves reserved on a pale orange ground, the border adorned with stylised flowers and ruyi sceptre with ribbon reserved on a black ground, with wooden frames 41cm x 36cm

£300-500

20 SILK EMBROIDERED LADY’S SHORT ROBE REPUBLIC PERIOD, 20TH CENTURY

民國墨地刺繡團鶴紋對襟女衫

with long and wide sleeves, embroidered on a black silk ground with medallions containing a crane holding grain with beak, scrolling flowers decorated the hem, crashing waves with peonies as borders, pink button knots at the front centre with a pair of tassels 58cm across shoulder, 61cm high

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

21 SILK EMBROIDERED WALL HANGING QING DYNASTY, 19TH CENTURY

清紫地刺繡人物故事圖鏡心 embroidered in vertical sections on a flowers and trees decorated pale purple ground, with various figure groups amidst embroidered flowers, rocks and trees, framed 53cm x 122cm

£700-900

SILK EMBROIDERED WALL HANGING QING DYNASTY, 19TH CENTURY

清紫地刺繡人物故事圖鏡心

of rectangular shape, embroidered on a pale purple tapestry ground with vertical sections, with various narrative figure groups in between trees, flowers, and rocks, framed 41cm x 122cm

£600-800

23 THREE SILK EMBROIDERED WALL HANGINGS QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清至民國象牙白地刺繡人物故事及蝶戀花圖掛屏（三幅） comprising: a pair of sleeve bands embroidered in mirrorred image; a vertical embroidery depicting a lady, framed; and a circular panel embroidered with confronting butterflies (3) largest: 78cm high x 25.5cm wide Provenance: Private English collection, Isle of Wight

£200-300

24 BONE CARVING OF AN ARHAT QING DYNASTY, 18TH CENTURY

清骨雕掏耳羅漢帶銅鎏金背屏

roundly carved in royal ease seated pose on a gnarled tree pedestal, the ear-picking arhat with his left hand clutching the hem of his loose hanging kasaya exposing his chest, his face delicately carved with demure expression, with a gilt-bronze lotus throne decorated with various Buddhist emblems in low relief and nimbus in openwork figure: 9.7cm high; stand: 23cm high

£400-600

25 Y CANTON IVORY CARD CASE QING DYNASTY, 19TH CENTURY

清象牙雕人物紋卡片盒

carved in deep relief to all surfaces with scenes of figures at various pastimes and occupations amongst pavilions and trees 9.5cm high Provenance: Private Scottish collection

£200-300

26 Y CANTON IVORY CARD CASE QING DYNASTY, 19TH CENTURY

清象牙雕人物紋卡片盒

finely carved around the exterior with scholars and attendants in outdoor settings surrounded by pavilions and wutong trees 11.5cm high Provenance: Private Scottish collection

£300-500

27 Y CARVED BUFFALO HORN OF GUAN YU QING DYNASTY, 19TH CENTURY

清水牛角雕關羽立像

carved in relief with the historical figure General Guan Yu standing on a rock, right hand holding his namesake weapon Guandao, a long-handled sword pointing downward, left hand stroking his beard 12.2cm high

£200-300

28 BONE EATING SET QING DYNASTY, 19TH CENTURY

清骨製食具組

comprising: a knife, a pair of chopsticks and a green painted case, the case partly wrapped by white metal repoussé and chased with stylised tendrils and lotus, the bone-handled knife cast with shou characters to both sides, the bone chopsticks of slightly tapered cylindrical form 35.8cm long

£500-800

29 TIBETAN SILVER MOUNT SHANKHA 藏銀嵌綠松石及紅珊瑚法螺

the spire and the upper shaft mounted with r epoussé and chased Tibetan silver, inlaid with turquoise and coral beads 26.5cm long

£100-200

30 Y IVORY RECTANGULAR BOX WITH COVER QING DYNASTY, 19TH CENTURY

清象牙雕人物故事與走獸紋長方蓋盒

supported on four feet of the head of a mythical creature, the flat cover intricately decorated with three cartouches containing figures in garden setting, the rest of the cover and the sides densely carved with miniature narrative figures and various animals within pavilions and trees 29cm wide x 10.5cm high x 13.4cm deep

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

31 GROUP OF THREE SYCEES GUANGXU PERIOD

光緒雷波縣光緒三十四年、元順府、光緒九年寶泰紋銀銀錠（一組三件）

comprising: one yuanbao-shaped silver ingot bearing characters meaning ‘Leibo County, 34th year of Guangxu reign’; one circular-lobed silver ingot bearing ‘Yuan Shun Fu’; and one silver ingot moulded with character meaning ‘9th year of Guangxu reign’ and ‘Bao Tai Wen Yin’ (3) largest: 8.5cm wide Provenance: Private Scottish collection

£800-1,200

32 GROUP OF FIVE PEWTER TEA CANISTERS WITH BRASS-INLAID PEWTER COVER QING DYNASTY, 19TH CENTURY

清錫製茶罐五件組及嵌銅錫製梅花型套座

the flat top and the five sides of the cover finely decorated with birds and bees in flight amongst flowers and leafy branched, the decoration highlighted with brass-inlaid, containing five lidded tea canisters 14.5cm high

£800-1,200

33 PAIR OF GILT-FILIGREE ‘DOUBLE GOURD’ PENDANTS QING DYNASTY

清銅鎏金如意團壽紋葫蘆形香囊（兩件）

each decorated with intricate brocade pattern on the double-gourd shaped body, the waist adorned with a ruyishaped plate with a shou longevity character in the middle, covered overall in gilding (2) largest: 8cm high

£1,000-2,000

34 BRONZE CENSER XUANDE MARK BUT LATER

宣德款銅鑄獅獸耳香爐

of compressed globular form, rising from a short foot to gently flared rim, flanked by mythical beast masks as handles to both sides, the base cast with a sixcharacter apocryphal Xuande mark 18.5cm wide

£400-600

35 GILT-SILVER FILIGREE ‘PHOENIX’ HAIRPIN 銀鎏金點翠鳳釵

in the form of a wing-spreading phoenix with elaborate tails, its head and wings adorned with kingfisher’s feather, resulting a turquoise effect, holding on its beak with a three-point chain, with a dark wooden box 17cm wide

£500-800

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

36 BRONZE VOTIVE FIGURE OF WATER-AND-MOON GUANYIN SONG DYNASTY

宋銅鑄水月觀音像

cast seated in lalitasana or royal ease pose, the right arm resting on the knee, the left hand against the floor, wearing a dhoti and beaded necklace, the crowned head against a mandorla with radiating flames extending to the pointed tip 14cm high Provenance: Private Taiwanese collection

£1,500-2,000

37 PAIR OF ORDORS BRONZE BELT BUCKLE PLAQUES WARRING STATES

戰國鄂爾多斯野牛青銅帶飾

each of rectangular form, cast in openwork in mirrored image the profile of a standing ox, all four legs of the ox shown with its head in three-quarter view, the border adorned a herringbone pattern, the surface with malachite green corrosion (2) 6cm wide each Provenance: Private Taiwanese collection

£300-500

38 BRONZE MIRROR AND ‘RHINOCEROS’ STAND MING DYNASTY

明銅鑄‘洪武二十二年正月日造’款雲龍紋銅鏡及犀牛望月鏡座 the detachable circular mirror cast in relief with a five-clawed dragon amidst clouds, bearing an inscription reading ‘Hong Wu Er Shi Er Nian Zheng Yue Ri Zao’, the stand cast in the form of a recumbent unicorn rhinoceros holding the tip of a lingzhi fungus with its mouth (2) 21cm high; mirror: 11.2cm diameter Provenance: Private Scottish collection

£1,000-1,500

39 GILT-BRONZE BELL QING DYNASTY

清銅鎏金獸面紋鐘

cast in rounded sides with flared lower rim, the domed top attached with a looped finial, the exterior decorated in relief with bands of key-fret and ruyi patterns, covered overall in gilding 22cm high

£2,500-3,500

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

40 BRONZE FIGURE OF SEATED GUANYIN QING DYNASTY, 18TH-19TH CENTURY

清銅鑄觀音坐像

cast seated in dhynasana on a double-lotus base, casts down in graceful expression with hands in anjali mudra, the upright body adorned with jewellery, a crescent-shawl covering his shoulders with ribbon scarf hovering around his arms, wearing layered dhoti, the hair neatly tighten up in a high chignon 36.5cm high

£8,000-12,000

41 LACQUERED GILT BRONZE FIGURE OF GUANYIN MING DYNASTY

明銅鎏金漆觀音坐像

heavily cast seated in lalitasana royal ease on a double lotus base lacquered in red, left hand raised in karana mudra, right hand rested on right raised knee in bhumisparsha mudra holding a rosary, wearing a dhoti and long scarf overflowing onto the pedestal, heavily adorned with beaded necklaces and earrings, the serene facial expression with downcast eyes framed by pendulous ears, elaborate headdress holding the hair in high chignon, overall richly gilded over red lacquer as undercoat, gilding especially prominent on face 31cm high

£3,000-5,000

42 PAIR OF BRONZE TIBETAN LION CENSERS QING DYNASTY, 18TH-19TH CENTURY

清西藏銅鑄瑞獅擺件（兩件）

each heavily cast in standing and forward facing position, the horned head detailed with flaring nostrils and a wide opened mouth, body and back with raised swirling bosses to imitate the mane, front shoulders and four limbs set with fire, tail curls upward around the rear hind (2) 31.5cm high

£1,500-2,500

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

43 BRONZE CENSER XUANDE MARK, 19TH CENTURY

宣德款銅鑄獸耳香爐

heavily cast with a compressed pear-shaped body, rising from a short foot to a flared mouth and thick lipped rim, flanked to both sides with looped handles of a mythical beast head, the base cast with an apocryphal sixcharacter Xuande mark in a recessed square panel 12.8cm wide Provenance: Formerly in a private UK collection

£300-500

44 BRONZE TRIPOD CENSER XUANDE MARK BUT 19TH CENTURY

宣德款銅鑄三足香爐

of compressed form with a pair of pierced handles, supported on three conical feet, the base cast with a six-character apocryphal Xuande mark within double squares 17.5cm wide

£400-600

45 GROUP OF THREE BRONZE BUFFALO WITH CHILD QING DYNASTY, 18TH-19TH CENTURY

清銅鑄水牛及童子騎牛擺件（三件）

each cast as a walking buffalo with tail wrapped around its rear left hind, the smaller two with saddle and child as lid fitted on top of the back, back of the boy with a hole to the saddle, the larger buffalo with a big hole to its back (3) largest: 18cm wide

£300-500

46 LARGE SILVER-INLAID BRONZE CENSER WITH COVER QING DYNASTY, 18TH CENTURY

清石叟款銅嵌銀龍鳳紋三足鼎式爐

the deep bulbous body supported on three feet, each cast in the shape of a dragon chasing a pearl, the sinuous body of each dragon decorated around the exterior of the censer, further adorned with silver-inlaid in auspicious cloud and keyfret pattern, the sides flanked by a pair of phoenix heads as handles, the base with a two-character silver inlaid ‘Shi Sou’ mark, with an openwork cover cast with a chi dragon finial 29.5cm wide Provenance: Private Scottish collection

£2,000-3,000

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

47 BRONZE PAPERWEIGHT OF LAOZHI ON BUFFALO MING DYNASTY

明銅鑄老子騎牛擺件

cast in the round with the Daoist immortal Laozhi in well-defined benign expression, seated on the back of a striding horned buffalo 8.5cm high Provenance: the base with a label ‘Spink & Son Ltd., Est. 1666’

£1,000-1,500

48 BRONZE ‘ELEPHANT’ PAPERWEIGHT QING DYNASTY, 18TH-19TH CENTURY

清銅象紙鎮

cast in standing position with its trunk half raised, finely casted with well-defined ridged back, tusks and ears 6cm wide Provenance: Private English collection

£300-500

49 COLLECTION OF SIX BRONZE SEALS 銅鑄印章（一組六件）

comprising: three of rectangular form, with one decorated with bamboo; one of flattened bell-shaped body inscribed with poetry; one of square form with a finial; and a set of five gradual fitted set of square seals, each carved with inscriptions in recessed (6) largest: 7.5cm high

£300-500

50 BRONZE ‘LOTUS’ TRIPOD CENSER QING DYNASTY, 18TH-19TH CENTURY

清松月侶款銅鑄束荷紋三足香爐

the heavily cast body of compressed globular form, supported on three conical feet, the exterior decorated with lotus flowers bouquets in mid-relief, flanked by a pair of looped handles to the mouthrim, the base cast with a three-character ‘ Song Yue Lu’ studio’s mark in a recessed square panel 13cm wide

£3,000-5,000

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

PROPERTY OF THE EARLS OF CRAWFORD & BALCARRES, FROM BALCARRES HOUSE, FIFE, SCOTLAND 51 BRONZE BOTTLE VASE MING DYNASTY

明銅鑄雙耳盤口瓶

the bulbous body rising to a waisted neck and terminating to a lipped rim, the shoulders adorned with taotie masks within a broad band reserved on geometric ground, the neck attached with two looped handles topped with dragon-head 31.1cm high

£1,000-2,000

52 BRONZE BALUSTER VASE MING DYNASTY

明銅鑄蕉葉紋雙龍耳瓶

the bulbous body rising from a high splayed foot to a waisted neck, terminating to a straight lipped rim, the upper body adorned with a band of triangular plantain leaves in low relief, the neck decorated with abstract taotie masks reserved on a key fret ground, the shoulders flanked with a pair of makara head 28.5cm high

£700-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

PROPERTY OF THE EARLS OF CRAWFORD & BALCARRES, FROM BALCARRES HOUSE, FIFE, SCOTLAND

53 WHITE JADE ‘FANG GU’ VASE QING DYNASTY, 18TH-19TH CENTURY

清白玉雕仿古八出戟方觚

carved after an archaic bronze fang gu form, of rectangular section, the bulbous section rising from a tall splayed foot to a trumpet neck, each face set with vertical flanges, the middle section carved in shallow relief with stylised shou characters, the foot incised with downward facing plantain leaves, the neck incised with mystical creatures underneath stylised decorations on the flared mouth, all corners carved in openwork with a sinuous chi dragon, the stone of a creamy white tone with darker veins 19cm high Note: a closely comparable jade gu vase in the collection of Metropolitan Museum of Art, accession number: 02.18.603

£2,000-3,000

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

54 BRONZE ‘ELEPHANT-HANDLED’ VASE MING DYNASTY

明銅鑄象耳瓶

of tapered cylindrical form, rising to a straight neck and lipped rim, the shoulder flanked with two elephant heads and extending trunks as handles 19.6cm high

£400-600

55 BRONZE BALUSTER VASE MING DYNASTY

明銅鑄獸耳撇口瓶

the tapered body supported on a tall foot, extending to a waisted neck terminating to an everted rim, the upper body decorated with a band of heart-shaped leaves and circular flowers in relief, the shoulders flanked with taotie masks, a band of chi dragons reserved on geometric pattern ground decorated the neck 30cm high

£700-900

56 BRONZE ‘CHI DRAGON’ GARLIC HEAD VASE MING DYNASTY

明舍玉堂造款銅鑄蟠螭紋蒜頭瓶

cast with a compressed globular body rising to a long neck, terminating to a garlic head and an inverted rim, the neck adorned with a coiled chi dragon in high relief, the base engraved with a four-character ‘She Yu Tang Zao’ workshop mark 24.2cm high

£400-600

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

PROPERTY OF THE EARLS OF CRAWFORD & BALCARRES, FROM BALCARRES HOUSE, FIFE, SCOTLAND

57 BRONZE BOTTLE VASE MING DYNASTY, XUANDE MARK, 17TH-18TH CENTURY

明宣德款銅鑄獸耳油錘瓶

58 BRONZE GARLIC HEAD VASE MING DYNASTY

明銅鑄雙龍耳蒜頭瓶

the pear-shaped body rising from a wide splayed foot to a slender neck, terminating to a garlic-head mouth, the neck decorated with a band of stylised swastikas reserved on a trellis ground, flanked with a pair of dragon-head looped handles 28cm high

£700-900

59 TWO BRONZE VASES MING DYNASTY

明銅鑄直口及洗口瓶（兩件）

each of compressed pear-shaped body, rising from a slightly everted foot to a straight long neck, one vase with a lipped rim and adorned with a band of interwoven chi dragon between key-fret patterns, the other vase with a lobed mouth and an inverted rim, decorated with a band of crashing waves between key-fret patterns underneath the mouth (2) heights: 23cm and 22cm

£1,000-2,000

elegantly cast of droplet-shape, the bulbous body supported on a splayed foot, extending to a slender straight neck and terminated to a lipped rim, the shoulder adorned in low relief with a band of crashing waves, the foot decorated with a band of geometric patterns, a pair of lion heads flanked the lower end of the long neck, the base cast with a six-character Xuande mark 27.9cm high

£700-900

The vibrant enamelled yellow ground, the rich colour palette and the delicacy of the floral design employed to decorate this exquisite vase indicates that it was manufactured in the Imperial Workshops in the Forbidden City in Beijing. Painted enamels were known as ‘foreign enamels (yang cai)’ - a technique developed in Europe in Flanders, at the borders between Belgium, France and Netherlands. By the late 15th century the town Limoges, in west central France, became the centre for enamel production. As the maritime trade flourished between East and West, enamels were introduced by European missionaries to China via the trading port Canton (Guangzhou) and brought to the Qing Court by the late 17th century.1 The Qing court set up Imperial Workshop to produce enamelled metal wares in the Kangxi period. According to “Archives of the Qing Palace Workshops” in the Imperial Household Department at the Qing Court, the Imperial Workshop in Beijing, the Zaobanchu, was established by the Kangxi Emperor (1662-1722) and had come into regular operation in the reign of the Yongzheng Emperor (17221735). This workshop was responsible for the production of objects and utensils used by the imperial family, and plans for each object had to be submitted for official approval. In the early period, due to insufficient technical knowledge of painted enamel, only small vessels were made, with limited palette and murky colours. By the late Kangxi period and Yongzheng reign, a wider range of brighter and purer colours became available, resulting in clearer decorations and a higher level of technical sophistication.

The design of the lotus flower, as beautifully shown in the present lot, is in continuation of painted enamel wares on porcelain and copper produced during the Yongzheng reigns. The colour palette, as well as the painting style, display western influence bearing witness to the cross-fertilisation of Asian and Western cultures at the Imperial Court. Two comparable pairs of painted enamel vases with a lemon-yellow ground used by the Imperial Court were in the Qing Court collection and are now in the collection of the National Palace Museum, Taipei. One pair is marked and period of Yongzheng, both the bulbous body and the neck similar decorated with a blossoming lotus flower in red and blue colour, separated by a band of metal ring around the shoulder.2 The other pair of similar decoration bears a four-character Qianlong (1736-1795) mark within double squares in blue on the base.3 It is worth noticing that each vase is mounted with a pair of bronze dragonshaped handles. In comparison, the current example has symmetrical holes on either side of the neck, from where the handles, possibly of bronze dragon form, would have been removed at a later date.

Soulie de Morant, Historie de l’art Chinois, p.23; cited from Shi, Jingfei, Luminance: the Painted Enamelware of the Qing Imperial Court, Taipei, National Palace Museum, 2012, p. 243, note 340

National Palace Museum, Taipei, museum collection nos. Gu Fa 941 & 942

National Palace Museum, Taipei, museum collection nos. Gu Fa 654 and 655

PROPERTY OF THE EARLS OF CRAWFORD & BALCARRES, FROM BALCARRES HOUSE, FIFE, SCOTLAND

60 RARE IMPERIAL PAINTED ENAMEL YELLOW-GROUND ‘LOTUS’ VASE QIANLONG MARK AND PERIOD

清乾隆銅胎畫琺瑯黃地番蓮花葉紋賞瓶《乾隆年製》雙方框款

rising from short foot to a globular body, extending to a waisted neck and terminating to a flared rim, the exterior delicately enamelled with four blossoming lotus flowers surrounded by scrolling foliage, the body and the neck separated by a gilt bronze ring and a band of ruyi motif adorned underneath, all reserved on a richly enamelled yellow ground, the interior covered in turquoise enamel, the base inscribed with a four-character Qianlong mark within double squares in blue over the white enamelled ground 27cm high Note: a pair of comparable painted enamel vases, similarly painted with lotus flowers reserved on a yellow ground and inscribed a four-Qianlong character mark on the base, was in the Qing Court collection and is in the collection of the National Palace Museum, Taipei, museum numbers: Gu Fa 654 & 655

£3,000-5,000

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

61 PAIR OF CELADON-GLAZED BLUE AND WHITE VASES QING DYNASTY, 19TH CENTURY

清青釉青花人物紋雙耳大瓶（一對）

each heavily potted with an ovoid body to a waisted neck, extending to a large opening of a disc mouth, the body painted in blue with narrative figures in three tiers of a continuous scene, all reserved on a subtle celadon glaze, a pair of chi dragon handles flanking the neck, converted to a lamp (2) 60.5cm high each

£800-1,200

62 COLLECTION OF CHINESE HARDWOOD STANDS QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清至民國木雕底座（一組二十一件） comprising: nineteen rounded carved stands, with one painted in gold; one of oval form with an ovoid hollow centre; one largest of rectangular shape supported on four feet (21) largest: 27.5cm wide x 14cm high x 20.5cm deep

£400-600

PROPERTY OF THE EARLS OF CRAWFORD & BALCARRES, FROM BALCARRES HOUSE, FIFE, SCOTLAND

63 BLUE AND WHITE BRUSH POT KANGXI PERIOD

康熙青花人物故事紋筆筒

of cylindrical form, the straight sides painted with two kneeling figures paying tribute to a seated officer in a garden setting 18.5cm high

£500-700

64 TURQUOISE-GLAZED VASE QING DYNASTY, 18TH-19TH CENTURY

清孔雀綠釉撇口瓶

the tapered body rising to a waisted neck and terminating to a flared rim, covered allover in turquoise glaze with splashes of a darker blue tone, small crazing effect on the glaze 31.3cm high

£700-900

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

OTHER PROPERTIES

65 CLOISONNÉ ENAMEL CIRCULAR BOX AND COVER MING DYNASTY, 16TH CENTURY

明銅胎掐絲琺瑯雲鶴紋圓蓋盒

of circular section of short straight sides, enamelled in various colours of white, yellow, red, black and green on a turquoise ground, the cover decorated with four cranes in flight amid clouds, the sides with leafy blossoms with tendrils 11.5cm diameter Note: a comparable example decorated with a pair of phoenixes in flight on the cover is illustrated in Brinker, Helmut and Lutz, Albert, Chinese Cloisonné: The Pierre Uldry Collection, New York, 1989, New York, Asia Society, front cover and cat no. 78.

£8,000-12,000

66 PAINTED ENAMEL EUROPEAN SUBJECT SNUFF BOX QING DYNASTY, 18TH CENTURY

清銅胎畫琺瑯西洋人物紋蓋盒

of oval-shape, the cover painted with European noble figures in garden settings in a leafy-bordered cartouche reserved on a yellow ground, the straight sides and the base attached with raised metallic decoration with colour enamel in European figures and motifs, all reserved on a white enamelled ground, the interior enamelled thoroughly in white 10.8cm wide Provenance: a remnant of old label attached to the base, reading ‘ via Po.55, Torino, no. 5928’ Note: The label is the trademark label of Italy’s most renowned antique dealers, Pietro Accorsi, with the address of his shop ‘via Po.55, Torino’. Accorsi was well respected in the European art world as an advisor and dealer to numerous prestigious collectors and institutions.

£2,000-3,000

67 PAINTED ENAMEL CIRCULAR BOX WITH COVER QIANLONG PERIOD

乾隆銅胎畫琺瑯蝶戀花紋蓋盒

of cylindrical form, the compressed dome-shaped cover painted with butterflies fluttering around flowers in a stylised ruyi-shaped cartouche, the design reserved on a blue ground with tendrils above a band of scrolling flowers, the body decorated with flowers in fan-shaped cartouches on a grey ground with flower scrolls 11.5cm diameter Provenance: Formerly in a private UK collection

£800-1,200

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

68 CLOISONNÉ ENAMEL JARDINIÈRE YONGZHENG MARK 雍正款銅胎掐絲琺瑯花鳥紋六方花盆 the hexagonal body supported on three short feet, the exterior finely decorated with rugged rocks, butterflies, cranes, duck, and other birds all beneath a band of ruyi head, the design reserved on a turquoise ground, the base incised with a four-character Yongzheng mark within double squares 15.5cm high

£2,000-3,000

69 CLOISONNÉ ENAMEL VASE 20TH CENTURY

二十世紀銅胎掐絲琺瑯花果紋葫蘆瓶

of double gourd form, the lower bulb decorated with various flowers and birds, with three-abundant-fruits motif in cartouches, the upper elongated bulb rising straight to a notched rim, all reserved on a navy blue ground with tendrils 31.5cm high

£300-500

70 CLOISONNÉ ENAMEL ‘CHRYSANTHEMUM’ PANEL QING DYNASTY, 18TH CENTURY

清銅胎掐絲琺瑯菊花蟋蟀紋橫幅掛屏 of rectangular shape, finely enamelled in various colours on a turquoise ground, decorated with a cricket climbing on leafy branches with blossoming chrysanthemums 24cm x 31cm

£1,000-1,500

71 CLOISONNÉ ENAMEL ‘DRAGON’ TRIPOD CENSER MING DYNASTY

明銅胎掐絲琺琅龍紋三足爐

the globular body decorated with lotus flowers, highly elevated on three cylindrical feet adorned with mythical beast head, all against a turquoise ground with tendril pattern, the neck flanked with two cast dragons chasing a pearl, their sinuous bodies highly raised as looped handled 26cm high x 21cm wide

£1,500-2,500

72 LARGE CLOISONNÉ ENAMEL BALUSTER VASE QING DYNASTY, 19TH CENTURY

清銅胎掐絲琺瑯饕餮紋獸耳大瓶

the central section of the bulbous body and the splayed foot decorated with prominent taotie masks in dark blue and green enamel, separated by two bands of continuous geometric and floral patterns, the waisted neck and flared rim fully decorated with lotus flowers with scrolling foliate, all reserved on a turquoise ground, a pair of mythical beast head flanked on the shoulder 67cm high

£3,500-4,500

73 LARGE CLOISONNÉ ENAMEL DEEP BOWL QING DYNASTY, 19TH CENTURY

清銅胎掐絲琺瑯蝶戀花紋大碗帶黃銅座

the exterior decorated thoroughly with butterflies amongst flowers, underneath a band of ruyi motif around the rim, all reserved on a turquoise ground decorated with key-fret pattern, with a cast brass stand supported on wing-spreading eager feet 30.5cm diameter

£800-1,200

74 SOAPSTONE ‘BUDDHA’S HAND’ SNUFF BOTTLE QING DYNASTY, 19TH CENTURY

清壽山石雕佛手形鼻烟壺

naturalistically carved in the form of a finger citron, also known as ‘Buddha’s Hand’, with leafy vines across the body in low relief, with a wooden stopper carved as a stalk 7.2cm high

£800-1,200

75 PAINTED ENAMEL ‘LANDSCAPE’ SNUFF BOTTLE QIANLONG MARK BUT LATER

乾隆款銅胎畫琺瑯開光胭脂紅山水紋鼻烟壺

of flattened oval shaped, each sides painted in cartouches in coral red colour, one side with a hermit crossing bridge in a mountainous landscape setting, the other side with an attendant looking up to a seated scholar under on the cliff, reserved on a blue ground decorated by tendrils, the base inscribed with a four-character Qianlong mark in blue, with carved metal stopper 7.3cm high

£250-350

76 CINNABAR LACQUER SNUFF BOTTLE QING DYNASTY, 19TH CENTURY

清剔紅風景人物紋鼻烟壺

of flattened oval form, each side carved in relief with farmers and woodcutters about to cross a bridge to a village, the scene sets in a landscape reserved on a diamond ground, two sides separated by rocky mountains, the shoulder and stopper carved with leafy flowers 9cm high Provenance: Private Scottish collection

£600-800

77 GROUP OF FOUR SNUFF BOTTLES QING DYNASTY, 19TH CENTURY

清料器仿瑪瑙、和闐白玉、瑪瑙及髮晶鼻烟壺（一組四件）

comprising: a brown glass in imitation agate snuff bottle of flatten oval form; a Hetian white jade snuff bottle carved in low relief with woven pattern around the body, with a red stone stopper; an agate snuff bottle with semi-translucent colour; a smoky hair quartz snuff bottle carved in relief with birds on the sides and dragon heads on the shoulders, with a stone stopper (4) largest: 7cm high Provenance: Private Taiwanese collection

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

78 SAPPHIRE GLASS SNUFF BOTTLE QING DYNASTY, 19TH CENTURY

清藍料螭虎鼻煙壺

of flattened oval shape, carved with two chi dragon on either side of the shoulders, the glass of a delicate translucent sapphire tone, with a golden filigree stopper 6.8cm high

£600-800

79 IRON RED ‘ZHONG KUI’ SNUFF BOTTLE QING DYNASTY, 19TH CENTURY

清礬紅彩鍾馗圖鼻煙壺

of cylindrical form, painted with Zhong Kui surrounded by his demon servants, with a bone and stone mounted stopper 9.5cm high Provenance: Private Taiwanese collection Note: for a closely comparable iron red Zhong Kui snuff bottle, dated to Daoguang period, was in the Mary and George Bloch Collection and sold at Sotheby’s Hong Kong, 27 May 2013, lot 230

£200-300

80 GOLD-SPLASHED AMBER GLASS SNUFF BOTTLE QING DYNASTY, 19TH CENTURY

清寶石紅料灑金鼻煙壺

of flattened oval form, carved decorated with golden splashes around the amber colour glass body, with a silver filigree stopper 6cm high

£250-350

81 GROUP OF THREE RED OVERLAY PEKING GLASS SNUFF BOTTLES QING DYNASTY, 19TH CENTURY

清各式套紅料鼻煙壺（一組三件）

comprising: three snuff bottles of flattened oval form, one decorated with a Daoist making pills for immortality in a landscape setting, with a jadeite stopper; a bottle adorned with a coiled four-clawed dragon on top of swirling waves, with a stopper in taiji (ying and yang) motif; and a bottle adorned with three figures holding lotus and flowers in landscape, with a rose quartz stopper (3) largest: 6.6cm high

£400-600

82 FAMILLE ROSE DOUBLE-GOURD SNUFF BOTTLE QIANLONG MARK BUT LATER

乾隆款粉彩瓜瓞綿綿葫蘆型鼻煙壺

of a double gourd form, the surface with a moulded and painted design of a fruiting gourd-vine, the base with a gilt apocryphal four-character Qianlong mark 8.5cm high Provenance: Private Edinburgh collection

£800-1,200

83 BLUE AND WHITE SNUFF BOTTLE DAOGUANG MARK

道光款青花福壽紋瓶及青花花卉人物紋迷你對瓶（一組三件） of baluster bottle form, the body decorated intermittently with fu- prosperity and shou- longevity, the base inscribed with a fourcharacter Daoguang mark; together with TWO MINIATURE BLUE AND WHITE BOTTLE VASES, decorated respectively with figures and floral patterns (3) largest: 7cm high

£300-500

84 GROUP OF THREE BLUE AND WHITE SNUFF BOTTLES QING DYNASTY, 19TH CENTURY

清青花鼻烟壺（一組三件）

comprising: one of flattened oval form painted with a deer in a landscape setting, the base inscribed with a four-character Qianlong mark; one of cylindrical form with a scholar and a monk playing qin musical instrument under a pine tree; and one of flattened double gourd form decorated with a male figure (3) largest: 7.8cm high Provenance: Private Edinburgh collection

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

85 PALE CELADON JADE JARDINIÈRE QIANLONG MARK BUT LATER

乾隆款青白玉雕帶耳花盆

carved with lobed sides, supported on a short stepped foot gradually flaring towards lipped mouth rim, the shoulders carved with reticulated handles on the narrower sides, the stone of even pale celadon tone, the base carved in low-relief with a four-character Qianlong mark in gilding, with a wooden stand 14cm wide Provenance: Private Spanish collection, acquired between 1998 and 2002; the family has been collecting Asian antiques and art pieces for more than 30 years, with family business in Asia

£2,500-3,500

86 PALE CELADON JADE ARCHAIC VASE QING DYNASTY, 19TH CENTURY

清青白玉雕仿古螭龍蕉葉紋扁瓶

of flattened form, the body carved in low relief with two entwined chi dragons on each sides, the neck decorated with plantain leaves between two chi-dragon handles in openwork, the stone of even pale celadon tone 12cm high

£1,000-1,500

87 CELADON JADE CARVING OF A SAMPAN 青玉雕揚帆漁舟擺件

carved in full sail with a flag blowing in the wind, two oarsmen on either side, one rows the boat, while another hoists the sails 20cm wide Note: For a comparable piece, see Bonhams London, 8 November 2018, lot 187

£150-250 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

88 CELADON JADE ‘LINGZHI’ PAPERWEIGHT QING DYNASTY, 18TH-19TH CENTURY

清青玉透雕靈芝紙鎮

roundly carved in openwork with various lingzhi fungus growing out from a gnarled tree branch, the stone of celadon colour and well polished 15.3cm wide

£2,500-3,500

89 WHITE JADE INSET HARDWOOD TABLE SCREEN LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初白玉插屏帶木座

the white jade plaque of rectangular shape, carved on one side in various reliefs with a scholar accompanied by two young attendants walking in mountainous landscape settings, the reverse with two scholars in similar settings and a crane gliding in the sky, with an elaborately carved and silverwire inlaid wooden stand raised on a podium screen: 22cm x 15cm; 35.8cm high with stand

£5,000-8,000

STONE CARVING OF A GOAT

PALE CELADON JADE WITH RUSSET SKIN ‘PIXIU’ PENDANT

QING DYNASTY, 18TH-19TH CENTURY

清白石雕山羊把件

MING DYNASTY

明青白玉黃皮雕貔貅吊墜

carved in round and recumbent pose with four legs tucked underneath the body, its head turned towards its right, with its beard, eyes and ears well defined in low relief

simplistically carved in a seated position in relief with bulging eyes and horned head, the pale celadon stone of a yellowish tone with russet patches and veins

7.7cm wide

£400-600

4cm high

£500-800

92 GROUP OF THREE JADE ORNAMENTS MING DYNASTY TO 20TH CENTURY

明至二十世紀白玉雕鳳形帶鉤、白玉扳指及黃白玉劍璏（一組三件）

comprising: a Qing dynasty white jade belt hook in the form of a phoenix, with its head forming the hook and its curved body and well-defined folding wings as shaft, the reverse of the shaft with a round knob; a 20th century white jade thumb ring incised with shou longevity character against a diamond ground; and a Ming to Qing dynasty pale yellow jade sword slide, carved in relief with floral motifs (3) largest: 8.5cm long

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

93 PALE CELADON JADE ‘CATS’ CARVING QING DYNASTY, 19TH CENTURY

清青白玉雕雙貓擺件

carved in the round as two reclining cats alongside each other and facing opposite direction, each with their front paws overlapping against the chest and their rear ones tucked underneath their body, the head minutely carved with bulging eyes and alert expression, the stone of even pale celadon colour 5cm wide

£1,800-2,200

94 WHITE JADE ‘LION AND CUB’ BELT HOOK QING DYNASTY, 18TH CENTURY

清白玉雕瑞獅戲球帶鉤

carved with a recumbent Buddhist lion carrying a small cub on its band, with a brocade ball in its mouth 9cm wide

£3,000-4,000

95 PALE CELADON JADE BRUSH WASHER QING DYNASTY, 19TH CENTURY

清青白玉雕松下童子紋筆洗

of oval form, decorated with a boy climbing around the edge, against a gnarled pine tree branch on the other side, the stone of even pale celadon tone with russet patches 10.5cm wide

£2,000-3,000

96 YELLOW AND RUSSET ‘GOOSE’ JADE PENDANT 黃玉雕鵝吊墜

roundly carved with its head turned towards its right resting on its back, the feathered wings finely defined in low relief, the stone of a yellowish tone with russet patches 5.5cm wide Provenance: Private Paris collection, acquired in Southern France after 1990

£600-800

97 WHITE JADE THUMB RING QIANLONG MARK BUT LATER

乾隆款白玉雕扳指

of cylindrical form, the exterior carved with stylised symmetrical tendrils separating inscriptions in seal script within circles in between decorative bands, the stone of even white tone 3.2cm diameter

£600-800

98 CELADON JADE ‘MAGNOLIA’ CUP QING DYNASTY, 18TH-19TH CENTURY

清青玉雕玉蘭花角杯

Provenance: Private Spanish collection, acquired between 1998 and 2002; the family has been collecting Asian antiques and art pieces for more than 30 years, with family business in Asia Note: a similar jade cup in the form of a magnolia, was sold at Christie’s London, 12 May 2012, lot 172

naturalistically carved in the form of a magnolia flower, the handle carved in the shape of a gnarled tree branch with flower buds and small magnolia blossoms meandering around the vessel, the stone of an even celadon colour 9cm wide

£2,000-3,000

99 WHITE JADE ‘BOY AND GOURD’ PENDANT QING DYNASTY, 19TH CENTURY

清白玉雕福祿如意吊墜

carved in the round with a young boy seated astride a gourd, the boy adorned with a ruyi-shaped necklace, the semi-translucent stone is of an even white tone 4.5cm high

£800-1,200

100 WHITE JADE WITH YELLOW SKIN CARVING OF A BUDDHIST DOG MING-QING DYNASTY

明至清白玉黃皮雕獅擺件

carved in round and seated with upward body and four limbs tucked beneath its body, the head looks up and turned slightly towards its left with well-defined alert eyes and opened-mouth, the body finely carved with ridged back and flaming patter around the ankles, the stone of creamy white colour with yellow and brown skin 5.6cm wide

£2,500-3,500

101 WHITE JADE BEAR MING DYNASTY

明白玉帶黑皮雕臥熊

carved in round and in recumbent pose, with its limbs tucked beneath its body, the head with well-defined bulging eyes and pricked ears, the stone of a milky white tone with black skin, cleverly worked into the carving showing one side in black and the other side in white colour 7cm wide

£3,000-5,000

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

102 INSCRIBED WHITE JADE PLAQUE 白玉雕神品文玩鳳紋玉牌

one side carved in relief with a two-character seal ‘Shen Pin’ meaning ‘superb rank’ in an oval cartouche, and the other side similarly carved with ‘Wen Wan’ meaning ‘play thing’, each surrounded by a phoenix in flight with spreading wings forming the edge, the stone of even white colour 10cm high Provenance: Private Spanish collection, acquired between 1998 and 2002; the family has been collecting Asian antiques and art pieces for more than 30 years, with family business in Asia

£800-1,200

103 CELADON JADE PENDANT 青玉雕四方螭龍玉珮

carved in openwork with four entwined chi dragons, each bites the sinuous body of the previous one, together forming a wellbalanced reticulated pendant, the stone of an even green tone 5.5cm wide

£300-500

Provenance: Private Spanish collection, acquired between 1998 and 2002; the family has been collecting Asian antiques and art pieces for more than 30 years, with family business in Asia

104 SOAPSTONE CARVING OF AN ARHAT QING DYNASTY

清尚均款壽山石雕嵌寶石羅漢帶座擺件

carved seated in royal-ease pose on a detachable soapstone base, his right hand across the body to the left holding a scroll, wearing long robes incised with floral and shou pattern, the hem embellished with semiprecious stones, the underside of the figure incised with two-character ‘Shang Jun’ mark 8cm high, 10cm high with stand

£1,200-1,800

105 TIANHUANG SEAL QING DYNASTY

清田黃雕瑞獸鈕章

the oval seal finely carved with a horned mythological animal, carved in the round seated with front limbs supporting the upward body, head looks up and forward with alert eyes and flaring nostrils, the seal engraved with two characters 6cm high

£5,000-7,000

106 PALE CELADON JADE PLAQUE 青白玉鏤雕龍紋珮

meticulously carved in openwork with entwined chi dragons amidst clouds, the semi-tranlucent stone of an even white tone with some brownish skin on the edges 7cm wide Provenance: Private Spanish collection, acquired between 1998 and 2002; the family has been collecting Asian antiques and art pieces for more than 30 years, with family business in Asia

£800-1,200

107 WHITE JADE ‘DRAGON’ BELT HOOK QING DYNASTY, 18TH-19TH CENTURY

清白玉雕蒼龍教子帶鉤

intricatedly carved with a horned dragon’s head forming the hook, facing a sinuous chi dragon biting a lingzhi fungus on top of the gently arched shaft, the reverse of the shaft with a round knob, the stone with a pale celadon tinge with a bit of brownish skin at the end 9.5cm wide Provenance: Private Spanish collection, acquired between 1998 and 2002; the family has been collecting Asian antiques and art pieces for more than 30 years, with family business in Asia

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

108 WHITE JADE CARVING OF A GRIFFIN QING DYNASTY, 18TH CENTURY

清白玉雕貔貅啣靈芝擺件

carved in the round, seated with front limbs supporting the upward body, head looks up and forward with alert eyes, flaring nostrils and mouth opened holding a leafy lingzhi fungus hanging to its left, wings spreading upright with a tail coiling behind, on a cloth stand 7.5cm high

£10,000-15,000

109 CELADON JADE ‘QILING WITH CUBS’ WATER DROPPER REPUBLIC PERIOD, 20TH CENTURY

民國青玉雕麒麟送子水滴

carved in recumbent pose with four legs tucked underneath the body, its head turned towards the left with a cub next to its right leg, centre of its back with a miniature cub on top of the lid as finial, the stone of celadon green colour with various russet patches, with a fitted wooden stand 12cm wide

£800-1,200

110 SPINACH-GREEN JADE ‘CRANE AND PINE TREE’ VASE QING DYNASTY, 19TH CENTURY

清碧玉雕松鶴靈芝紋花插

the exterior roundly carved in high relief with cranes, lingzhi fungus and pine trees, the stone of dark green colour with some white vein inclusions, with a wooden stand 12cm high Provenance: Private London collection

£300-500

111 SPINACH-GREEN JADE ‘RUYI’ BRUSH WASHER QING DYNASTY, 19TH CENTURY

清碧玉雕蝙蝠如意紋筆洗

carved in a squat ruyi-head form with inverted rim, two small birds carved in high relief at either side of the vessel, a bat with spreading wings adorned the rim, with a wooden stand 13.4cm diameter Provenance: Private London collection

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

112 HARDSTONE LOTUS POND 20TH CENTURY

二十世紀粉晶雕蓮池

naturalistically formed with rose quartz carved lotus flowers and spinach jade lotus leaves and agate lotus buds, all contained in a modern metal bowl (qty) largest flower: 9.5cm diameter Provenance: Private English collection

£500-800

113 SOAPSTONE TALL VASE WITH STAND LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初壽山石雕花插

114 HARDSTONE FRUITS 20TH CENTURY

二十世紀各色水晶雕水果盤擺件

naturalistically carved from various colour crystal and stone, including purple, green and pink quartz grapes, green quartz gherkins and finger citrons and spinach jade cherries, all contained in a modern marble bowl in lotus leaf form (qty)

in a slender form carved in openwork with chrysanthemums on branches decorated around the vase, with a stone tripod stand vase: 18cm high; 25.4cm high with stand Provenance: Private London collection

£200-300

largest bunch of grapes 19cm long Provenance: Private English collection

£800-1,200

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

115 CARNELIAN CARVING OF A POMEGRANATE LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初南紅瑪瑙雕石榴靈芝佛手擺件

naturalistically carved in the form of a pomegranate borne on a gnarled branch issuing further smaller pomegranates with lingzhi fungus and finger citrons, the stone of a milky white tone with red and brown inclusions cleverly worked into the carving, with a spinach-green base in a rugged mountain form 12cm high

£800-1,200

116 WHITE JADE CARVING OF A MYTHICAL ANIMAL QING DYNASTY, 19TH CENTURY

清白玉帶黃皮雕靈獸擺件

carved in half-recumbent pose with its front limbs supporting the body, its head pointing slightly to the right and in ferocious expression detailed with alert eyes, flaring nostrils and opened mouth, the stone of creamy white colour with brownish inclusions, on a fitted cloth stand

117

8.4cm wide

PALE CELADON JADE ‘SAMPAN’ INCENSE STICK HOLDER 青玉雕渡船香插

£200-300

carved in openwork, depicting a young attendant poling the boat with a recumbent dog kneeling in his front, a large jar in the middle of the boat as an incense stick holder, an elder seated on the other side of the boat, the stone of an uneven yellowish tone 12cm wide Provenance: Private Spanish collection, acquired between 1998 and 2002; the family has been collecting Asian antiques and art pieces for more than 30 years, with family business in Asia

£800-1,200

118 AGATE DEEP BOWL QIANLONG MARK BUT REPUBLIC PERIOD, 20TH CENTURY

乾隆款瑪瑙雕碗

carved with a deep bulbous body on a short straight foot to slightly everted rim, elegant swirls of black and different hues of brown with translucent intermittence decorating the body, base carved with a six-character Qianlong mark 10.2cm diameter

£200-300

119 INK PAINTING OF THE DRUNKEN ZHONG KUI RECITING POETRY 《鐘馗醉吟圖》水墨設色紙本立軸

ink and colour on paper, hanging scroll, titled and inscribed ‘painted in the ancient city, Chang’an’, with four seals, including ‘Xi Shi’, ‘sanren xing, biyou woshi’ (a Confucius quote: “when three are walking together, I am sure to find teachers among them”) 136cm x 67.5cm

£100-200

120 GROUP OF THREE PITH PAINTINGS OF FISHES QING DYNASTY, 19TH CENTURY

清游魚設色通草紙本（三幅）

vibrant watercolour paintings on pith, each depicting different fishes, including carp, bream, catfish, flatfish and tropical fish etc. (3) 17cm x 28cm each

£500-800

121 SET OF SIX ‘SCHOLAR’S ROCK’ PAINTINGS QING DYNASTY, 18TH-19TH CENTURY

清賞石圖設色紙本（一組六幅）

上水石／鶯石／北青山石／宣石／南太湖石／斧披石

ink and colour on paper, each painting depicting a scholar’s rock vertically fitted in a white stone pot, including a porous Taihu stone in yellow tone and originated from Dongting Lake, a snowy-white Xuan stone from Anhui provenance, and a greenish Fupi stone with sleek surface (6) 17cm x 7.5cm each Provenance: Formerly in a private French collection Note: These are part of a massive series of designs sent by Jesuits agents at the Court of Beijing in the 1770 to Henri Bertin, Minister of State for the Bourbon Kings of France and a major collector of things Chinese. There are albums of such drawings, including another set of some of these rocks with Chinese inscriptions describing them (brief titles only). Literature: Kee Il Choi Jr. ‘Vases Chinois.’ Journal 18, A Journal of Eighteenth-century Art and Culture, Issue no. 6, Fall, 2018

£3,000-4,000

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

122 LARGE PORTRAIT PAINTING OF A COURT LADY QING DYNASTY, 19TH CENTURY

清宮廷肖像設色絹本

ink and colour on silk, painted in detail with a court lady seated in formal court robes, flanked by a pair of earlobes adorned with three embellished double-gourd drop earrings on each side, clad in a fur-edged ceremonial costume comprised a full-length blue colour robe under a brown sleeveless vest, nine dragons elaborately decorated on the costume, long beaded coral and pearl necklaces elegantly hanging over and around the figure’s torso 173cm x 93cm

£600-800

123 TWO ANCESTOR PAINTINGS QING DYNASTY, 19TH CENTURY

清祖先像立軸設色鏡框（兩幅）

comprising: a male portrait seated on a green shawl-covered horseshoe back armchair atop an intricately painted ground with peonies and other flowers, wears a formal robe in navy with white heron to the centre indicating his sixth ranked civil court official position; and a seated female portrait wears a gilt crown and a red robe adorned with four-clawed dragons, back with three red large panels atop with flower-patterned curtain (2) 119cm x 71cm each Provenance: Private English collection Note: Labelled verso ‘Wah Cheong, Estd 1902, Authentic Picture Frame Maker, 7-13 Wellington St, Hong Kong’

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

124 THE IMPERIAL PALACES OF PEKING BY SIRÉN, OSVALD 1926

奧斯伍爾德·喜仁龍著精裝《中國北京皇城寫真全圖》三冊全

Paris & Brussels: Librairie Nationale d’Art et d’Histoire & G. van Ossi, 1926, Firts British edition. 3 volumes, 4to, 274 collotype plates, 14 plans and maps, mostly folding, original blue cloth gilt (3) Provenance: Private Scottish collection

£2,000-3,000

125 CHINESE SCULPTURE FROM THE FIFTH TO THE FOURTEENTH CENTURY BY SIRÉN, OSVALD 1925

奧斯伍爾德·喜仁龍著精裝《五至十四世紀的中國雕塑》四冊全 London: Ernest Benn, Limited, 1925, Firts British edition. 4 volumes, 4to, frontispiece and 623 photographic plates, original light brown cloth gilt (4) Provenance: Private Scottish collection Note: Sirén’s work is illustrated by over 600 plates highlighting over 900 specimens in stone, bronze, lacquer, and wood. These plates are arranged chronologically, based on inscriptions, dates, and historical records where possible. Within that framework, Sirén included other undated examples which closely correspond in style to the sculptures he could date with more certainty

£2,000-3,000

126 GROUP OF TWO MEDICAL THANGKAS FROM THE BLUE BERYL SERIES QING DYNASTY, 19TH CENTURY

清藏醫人體脈道與肌理唐卡（一組兩幅）

comprising: a thangka depicting a naked human’s back with arms spread, pigmented upper and mid body internals, covered allover in symmetrical red grid with various dots at which moxibustion should be applied, reserved on inscriptions taken from the Medical Text ‘Gyud Zhi’ explaining the reasons; and the other depicting human’s energy movement, including a male’s body, a flayed body with internals exposed, and a skeleton in ardhaparyank asana position reserved on inscriptions, each figure painted with blood vessels throughout the whole body, and a green line cut through from the top of the head to perineum (2) 65cm x 45.5cm each Provenance: Private Manila collection; the present owner’s father acquired them in the 1970s

£1,200-1,500

Note: These next two lots of paintings are an extension of the Four Tantras appearing as part of the commentary written by Sangye Gyamtso, Regent to the Fifth Dalai Lama, in 1687-88, and entitled The Blue Beryl. The fundamental text of Tibetan medicine is the Tantra of Secret Instructions on the Eight Branches, the Essence of the Elixir of Immortality and commonly abridged as Four Tantras (Gyud Zhi), teaching four methods of treatment: Diet, Lifestyle, External Therapies, and Medication. The paintings showing here include the anterior and posterior views of vulnerable points from the ‘Exegetical Tantra’. Moxibustion in Tibet is the application of heated needle into the skin and deep muscle and is one of the preferred ways to overcome pain; energy movement chart depicts routes that psychic energy travels throughout the human body and is used as a demonstration article rather than as something which could have been demonstrated by physical examination. It most certainly does not claim to be a map of blood vessels although Tibetans knew about this very well. However as medicine and Buddhism were strongly linked a chart of psychic energy movement was classified as a medical matter too. Comparable examples sold at Christie’s New York, 19th September 2002, Lot 151

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

127 GROUP OF TWO MEDICAL THANGKAS FROM THE BLUE BERYL SERIES QING DYNASTY, 19TH CENTURY

清藏醫用具與草藥唐卡（一組兩幅）

comprising: a thangka depicting ten arrays of medicinal herbs with inscriptions; and the other depicting various medical equipment in eight panels (2) 64.5cm x 44cm each Provenance: Private Manila collection; the present owner’s father acquired them in the 1970s

£1,200-1,500 Note: The paintings showing here include the variety of herbology from the ‘Exegetical Tantra’ . Tibetans used a broad variety of ingredients in medicine including mineral, vegetable and animal products. This painting (and the text that accompanied the painting) would tell the doctors information about the plants to be used in treatments, such as the season or moon phase in which they would be most effective. There were paintings for plants and for minerals and for animal products required to treat ailments such as fever; surgical tools played a small part in the medical practice in Tibet. First resort was always pulse feeling, urine analysis, prescription of the herbs etc. and in case of accident or obvious trauma, then surgery. The tools almost look like weapons and were made of sharpened iron - steel was unknown - and their effectiveness was largely dependent on the skill of the surgeon. Many of them have vajras on the end to bring down the power into the instrument while others have scorpion motifs to ward off harmful forces. Comparable examples sold at Christie’s New York, 19th September 2002, Lot 151

128 THANGKA DEPICTING VAJRAVEGA WITH CONSORT QING DYNASTY, 18TH-19TH CENTURY

清雙身具力金剛唐卡

the striking nine-headed wrathful dharmapala in alidhasana, with his red-bodied consort’s left leg wrapped around his thigh, two front hands holding kartika and kapala bowl, twenty four other hands holding various ritual implements, he wears a flayed skin apron with five heads dangling, elaborate jewellery heavily adorn both the dharmapala and his consort’s bodies and arms, flaming nimbus to their back and surrounded by various deities 163cm x 109cm Provenance: Private Manila collection; the present owner’s father acquired it in the 1970s

£3,000-5,000

Note: Vajravega is a wrathful form of Kalacakra (‘Lord of the Wheel of Time’) the most important cosmic deity in Tibetan Buddhism. In the form of Vajravega he serves to protect meditators embarking on Kalacakra meditation practice (up to 12 years) from hindering forces and creates a protective area surrounding them which he ‘patrols’. ”This large scroll is beautifully painted and its secret nature means that it should be treated with the utmost respect. For Tibetans a deity such as Vajravega’s name should only be uttered as part of the Kalacakra meditation practice and he never to be invoked for ‘lesser’ reasons. The inscription on the reverse reads; “I go for my refuge to the Lama. I go for my refuge to the Buddha. I go for my refuge to the Teachings of the Buddha. I go for my refuge to the order of the Buddhist monks. I go for my refuge to the Lama, my tutelary (personal) deity and to the Three Jewels (Buddha, His Teachings and the Monks).” - viewed by Dr. David Templeman, Monash University of Melbourne, Australia

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

129 THANGKA DEPICTING A PANCHEN LAMA INCARNATION QING DYNASTY, 19TH CENTURY

清班禪喇嘛源流像唐卡

seated in padmasana on a white lotus pedestal, the lama attired in orange kasaya and wears a yellow pandita hat, his right hand raised in vitarka mudra and left hand in dhyana mudra, at top right corner with Shakyamuni in sky, and a meditative monk at the lower right facing an array of precious tributes 93cm x 58.5cm Provenance: Private London collection

£3,000-5,000

130 THANGKA DEPICTING BHAISAJYAGURU QING DYNASTY, 18TH-19TH CENTURY

清藥師佛唐卡

the seated blue-bodied Buddha with his left hand raised in vitarka mudra, and right hand in dhyana mudra holding a jar of medicine nectar, wearing an intricately decorated kasaya in maroon surrounded by aura and cloudy nimbus, accompanied by various preaching rimpoches and dharmapalas to the sides 150.5cm x 121cm

£2,500-3,500

131 THANGKA DEPICTING BHAVAVIVEKA QING DYNASTY, 19TH CENTURY

清班禪源流像清辯唐卡

the preincarnation of Panchan Lama depicted as an Indian teacher attired as a monk wearing a pandita hat and an orange and green robe, his arms perform a debate gesture, he sits on square prayer mat in a landscape settings converting a nonbeliever, accompanied by Mañjuśrī at the top left 100cm x 63.8cm Provenance: Private London collection

£3,000-5,000

132 THANGKA DEPICTING A PANCHEN LAMA INCARNATION QING DYNASTY, 19TH CENTURY

清班禪喇嘛源流像唐卡

attired in typical monastic orange robe and wears a red pandita hat, the rinpoche depicted seating on a triple-layered prayer mat in front of a monastery with both hands raised in vitarka mudra, left hand extended straight and rested on his left knee, right hand raised in front of his chest, an array of precious tributes to his left, two disciples kneeling before him, accompanied by Bhaiṣajyaguru at top right on sky casting down 101cm x 64cm Provenance: Private London collection

£3,000-5,000

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

133 THANGKA DEPICTING YAMANTAKA AND CONSORT VAJRAVETALI QING DYNASTY, 19TH CENTURY

清雙身大威德金剛唐卡

the eleven-headed wrathful deity charged in alidhasana, twenty-four arms with two front holding kartika and kapala bowl, others brandish an array of weapons while legs trample over humans and animals on colourful lotus podium, his blue-bodied consort embraces him from the front with her left leg swings across his thigh, flayed Yinayaka to their back and surrounded by flaming aureole, in between two arrays of other deities 61cm x 56cm Provenance: Private London collection

£3,000-5,000

PROPERTY FROM A PRIVATE COLLECTION, BRIGHTON

134 LARGE STRAW-GLAZED AMPHORA TANG DYNASTY

唐白釉雙龍耳尊

of tapered ovoid form, the narrow cylindrical neck topped with a cup-shaped mouth, the domed shoulders flanked with a pair of double strap handles, the dragon-head terminals biting the lipped rim, covered in a glaze with pale greyish-green tone stopping in a uneven line around the middle, exposing the burnt orange body, with a wooden stand 42cm high Provenance: With a Certificate of Antiquity issued by Hong Kong Art Craft Merchants Association Limited （香港藝術品商會有限公司）on 23rd March,1995, stated the piece dated to the Tang dynasty

£3,000-4,000

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

135 SANCAI-GLAZED POTTERY HORSE MING DYNASTY OR LATER

明或更晚三彩陶馬

potted standing foursquare on a rectangular plinth with a central supporting column, the body of the horse and the saddle covered in brownish orange glaze, halter and ropes in green glaze, manes and tail pigmented in black, leaving the inner legs, column and plinth unglazed, exposing the burnt orange clay body 27cm high Provenance: With a Certificate of Antiquity issued by Hong Kong Art Craft Merchants Association Limited（香港藝術品商會有限公司）on 1st June,1987, stated the piece dated to the Ming dynasty

£600-800

136 LONGQUAN CELADON PETAL-RIMMED DISH MING DYNASTY

明龍泉青釉菱口盤

sturdily potted with a shallow body raised to a broad everted rim, carved on the interior with a flower motif to the centre, with lobed cavetto, covered overall with brownish celadon glaze 33cm diameter

£400-600

Provenance: With a Certificate of Antiquity issued by Hong Kong Art Craft Merchants Association Limited（香港藝術品商會有限公司）on 28th October,1985, stated the piece dated to the Ming dynasty

137 SMALL CELADON TRIPOD CENSER MING DYNASTY OR LATER

明或以後青釉三足香爐

the semi-spherical body supported on three conical tall feet, a pair of looped handles flanked on the mouth rim, covered overall in a pale celadon glaze 8.5cm high Provenance: With a Certificate of Antiquity issued by Hong Kong Art Craft Merchants Association Limited（香港藝術品商會有限公司）on 5th March,1986, stated the piece dated to the Song dynasty

£400-600

138 DEHUA CENSER MING-QING DYNASTY, 17TH-18TH CENTURY

明至清德化白瓷獸耳爐

of compressed globular form, rising from a spreading foot to a flared rim, the shoulders attached with a pair of lion-mask handles, the exterior and part of the interior covered in a creamy colour glaze with ivory tinge 16cm wide Provenance: With a Certificate of Antiquity issued by Hong Kong Art Craft Merchants Association Limited（香港藝術品商會有限公司）on 28th February,1986, stated the piece dated to the Ming dynasty

£600-800

139 LONGQUAN CELADON TRIPOD CENSER MING DYNASTY

明龍泉青釉三足香爐

sturdily potted with a compressed bulbous body, supported on three short feet to a waisted neck and everted rim, the exterior of the body carved with triple-line trellis pattern and freestyle circles in between, parallel wavy lines to the neck, covered allover in fresh celadon glaze 28cm diameter

£500-800

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

PROPERTY FROM A PRIVATE COLLECTION, BRIGHTON

140 BLUE AND WHITE ‘FISH’ PLATE MING DYNASTY

明青花雙魚紋盤

supported on a short ring foot and terminating to straight rim, the flat interior painted with two fish separated by flowers within double circles, the base inscribed with a two-character workshop or maker’s mark 24cm diameter Provenance: With a Certificate of Antiquity issued by Hong Kong Art Craft Merchants Association Limited（香港藝術品商會有限公司）on 24th October,1985, stated the piece dated to the Ming dynasty

£400-600

141 BLUE AND WHITE ‘BOOK’ JAR AND COVER QING DYNASTY, 19TH CENTURY

清青花卐字卷草書冊紋蓋罐

of ovoid form, the body decorated with book enclosing by stylised lingzhi fungus and plantain leaves, scrolling swastika and continuous foliate scrolls, with matching cover painted in similar theme 24cm high Provenance: Acquired from Wing Kei Curios & Porcelain, Hong Kong （永基古玩瓷器）on 20th May, 1994, with an original receipt stated the piece dated to the Ming dynasty

£400-600

142 BLUE AND WHITE TRIPOD CENSER QING DYNASTY, 18TH CENTURY

清青花山水人物紋三足香爐

of compressed form, supported on three short feet and terminating to an everted rim, the exterior decorated freely with scholars in a landscape setting 27cm diameter Provenance: Acquired from Wing Kei Curios & Porcelain, Hong Kong（永基古玩瓷器）on 26th February, 1994, with an original receipt stated the piece dated to the Qing dynasty, Yongzheng period

£800-1,200

143 FAMILLE ROSE ‘DRAGON AND PHOENIX’ TEAPOT GUANGXU MARK AND PERIOD

光緒粉彩龍鳳呈祥紋茶壺

Provenance: Acquired from Kwong Tai Hong, Hong Kong（廣泰行）on 4th July 1989, with an original receipt stated the piece dated to the Qing dynasty, Guangxu period

the sides respectively painted with a colourful pale green phoenix and a ferocious five-clawed red dragon amongst clouds and flames, all above crashing waves to the foot, the shoulder and lid adorned with flowers on tendrils reserved on a yellow ground, the base inscribed with a six-character Guangxu mark in iron red 15.5cm wide

£800-1,200

144 CONJOINED YIXING STONEWARE ‘SCROLL’ TEAPOT QING DYNASTY, 19TH CENTURY

清紫砂藍白點彩書卷式茶壺

conjoined of two cylindrical form as a book scroll, the side painted with religious motifs in light and dark blue enamels, the finial of the cover in the form of a peach, with wooden stand 17cm wide Provenance: Acquired from Wing Kei Curios & Porcelain, Hong Kong（永基古玩瓷器）on 4th April, 1995, with an original receipt stated the piece dated to the Qing dynasty, Qianlong period

£300-500

145 BRONZE SWORD HAN DYNASTY

漢青銅劍

cast with the double-edged blade, the central ridge tapering to a fine tip, the cylindrical handle with two raised rings and a wide flattened hilt, with a wooden display stand 51cm long

£800-1,200

Provenance: Acquired from Kwong Tai Hong, Hong Kong（廣泰行） on 6th March 1994, with a copy of the original receipt

PROPERTY FROM A PRIVATE COLLECTION, BRIGHTON

146 BRONZE ‘TLV’ MIRROR HAN DYNASTY

漢青銅規矩鏡

the central knob surrounded by nine raised bosses within a square border, the outer field decorated with ‘TLV’ pattern, eight bosses, and various mythical creatures within narrow bands enclosing hatched lines, all below a triangular border and a band of twisted pattern 16.6cm diameter

£400-600

147 BAMBOO BRUSH POT JIAQING PERIOD, DATED 1817

嘉慶丁丑年倦圃款竹雕花卉題詩紋筆筒

the cylindrical body supported on three shallow feet, the slightly convex sides carved in low relief with gnarled prunus and various flowers to one side, a poem followed by inscriptions to the other, indicating the piece was carved in August in the year of Ding Chou (1817) by Juan Pu 16cm high

£800-1,200

Provenance: Acquired from Wing Kei Curios & Porcelain, Hong Kong （永基古玩瓷器）on 12th September, 1993, with an original receipt stated the piece dated to the Qing dynasty, Jiaqing period Translation of the inscription: “This bamboo, peach blossom and chrysanthemum belong to one (only when the artist sees this kind) of scenery he feels very strong in spirit. Carved in the sitting room by Juan Pu during the mid-autumn festival in 1817”- Jiaqing period (1796-1820) Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

OTHER PROPERTIES 148 JIZHOU STONEWARE TEA BOWL SONG DYNASTY

宋吉州窯風梅紋盞

of conical form, the interior decorated with paper cut decoration of a phoenix and plum flower reserved on a tortoiseshell glaze, the exterior covered in dark brown glaze, leaving the base unglazed revealing the buff stoneware body 11.1cm diameter Provenance: Formerly in a Private French collection, with an old label reading ‘Epoque Song’

£800-1,200

149 SILVER-MOUNTD JIAN ‘HARE’S FUR’ TEA BOWL SONG DYNASTY OR LATER

宋或更晚銀扣兔毫建盞

potted with deep rounded sides rising from a short foot to a silver-mounted rim, covered with a thick black glaze finely streaked with ‘hare’s fur’ markings, stopping above the foot exposing the dark brown body, with a Japanese wooden box 13cm diameter Provenance: Private Taiwanese collection; formerly in a private Japanese collection

£800-1,200

150 LARGE CIZHOU GLAZED STONEWARE BASIN SONG DYNASTY OR LATER

宋或更晚磁州窯魚紋盆

sturdily potted with a slightly ribbed round body and wide lipped rim, the body decorated with a fish and floral motifs 26.3cm diameter Provenance: Formerly in the Major Geoffrey Jackson collection. Major Geoffrey Frank Jackson (1922-2018), Born on 28th February 1922 in Karachi, in pre-partition India, Jackson grew up in Singapore, and moved to England in his late childhood. He attended Grammar School in Portsmouth, and started to develop his military experience in the school Cadet Corps.At the start of WWII, in his late teens, he volunteered for the Indian Army. After being commissioned at the Academy at Dehra Dun in 1941, he was posted to the 3rd Battalion 9th Gurkha Rifles, the 3/9 GR, at Jhikar gacha Ghat.In 1944 the 3/9 Gurkha Rifles joined the Special Forces for the Chindit Operations in Burma.In 1945, he embarked with his battalion for Indonesia & Surabaya. In March 1946 he returned to Singapore, and was transferred to Malay Command HQ.

£200-300

151 SMALL LONGQUAN CELADON-GLAZED BOWL YUAN DYNASTY 元龍泉青釉小碗

the rounded sides incised with petals rising from a ring foot to an everted rim, covered allover in a brownish green glaze with crazing effect ending before the footrim, exposing the buff body 11.4cm diameter Provenance: Formerly in a private Singapore collection, with an old inventory number on the base

£400-600

152 LONGQUAN CELADON-GLAZED BOWL SONG DYNASTY OR LATER

宋或更晚龍泉青釉菊瓣碗

the deep round sides moulded as chrysanthemum petals on the exterior, covered overall in a pale green glaze thinning on the ribs and ending in a line above the edge of the foot, exposing the buff body on the foot rim 16.8cm diameter

£800-1,200

153 LONGQUAN CELADON-GLAZED ‘HU’ VASE MING DYNASTY

明龍泉青釉仿古青銅器壺瓶

of archaic drinking vessel hu form, the bulbous body rising from a tall splayed foot to an everted lipped rim, the body boldly carved with stylized flower and plantain leaves, covered overall in a greyish green glaze 16.8cm high Provenance: Private UK collection

£300-500

154 LONGQUAN CELADON MOULDED DEEP BOWL MING DYNASTY

明龍泉青釉碗

sturdily potted with steep round sides rising from a straight foot, the interior with a moulded band of narrative figures flanked with door panels, covered in thick brownish celadon glaze with a crazing effect 17.4cm diameter Provenance: Formerly in an English gentleman’s collection, acquired between 1950s-1970s and sold at Duke’s ‘In Pursuit of the Scholar’s Spirit’ sale on 12th November 2015, lot 23

£500-700

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

155 GE-TYPE CRACKLE-GLAZED WINE CUP QING DYNASTY, 18TH-19TH CENTURY

清仿哥釉小盞

of octagonal form, rising from a short foot to an everted rim, the body fully covered in a thick yellowish-grey glaze with a network of black and faint russet crackles 9cm diameter Provenance: Private UK collection

£1,000-1,500

156 LONGQUAN CELADON GUAN-TYPE GLAZED CUP QING DYNASTY, 19TH CENTURY

清龍泉仿官釉青釉菱口小杯

finely potted with shallow round sides, supported on a short foot and terminating to a flaring barbed mouth, covered overall in a crackle glaze with greyish-celadon tone, with a fitted wooden box 8.6cm diameter

£300-500

157 SMALL LONGQUAN CELADON BALUSTER VASE QING DYNASTY

清龍泉綠釉撇口小瓶

the bulbous body rising to a waisted neck and flared rim, covered overall in a celadon glaze with crackled effect, with a fitted wooden box, labelled on the cover with ‘An Lan Shan Fang Zhen Mi (Treasure of the Anlanshan Studio)’ 10.9cm high

£300-500

158 GE-TYPE CRACKLE-GLAZED SQUARE SECTION ‘CONG’ VASE QIANLONG MARK

乾隆款仿哥釉琮式瓶

of heavily potted rectangular body and a short cylindrical neck, moulded on each corner with raised ridges, the body fully covered in a thick greyish celadon glaze with a network of black and faint russet crackles, the base inscribed with a six-character Qianlong mark 25.5cm high

£300-500

159 LANGYAO RED-GLAZED VASE 郎窯紅釉觀音瓶

the slender body tapered to a wide shoulder, the neck extending to a flared rim, the exterior covered allover with an iron-red glaze 15.5cm high

£200-300

160 GILT-DECORATED CORAL GROUND BALUSTER VASE QING DYNASTY, 19TH CENTURY

清珊瑚紅釉描金閣樓高士紋瓶

the body decorated in gilt with scholars in pavilions surrounded by mountainous landscape, the scene sets between two bands of stylised interlocking ruyi motif, all reserved on a coral-glazed ground, converted to a lamp, mounted with gilt-bronze base and cover in openwork 40.5cm high (without mounting) Provenance: Private Scottish collection, Argrennan House, Dumfries and Galloway

£800-1,200

161 SMALL BLUE-GLAZED BOTTLE VASE QIANLONG MARK

乾隆款迷你霽藍釉天球瓶 the globular body rising to a long cylindrical neck, covered overall with a deep blue glaze, the base inscribed with a sixcharacter Qianlong mark in underglaze blue 12.9cm high

£600-800

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

IMPERIAL AESTHETICS Qianlong, in the Manchu language, means “blessed by god”. The Qianlong emperor (1711– 1799) indeed appeared to have found special favour as the Son of Heaven: he ruled for six decades, from 1736 to 1795, leading the Qing dynasty to a pinnacle in both civil and military achievements. Highly cultivated, the Qianlong emperor’s appreciation of and innovation in the arts were based on his heartfelt love of art and culture, with his devotion to artistic activities and cultural matters being found everywhere in daily life. From the Ming period (1368-1644) onwards, the official kilns in Jingdezhen were controlled by the emperor, making imperial porcelain in large quantities for the court and the emperor to use in daily life or give as gifts. This pair of Qianlong period porcelain bowls, each delicately thrown with the exteriors rendered in brilliant iron-red enamel decorated in reserve with freely executed bamboo shoots, are a wonderful example of the craftsmanship and creativity involved in the production of imperial porcelain. The strong visual contrast was achieved by applying ironred enamel over white-glazed porcelain. A technique invented during the Yongzheng period (r. 1722-1735), it went on to become a favoured characteristic of Qing Dynasty imperial porcelain. A high level of skill, likely only held by imperial craftsmen, would have been required to successfully apply such a technique, as noted by The Oriental Ceramic Society’s Iron in the Fire, “the iron-red enamel is extremely sensitive to thickness and such an even effect is a considerable technical achievement.” This pair of bowls also represents the sinicisation of the Manuchu people in Chinese history. Bamboo is a symbol of oriental elegance in the traditional Chinese Han culture, representing the character of moral integrity, modesty and loyalty. Qing dynasty was founded by the Manchu Aisin Gioro clan in Manchuria, Northeast Asia in 1636 and replaced the Ming dynasty of Chinese Han origin in 1644. During the Qianlong period, the Han culture was revered among Manchus, and the assimilation between Manchu court and Han culture is clearly reflected in the imperial porcelain of the period. Closely comparable bowls in similar technique, design and with Qianlong mark could be found in the Palace Museum Beijing, the Nangjing Museum, the Hong Kong Museum of Art, and in the Victoria & Albert Museum (no. 74A-1883, currently at The Curtain Foundation Gallery).

162 PAIR OF CORAL-GROUND RESERVE-DECORATED ‘BAMBOO’ BOWLS QIANLONG MARK AND PERIOD

乾隆珊瑚紅地留白竹紋碗一對

each finely potted with deep rounded sides rising from a short straight foot, reserve painted in rich coral-read with leafy bamboo branches, the interior glazed white, the base inscribed with a sixcharacter Qianlong mark in underglaze blue (2) 11.3cm diameter each

£8,000-12,000

Provenance: Private London collection Note: closely comparable bowls in similar technique, design and with Qianlong mark could be found in the Palace Museum Beijing, the Nangjing Museum, the Hong Kong Museum of Art, and also in the Victoria & Albert Museum (no. 74A-1883, currently exhibited at The Curtain Foundation Gallery).

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

163 LEMON-YELLOW-GLAZED BOTTLE VASE LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初檸檬黃釉膽瓶

the bulbous body rising from a short straight foot to a slender neck, covered allover with lemon-yellow glaze, with a fitted wooden stand 15.2cm high Provenance: Private English collection, Isle of Wight

£200-300

164 BROWN-GLAZED ‘IMITATION BAMBOO’ PORCELAIN BRUSH POT QIANLONG MARK

乾隆款仿生弦紋竹節形筆筒

of cylindrical form, finely potted imitating a section of bamboo with ribbed sides and decorated to the exterior with bamboo sprays, the base inscribed with a four-character Qianlong mark in iron red 9.2cm high

£200-300

165 PALE GREEN GLAZE JAR QIANLONG MARK BUT 19TH CENTURY

乾隆款豆青釉小缸

finely potted with tapered globular body resting on a double countersunk base rising to a wide mouth, covered overall with an elegant matt pale green glaze, the base inscribed with an apocryphal Qianlong mark in underglaze blue 19cm diameter

£300-500

166 PALE-CELADON-GLAZED ‘CHRYSANTHEMUM’ PLATE QIANLONG MARK AND PERIOD

乾隆青釉暗刻菊瓣紋花口盤

the slightly concave surface engraved with a central flowerhead and concentric chrysanthemum petals leading to a lobed rim, the exterior similarly decorated with layers of petals, covered overall in a pale-celadon glaze, the base inscribed with a six-character Qianlong mark 17.8cm diameter Provenance: Formerly in a private East Sussex collection

£1,000-1,500

167 CARVED PORCELAIN LEMON-YELLOWGLAZED SQUARE BOX WITH COVER QING DYNASTY, 19TH CENTURY

清檸檬黃釉五龍搶珠雕瓷方形蓋盒

with canted corners, the slightly convex cover carved in relief with five four-clawed dragons chasing a pearl, the sides of the cover decorated with clouds and the sides of the box with swirling waves, the exterior covered in lemon-yellow glaze, the interior in turquoise 8.3cm wide Provenance: Private Taiwanese collection

£200-300

168 LEMON-YELLOW-GLAZED JARDINIÈRE GUANGXU MARK

光緒款檸檬黃釉暗刻如意紋斂口水仙盆 of compressed globular form, the lobed body supported on six ruyi-shaped feet, terminating to an inverted notched rim, the exterior carved with stylised ruyi and abstract tendrils to each side, the base inscribed with a six-character Guangxu mark in underglaze blue 25.5cm diameter

£400-600

169 PALE-CELADON-GLAZED ‘FLOWER’ PLATE QIANLONG MARK AND PERIOD

乾隆青釉暗刻花卉紋花口盤

the shallow rounded sides raised on a short foot and terminating to a wide splayed rim, the surface engraved with a central medallion and concentric waved decoration forming a large flower, the plate covered overall in a pale celadon glaze, the base inscribed with a six-character Qianlong mark 28.5cm diameter

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

170 TURQUOISE-GLAZED ‘DRAGON’ BOWL KANGXI MARK

康熙款孔雀藍釉暗刻龍紋碗

the deep round body rising from a short straight foot to a slightly flared rim, the sides carved with five-clawed dragons chasing flaming pearls above crashing waves, both the exterior and interior covered in a turquoise glaze, the base inscribed with a six-character Kangxi mark in underglaze blue 12.8cm diameter

£800-1,200

171 QINGBAI-GLAZED JAR 青白釉大罐

sturdily potted rising from a narrow foot to bulbous body and narrowed to a short straight neck, covered overall in white glaze with a hint of pale-bluish tone 23cm high

£200-300

172 TWO TURQUOISE-GLAZED BOTTLE VASES LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初孔雀藍釉膽瓶（兩件）

each of bulbous body, rising from a short straight foot to a slender neck, covered allover with a turquoise glaze, one glaze with crazing effect overall (2) 24cm high Provenance: Private English collection, Isle of Wight

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

173 BLUE-GLAZED BOWL QIANLONG MARK AND PERIOD

乾隆霽藍釉折腰碗

the deep rounded sides rising from a short foot to a flared rim, the exterior covered in rich blue glaze, the base inscribed with a six-character Qianlong mark in underglaze blue 14.5cm diameter

£500-700

174 BROWN-GLAZED ‘IMITATION WOOD’ PORCELAIN BASIN QING DYNASTY

清仿木紋釉盆

of squatted cylindrical form, the straight sides extended to a flared wide rim, the interior and exterior covered overall in a brown glaze with dark streaks in imitation of natural wooden textures, leaving the base unglazed 40.5cm diameter

£5,000-8,000

175 YELLOW GROUND GREEN DRAGON WATER POT DAOGUANG MARK AND PERIOD

道光黃地綠彩龍紋筆洗

rising from a short foot to a bulbous body, terminating to a gilded inverted rim, the exterior enamelled in green with a pair of sinuous five-clawed dragons chasing flaming pearls above a band of crashing waves, all reserved on a yellow ground, the base inscribed with a six-character Daoguang mark in underglaze blue 7.2cm diameter

£300-500

176 GREEN-GLAZED YELLOW-GROUND JAR JIAJING MARK BUT 20TH CENTURY

嘉靖款黃地綠彩福祿壽松竹梅罐

the bulbous body decorated in green glaze with three stylised characters fu (luck), lu (wealth) and shou (longevity), each against a design of bamboo, plum blossoms and pine tree pattern, the broad shoulder adorned with intricate ruyi head pattern, the short straight neck painted with clouds, all decoration reserved on a yellow ground, the base inscribed with a six-character Jiajing mark in underglaze blue 25.5cm high

£1,500-2,000

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

177 GREEN-GLAZED YELLOWGROUND ‘DRAGON’ STEM CUP QIANLONG MARK

乾隆款黃地綠彩雲龍壽字紋高足杯

the rounded sides finely painted with five-clawed dragons chasing flaming pearls amongst clouds, underneath a band of ruyi motif on the slightly everted rim, the interior decorated with a shou character within double circles, on an extended cylindrical everted foot with a band of plantain leaves, the decorations enamelled in green reserved on a yellow ground, inside the foot incised with a six-character Qianlong mark in underglaze blue 15cm diameter x 11.8 cm high

£3,000-5,000

178 BLUE AND WHITE BRUSH POT LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初青花福如東海紋筆筒

of cylindrical form, the sides painted with bats hovering around lingzhi fungus growing on top of the rugged rock, the scene in between the swirling ocean and cloudy sky 18cm diameter

£1,000-1,500

179 BLUE AND WHITE BALUSTER JAR AND COVER KANGXI MARK BUT 19TH CENTURY

康熙款青花人物紋將軍罐帶蓋

both the body and the cover painted with scholars and butterflies in a garden landscape, foliate and key-fret bands to the foot and neck, the base inscribed with a four-character Kangxi mark in underglaze blue 16cm high with lid

£300-500

180 BLUE AND WHITE BALUSTER VASE TRANSITIONAL STYLE

青花柳蔭高士紋橄欖瓶

rising from everted foot to a globular body, waisted neck and wide mouth, the body decorated with a scholar and his attendant fishing under a willow tree 20cm high

£600-800

181 GROUP OF THREE BLUE AND WHITE FIGURES 20TH CENTURY

二十世紀福建會館款青花人物擺件三件及青花團鶴紋蓋盒

each moulded in a standing position and dressed in Qing style official court robe decorated with dragons and clouds, including an elder with long beard holding an opium pipe, a moustached man with a ruyi sceptre and a young man holding a fan, each base stamped with a four-character ‘Fu Jian Hui Guan’ workshop mark; together with a BLUE AND WHITE CIRCULAR BOX WITH COVER, both the doom cover and box decorated with rounded crane patterns, with a wooden stand (4) largest figure: 27cm high; box: 13.5cm diameter Provenance: Private English collection

£200-300

182 BLUE AND WHITE ‘DRAGON’ BOTTLE VASE DAOGUANG MARK

道光款青花海水雲龍紋玉壺春瓶

of pear-shaped, the globular body painted with four five-clawed dragons and one coiling dragon across the slender neck amongst clouds, all above a band of crashing wave, a band of key-fret pattern around the foot rim, the base inscribed with a four-character Daoguang mark in underglaze blue 29.2cm high

£2,000-3,000

183 BLUE AND WHITE BALUSTER JAR MING STYLE

明式青花高士奕棋賞畫圖大罐

the body painted with scholars enjoying leisure activities in a garden setting, including appreciating paintings and playing chess, the tall splayed foot decorated with horses running above swirling waves, the shoulders adorned with cranes amongst clouds, the neck painted with flowers in cartouches reserved on a geometric ground 33cm high

£1,500-2,000

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

184 PAIR OF DOUCAI ‘BIRD AND FLOWER’ TEACUPS YONGZHENG MARK BUT LATER 雍正款鬥彩翠鳥梅花紋杯（兩件）

185 SMALL BLUE AND WHITE STEM CUP LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初青花山水紋高足杯

finely potted body rising from a tall splayed foot to a slightly flared rim, the sides of the cup painted with pine trees in mountainous landscape, the foot divided by a ridge and decorated with geometric patterns, with a wooden stand 8.1cm high

£300-500

186 TWO BLUE AND WHITE CUPS QING DYNASTY, 19TH CENTURY

清蒲堂福記款青花人物紋杯帶座（兩件）

each painted with figures around the exterior, the mouth mounted with metal rims, the base inscribed with a four-character ‘Pu Tang Fu Ji’ workshop mark in underglaze blue, with a wooden stand (2) 8cm diameter each Provenance: Private English collection

£300-500

each thinly potted with rounded sides, rising from a short foot to a flared rim, the exterior painted with kingfishers perching on plum tree branches with blossoming flowers, the decoration outlined in underglaze blue and enamelled with red, yellow and green colours, the base inscribed with a six-character Yongzheng mark (2) 4.5cm high

£300-500

187 BLUE AND WHITE ‘DRAGON’ WINE CUP KANGXI MARK AND PERIOD

康熙青花團龍紋杯

potted with deep rounded sides, rising from a straight foot to a flared mouth rim, finely painted with a five-clawed dragon to the interior, further dragons to the exterior, the base inscribed with a six-character Kangxi mark in double circles 9.2cm diameter

£4,000-6,000

188 PAIR OF BLUE AND WHITE WITH UNDERGLAZE RED JARDINIÈRE LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初青花釉裏紅捷報富貴花盆（兩件）

each of cylindrical form and terminating to an everted rim, the sides painted with butterflies hovering over red peonies (2) 19cm high each

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

189 BLUE AND WHITE ‘CRACKED ICE AND PRUNUS’ GINGER JAR QING DYNASTY, 19TH CENTURY

清青花冰梅紋罐帶木蓋

painted with flowering prunus branches against a cracked ice ground, the base inscribed with double circles, with a pierced hardwood cover 25cm high

£200-300

190 BLUE AND WHITE PILGRIM MOON FLASK MING STYLE

明式青花抱月瓶

elegantly potted with a flattened spherical body rising to a waisted neck and a pear-shaped upper bulb, set with two strap handles, the slightly convex body painted on both sides with a formal rosette centred by a yin-yang medallion within a ring of petal lappets, surrounded by a radiating eight-pointed starburst of alternating foliate and floral motifs, the upper bulb picked out with a narrow band of lotus flowers in tendrils 29.5cm high

£400-600

191 BLUE AND WHITE ‘DRAGON’ BALUSTER VASE LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初青花龍捧壽紋六方瓶

of hexagonal baluster form, rising from a slightly everted foot to a tapered body, broad shoulders, and narrow neck, each panel decorated with a five-clawed dragon catching a pearl inscribed with a shou longevity character, the foot decorated with bands of plantain leaves with mystical beast masks, key fret patterns, and dragons, the upper shoulders and neck decorated with bands of stylised ruyi 44cm high

£200-300

192 BLUE-GLAZED MEIPING VASE QIANLONG MARK

乾隆款霽藍釉梅瓶

the rounded body rising to a short neck and terminating to a flared rim, the exterior covered in a deep blue glaze, the base inscribed with a six-character Qianlong mark in underglaze blue 25cm high

£600-800

193 BLUE AND WHITE ‘DRAGON’ JAR WANLI MARK BUT LATER

萬曆款青花龍搶珠花紋罐

the broad shouldered body terminating to a short straight neck, the body painted with a five-clawed dragon chasing a flaming pearl in clouds, the shoulders and neck adorned with lotus petal and key fret bands, a leafy band to the foot, the base inscribed with a six-character Wanli mark in double circles in underglaze blue 13.5cm high

£200-300

194 BLUE AND WHITE JAR KANGXI MARK

康熙款青花花鳥紋罐帶木蓋

of globular form, the stepped neck rising to a short rim, the body painted with various birds, foliage and key fret bands, the base inscribed with a four-character Kangxi mark, with a wooden cover 26.5cm high Provenance: purchased from Dowells Auction Edinburgh on May 24th 1968

£400-600

195 BLUE AND WHITE JARDINIÈRE 青花番蓮紋盆

the bulbous body painted with lotus flowers and scrolling foliage, with a leafy band to the foot and ruyi head collar below lipped rim 24cm diameter

£200-300

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

196 UNDERGLAZE BLUE AND ENAMELLED ‘HERON AND LOTUS POND’ DEEP BOWL GUANGXU MARK BUT 20TH CENTURY

光緒款青花加彩鷺鷥蓮塘紋碗

the deep rounded sides rising from a short foot to slightly splayed rim, the exterior finely painted with a butterfly and heron in lotus pond, the interior adorned with a lotus pond in a double circles, remnant of gilding over a underglaze blue band underneath the rim and a large lotus leaf, blue bands to foot, the base inscribed with a six-character Guangxu mark in double circles 17.3cm diameter Provenance: Private English collection

£500-700

197 BLUE AND WHITE SLEEVE VASE QING DYNASTY, 19TH CENTURY

清青花山水人物紋筒瓶

of cylindrical form with a waisted neck and flared rim, the exterior painted with a hermit in a dramatic mountainous landscape setting, a band of plantain leaves adorned the everted rim 44.5cm high

£400-600

198 BLUE AND WHITE JAR QING DYNASTY, 18TH CENTURY

清青花歲寒三友紋罐

the ovoid body rising to a short neck, finely painted with pine, prune trees, and bamboo in a rocky landscape 21.8cm high

£3,000-5,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

198A DOUCAI ‘FLOWER’ DISH YONGZHENG MARK BUT 19TH-20TH CENTURY

雍正款鬥彩靈芝花卉紋碟

raised from a short foot to an everted rim, the exterior and medallion of the interior painted finely with rocks, flowers and lingzhi fungus, the base inscribed with a six-character Yongzheng mark in double circles in underglaze blue 21.8cm high

£800-1,200

199 LARGE BLUE AND WHITE ‘DRAGON’ BASIN JIAJING MARK BUT LATER

嘉靖款青花穿花龍紋缸

sturdily potted with cylindrical tapered body and lipped rim, the exterior decorated with two fiveclawed dragons flying through scrolling lotus, under the lipped rim inscribed with a six-character Jiajing mark in a rectangular frame in underglaze blue 47.5cm high x 48.5cm diameter

£2,000-3,000

200 PAIR OF BLUE AND WHITE TALL VASES KANGXI MARK BUT 19TH CENTURY

康熙款青花冰梅紋筒瓶（兩件）

each of cylindrical form with flared rim, painted with flowering prunus branches on ‘cracked-ice’ ground, the base with an apocryphal four-character Kangxi mark (2) 21.3cm high

£100-150

201 GROUP OF THREE BLUE AND WHITE PLATES LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初青花童子採花圖盤（一組三件） each plate decorated on the interior with a large four-petal flower, the central circle and each petal adorned with a boy holding a flower in dance, all reserved on a floral and swirling ground, the exterior adorned with three branches of flowers, the base inscribed with a two-character mark (3) 22.8 diameter each Provenance: Private Edinburgh collection

£150-200

202 DOUCAI VASE QIANLONG MARK BUT LATER

乾隆款鬥彩番蓮紋瓶

the globular body supported on a domed base, extended to a ribbed neck and flared mouth, the exterior enamelled with flowers and scrolling leaves, palmettes, key-fret and ruyi bands to the necks, the base inscribed with a six-character Qianlong mark 27cm high

£600-800

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

203 DOUCAI GARLIC HEAD VASE QIANLONG MARK BUT 19TH CENTURY

乾隆款鬥彩花卉紋蒜頭瓶

the globular body rising from a short foot and terminating to a garlic head mouth, the body decorated with flowers amongst branches, the slender neck enamelled with key-fret, ruyi band and lotus blossoms, the garlic head with further floral enamels underneath a key-fret band, the base inscribed with a six-character Qianlong mark in underglaze blue 20.7cm high Provenance: Formerly in a private English collection

£2,500-3,500

204 DOUCAI BRUSH POT LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初鬥彩人物紋筆筒

decorated with a continuous scene of narrative figures in a garden setting, all outlined with underglaze blue and filled in with various colours 15.5cm high

£1,500-2,000

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

205 FAMILLE ROSE WINE CUP QIANLONG MARK AND PERIOD

乾隆粉彩牡丹菊花杯

the rounded sides supported on a short foot, the exterior decorated with leafy chrysanthemum and peony flowers 9cm diameter

£20,000-30,000

206 FAMILLE ROSE ‘FLOWER’ VASE QING DYNASTY, 18TH-19TH CENTURY

清粉彩花卉紋撇口瓶

the slightly flaring body stepping to a slender neck and everted rim, enamelled throughout with different coloured flowers among scrolling vines and leaves, the base inscribed with double circles in underglaze blue 32.5cm high

£1,500-2,500

207 FAMILLE ROSE ‘BOYS AT PLAY’ BOTTLE VASE 20TH CENTURY

二十世紀慎德堂款粉彩嬰戲紋螭龍耳撇口瓶

painted around the globular body with five boys at play in garden, one lighting firecrackers whilst two companions cover their ears, the remaining two boys playing hide-and-seek, the waisted neck painted with lotus sprays flanked by a pair of stylised dragon handles, the interior and base covered in turquoise glaze, the base inscribed with a four-character ‘Shen De Tang Zhi’ mark in iron red 31cm high

£4,000-6,000

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

208 FAMILLE ROSE FIGURE OF A FISHERMAN REPUBLIC PERIOD, 20TH CENTURY

民國粉彩漁翁擺件

in walking position, carrying a large red fish over his left shoulder, his face slightly turned red due to the effort, the face delicately painted with eyebrows, mustache and red lips, wearing a long robe painted in creamy yellow colour with ink floral pattern 27cm high Provenance: Private London collection, in the family since the early 20th century

£200-300

209 FAMILLE ROSE ‘GUO ZIYI’S BANQUET’ JAR YONGZHENG PERIOD 雍正粉彩郭子儀拜壽紋將軍罐

the tapering bulbous body rising from a slightly spreading foot to a straight short neck, the body enamelled with a scene of the birthday reception for General Guo Ziyi, converted to a lamp, fitted on a heavily cast gilt-bronze filigree stand and mounted with lamp appliances 35cm high (without stand) Provenance: Private Scottish collection

£600-800

210 FAMILLE ROSE VASE QING DYNASTY, 19TH CENTURY

清粉彩人物故事紋雙耳盤口瓶

the cylindrical body decorated with narrative figures in two panels separated by flowers, the shoulder and the waisted neck adorned with blossoming chrysanthemums and a band of ruyi motif, flanked by a pair of sinuous chi dragons as handles 44cm high Provenance: Private English collection, Isle of Wight

£200-300

211 FAMILLE ROSE PUNCH BOWL QING DYNASTY, 18TH CENTURY

清粉彩開光描金人物紋大酒碗

finely enamelled to the exterior with a gambling scene to one side, and the other side with officers visiting brothel in cartouches, all reserved on a gilt decorated ground, the interior decorated with a breastfeeding mother with her playful children in the centre, with gilded fleur-de-lis borders adorned the inner rim and the foot 38cm diameter Provenance: Private Scottish collection

£600-800

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

212 FAMILLE ROSE ‘BOYS AT PLAY’ BOX AND COVER QING DYNASTY, 19TH CENTURY

清九畹山房款粉藍地粉彩嬰戲紋蓋盒

the top of the cover decorated with boys at play, including a boy riding a toy horse in a medallion with gilt circle, the rest of the exterior painted with floral scrolls reserved on a turquoise ground, the base inscribed with a four-character ‘Jiu Wan Shan Fan’ studio’s mark in iron red 8.5cm diameter

£300-500

213 FAMILLE ROSE FIGURE OF BUDDHA 粉彩描金坐佛

the Buddha wears a yellow-enamelled dhoti draped naturally over his knees, a mint-enamelled crescent-shawl covering his shoulders with ribbons tied loosely against his abdomen, decorated with auspicious clouds and five bats, the body covered with gilding, his hair in blue with high chignon, seated in dhyanasana, hands in dhyana mudra, his eyes downcast in a graceful expression 11cm high

£300-500

214 FAMILLE ROSE BRUSH POT TONGZHI MARK

同治款粉彩人物紋筆筒

the cylindrical sides painted with a lady and Fu Dog lion, the base stamped with a six-character Tongzhi mark 11.8cm high

£100-150

215 FAMILLE ROSE ‘DRAGON AND PHOENIX’ BOWL QIANLONG MARK

乾隆款粉彩穿花龍鳳紋碗

rising from a short foot to rounded sides and a flared rim, the interior painted with a central five-clawed dragon in medallion, further dragons and a phoenix to the exterior amongst scrolling foliage, all enamelled in famille rose palette, the base inscribed with a six character Qianlong mark 15.8cm diameter

£500-800

100

216 FAMILLE ROSE ‘PEACH BLOSSOM’ PORCELAIN PLAQUE LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初粉彩花卉紋瓷版畫

of rectangular form, enamelled with peach blossoms amongst branches and leaves, with poetry to the top right 13.5cm x 6.2cm

£200-300

217 FAMILLE VERTE TEAPOT LATE QING DYNASTYREPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初綠彩花鳥紋茶壺

the globular body decorated throughout with birds perching on trees branched with peach flowers and fruits, the spout, looped handle and lid adorned with floral foliage 14.5cm wide

£200-300

218 FAMILLE VERTE ‘DRAGON’ DISH KANGXI MARK BUT LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

康熙款綠彩龍紋盤

the shallow body potted on a short foot rising to a straight rim, a green five-clawed dragon chasing a flaming pearl painted in blue double circles, the exterior adorned two green dragons chasing flaming pearls in between two blue double circles, the base incised with a six-character Kangxi mark in underglaze blue 19.5cm diameter

£400-600

101

219 WUCAI JAR QING DYNASTY, 17TH CENTURY

清五彩麒麟送子紋罐

the broad-shouldered body decorated with an officer holding a ruyi sceptre and riding on a mythical beast qilin, followed by attendants with flags walking along a village setting, the straight neck adorned with red flowers on leafy foliage 29.2cm high Provenance: Private UK collection; old label on the base

£2,500-3,500

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

102

220 FAMILLE ROSE ‘PHOENIX’ PLATE LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初黃地粉彩有鳳來儀紋盤 the centre painted with a large phoenix surrounded by peonies and magpies against a yellow ground, creating a sharp visual contrast to the blue enamelled rim decorated with magpies amongst leafy tendrils and pink flowers 24.5cm diameter

£200-300

221 GRISAILLE-DECORATED YELLOW-GROUND ‘DRAGON’ VASE QING DYNASTY, 19TH CENTURY

清黃地墨彩穿花龍紋獸耳瓶

the ovoid body rising to a waisted neck and terminating to a flared rim, the exterior decorated with two four-clawed dragons in red and brown colour amongst flowers and leaves, the scales of their sinuous highlighted with gilding, a pair of mythical beast masks flanked the shoulders 47cm high Note: the base bearing two rectangular label ‘Robt. Bone. Antique Dealer. Whitley Bay.’

£600-800

222 FAMILLE ROSE PORCELAIN INSET HARDWOOD TABLE SCREEN REPUBLIC PERIOD, 20TH CENTURY

民國硬木嵌粉彩人物紋瓷板摺曡式桌屏

the central panel painted with a long-beard official seated on a tiger-skin covered chair, reading with a flaming candle underneath a pleated curtain, the side panels each painted with a figure facing inward, one with a sword hanging from his waist, the other holding a Guandao weapon, the porcelain panels inset within hardwood frames with two extended legs, both side panels foldable to cover the main part 47.5cm wide x 42cm high

£300-500

103

223 GROUP OF THREE FAMILLE ROSE PLATES QIANLONG PERIOD

乾隆粉彩花卉及人物紋盤（一組三件）

comprising: one plate with flowers and stylised rocks decorated in medallion, a band of fleurde-lis near the rim; one plate with peonies and prunus blossoms in medallion, a band of scrolling lotus in cartouches to the cavetto; and one plate painted with a scene from Romance of the Western Chamber with a male figure climbing over a wall to meet a female figure in a scrollshaped cartouche (3) largest: 23.5cm diameter Provenance: Private English collection, Isle of Wight

£150-250

224 GROUP OF NINE FAMILLE ROSE MILLEFLEUR PLATES QIANLONG MARK BUT 19TH CENTURY

乾隆款墨地粉彩百花不落地盤（一組九件）

each painted with various flowers and leaves to the interior, all reserved on a black enamelled ground decorated with gilding, the base with a six-character Qianlong mark in iron red (9) largest: 24cm Provenance: Private Scottish collection

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

104

225 GROUP OF THREE FAMILLE ROSE TEAPOTS REPUBLIC PERIOD, 20TH CENTURY

民國粉彩瓷壺（一組三件）

comprising: one tall tea pot of pear-shaped, painted bees hovering above peach blossoms, inscribed with ‘Year of 1984, painted by Hu Xian Ya’ on one side, the base inscribed with a four-character ‘Tao Ci Xue Yuan’ mark in ink black, 21.7cm high; one squatted tea pot, decorated with peonies and a poetry on the sides, 13cm high; and one globular form teapot, painted with butterflies, yellow chrysanthemums and poetry, 13cm high, the latter two each inscribed with a four-character ‘Jing De Zhen Zhi’ mark in iron red on the base (3) largest: 21.7cm high

£200-300

226 GROUP OF SEVEN QIANJIANGENAMELLED PORCELAIN VESSELS 淺絳彩瓷器組（一組七件）

comprising: one teapot, the base stamped with a two-character seal in red, 18cm high; two sets of lidded mugs, the base bears a six-character ‘Zhong Guo Jing De Zhen Zhi’ mark in double squares in red, each 14.3cm high; one lobed saucer of concave surface supported on a domed stem foot, 5.7 cm high; one small stepped side dish, the base inscribed with a threecharacter ‘Yuan Shi Shan’ mark in a square in red, 15cm diameter; one vase with tapered body terminating to a disc-like mouth with an inverted rim, the base inscribed with a two-character ‘Yun Shan’ mark in red, 17.1cm high; all six vessels painted with a mountainous landscape and inscribed with poetry on the sides; and one small bottle vase of bulbous body and flared rim, the sides painted with bamboo forest on a rocky ground,12.5cm high (7) largest: 18cm high

£200-300

227 LARGE FAMILLE ROSE ‘MAGPIE AND PRUNUS’ BOTTLE VASE QIANLONG MARK BUT LATER

乾隆款粉彩喜鵲登梅天球瓶

the globular body rising to a cylindrical neck, the sides finely painted with magpies amongst blossoming prunus branches with gnarled details, with lingzhi fungus growing from the ground, the base inscribed with a six-character Qianlong mark in red 46cm high

£200-300

228 PAIR OF FAMILLE ROSE BALUSTER VASES 20TH CENTURY

二十世紀粉彩人物紋瓶（兩件）

each enamelled in mirrored image with figures in a pavilion adjacent to a lake with a couple boating and collecting lotus flowers, the extended waisted neck decorated with hehe twins each holding a stem of lotus and a woven box (2) 44.5cm high Provenance: Private Paris collection

£600-800

105

229 LARGE FAMILLE ROSE ‘PEACH’ BALUSTER VASE QIANLONG MARK BUT 20TH CENTURY

乾隆款粉彩壽桃紋撇口大瓶

the body delicately painted with intertwining branches bearing clusters of ripe, luscious peaches among delicate pink blossoms and green leaves, the base inscribed with an apocryphal six-character Qianlong mark 76cm high

£800-1,200

230 PAIR OF FAMILLE ROSE GARDEN SEATS LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初粉彩花鳥紋绣墩

each heavily potted, one painted with phoenix and other birds in a rocky landscape in one cartouche, the other adorned a pheasant on a rocky palladium, intermittent twin-coin pattern in openwork surrounded by auspicious ribboned motifs, all reserved on a pink ground, the borders decorated with scrolling foliate and raised bosses (2) 48.5cm high Provenance: Private Scottish collection

£600-800

231 PAIR OF FAMILLE ROSE YELLOW GROUND ROULEAU VASES QING DYNASTY, 19TH CENTURY

清黃地粉彩故事人物紋棒槌瓶（一對）

each of cylindrical form, the slightly tapered body raised to a waisted straight neck, opened up to a dish-like mouth, the body finely painted with official court scenes, the neck painted with scrolling flowers in between bands of strips and stylised leaves, all reserved on a bright yellow ground (2) 45.2cm high Provenance: Private Scottish collection, acquired from Bonhams Edinburgh, 8 July 2015, Lot 208

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

106

232 PAIR OF FAMILLE ROSE YELLOW-GROUND ‘BOYS AT PLAY’ CUPS LATE QING DYNASTY-REPUBLIC PERIOD, 19TH20TH CENTURY

清末民初吉祥如意款黃地粉彩百子圖杯（兩件）

233 PAIR OF FAMILLE ROSE ROOSTERS QING DYNASTY, 19TH CENTURY

清粉彩雄鷄擺件（兩件）

in mirrored position, each modelled standing on a green rocky base, painted in pink to the body, and with colourful feathers in green, blue, yellow, and red enamels, with each tail in black and white strips (2) tallest: 15.7cm high Provenance: Private English collection, Isle of Wight

£200-300

234 PAIR OF FAMILLE ROSE CUPS AND SAUCERS YONGZHENG PERIOD 雍正粉彩描金花鳥紋杯盤（兩組四件）

each finely potted and decorated overglaze in coloured enamels, grisaille and gilding, the interior of the cup and the centre of the saucer painted with a bird perching on a rock, the exterior of the cup and the inner band of the saucer adorned with various flowers in cartouches (4) cup: 7.5cm diameter; saucer: 11cm diameter Note: a set of closely comparable saucer and cup is in the collection of V&A, museum number: C.1432&A-1910

£1,000-1,500

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

each potted with deep rounded body rising from a short foot to a gradual flared sides, the exterior painted with clustered boys at play, all reserved on a yellow ground, the base inscribed with a fourcharacter ‘Ji Xiang Ru Yi’ mark in iron red (2) 6.8cm each

£200-300

107

235 PAIR OF FAMILLE ROSE SQUARE-SECTIONED BALUSTER VASES GUANGXU MARK BUT REPUBLIC PERIOD, EARLY 20TH CENTURY

光緒款粉彩花鳥紋獸耳透雕方瓶帶木座（兩件）

the body decorated with flowers and birds in shield-shaped cartouches surrounded by a flower-head band in openwork, the neck adorned with square panels and flanked by a pair of mythical beasts as handles, inscribed with an apocryphal six-character Guangxu mark in iron red, with a carved wooden stand on different levels (2) 58cm high each

£6,000-8,000

108

236 PAIR OF QIANJIANG-ENAMELLED AND INSCRIBED PLATES 景德鎮底款程英書款淺絳彩山水人物紋盤（兩件）

in mirrored design, each painted with small sampan with boatman and passenger sailing on the river in a mountainous landscape, one plate signed ‘Cheng Yi’, the base bears a four-character ‘Jing De Zhen Zhi’ mark in red (2) 23cm diameter

£200-300

237 QIANJIANG ENAMELLED AND INSCRIBED BOTTLE VASE REPUBLIC PERIOD, 20TH CENTURY

民國伯濤書款南昌程興盛裝底款淺絳彩花鳥紋膽瓶

the bulbous body supported on a short foot, the neck extended to a disc-like mouth and terminating to an inverted rim, the sides painted with a bird perching on tree branches with blossoming chrysanthemums, inscribed with a poetry, signed ‘Bo Tao’, the base inscribed with a six-character ‘Nan Chang Cheng Xing Cheng Zhuang’ workshop’s mark in iron red 20.1cm high

£200-300

238 SET OF NINE FAMILLE ROSE ‘QUAN’ SWEETMEAT DISHES LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初粉彩花卉山水紋攢盤（一組九件） comprising a hexagonal dish painted with chrysanthemum reserved on a yellow ground in the centre, surrounding by eight pointed petal-shaped dishes, each adorned with blossoming flowers or landscape in cartouche and reserved on different coloured ground (9) 27cm wide overall; largest: 10.7cm wide

£300-500

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

109

239 QIANJIANG ENAMELLED AND INSCRIBED CIRCULAR BOX AND COVER REPUBLIC PERIOD, 20TH CENTURY

民國景鎮華新公司底款淺絳彩蘆葦蚱蜢圖蓋盒

the domed cover finely enamelled with a grasshopper perching on a reed, signed ‘Li Ming Liang’, the base stamped with a six-character ‘Jing De Hua Xin Gong Si’ workshop’s mark in red 6.5 diameter

£200-300

240 SMALL FAMILLE VERTE BOTTLE VASE QING DYNASTY, LATE 18TH-19TH CENTURY

清綠彩花卉紋小瓶

the bulbous body and long neck fully decorated with small flower blossoms on light apple-green enamel ground, the flared rim painted with geometric square pattern in green and yellow 13.6cm high

£300-500

241 GROUP OF TWO PORCELAIN CRICKET BOXES TONGZHI MARK AND OF PERIOD

同治款藍地龍紋及橘地花鳥紋蛐蛐盒（一組兩件）

comprising: one ovoid box decorated with birds perching on flower branches reserved on an orange ground; the other dragon-decorated box on a blue ground, both with recessed lids decorated with a pair of coin-shaped patterns in openwork, each base stamped with a six-character Tongzhi mark in double squares in red (2) 13cm and 11.5cm long Provenance: Private English collection

£500-800

242 PAIR OF GREEN-GLAZED PARROTS KANGXI PERIOD

康熙綠彩鸚鵡擺件

in mirrored position, each modelled perching on an aubergineand yellow-glazed rocky base in openwork, the bird enamelled with different shades of green with creamy yellow beak, outlined in black for feathers in various textures (2) tallest: 21cm high Provenance: Private English collection, Isle of Wight

£400-600

110

243 QIANJIANG ENAMELLED ‘BIRD AND FLOWERS’ HEXAGONAL TWO-PART WINE WARMING POT TONGZHI MARK BUT LATER

同治底印鍾山作款粉彩花鳥紋六角形溫酒套壺

the outer porcelain insulator raised on six bracket-shaped feet, three exterior panels decorated a bird perching on a tree trunk with chrysanthemums, the three remaining panels inscribed with inscriptions ending with ‘Zhong Shang Zhou’, the cylindrical footed wine pot delicately painted with blossoming flowers, the shoulders adorned with bamboo leaves in iron red and the top with a ‘fou’ character meaning ‘luck’ in black, the shoulders, spout and top of the teapot with gilt rim; the outer insulator with gilt rim, both fitted with two wire handles, each base stamped with a four-character Tongzhi mark in iron red, with a wooden stand 13cm high Provenance: Private English collection

£300-500

244 SMALL FAMILLE ROSE MILK JUG AND COVER QING DYNASTY, 18TH CENTURY

清粉彩描金開光人物紋奶壺帶蓋

245 QIANJIANG ENAMELLED AND INSCRIBED PORCELAIN FAN-SHAPED PLAQUE 張雲款淺絳彩杏林春宴扇形瓷版畫

the bulbous body decorated with seated officers on an orange mat laying against rocks by a scenic lake, the design sets in a circular cartouche adorned with gilded flowers and foliate scrolls, the domed lid painted with birds and flowers in foliate cartouches, the rims, the looped handle and the finial covered in gilding 11.5cm high

£600-800

depicting a pair of swallow perching on plum trees with red blossoms, with inscription on the left, signed ‘Zhang Yun’ 25cm wide

£200-300

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

111

246 YELLOW-GLAZED ‘DRAGON’ DEEP BOWL KANGXI MARK

康熙款黃釉五爪團龍紋碗

the interior incised with a five-clawed dragon chasing a flaming pearl in medallion, the exterior similar decorated with four medallions intermittent with clouds, the base inscribed with six-character Kangxi mark in double circles 13.4cm diameter

£1,000-1,500

247 TWO FAMILLE ROSE WINE CUPS QIANLONG MARK BUT 19TH CENTURY

乾隆款粉彩木槿粉菊紋杯（兩件）

each finely potted with rounded sides, supported on a short foot, the exterior decorated with leafy pink chrysanthemum and orange hibiscus grown beside rocks, the interior adorned with chrysanthemums on branches, the base inscribed with a six-character Qianlong mark in red (2) 7.5cm diameter

£500-700

248 WUCAI BALUSTER JAR AND COVER QING DYNASTY, 19TH CENTURY

清五彩蝶戀花紋將軍蓋罐

painted with leafy branches bearing large peony flowers issuing from rockwork, reserved on a scale-pattern ground, the cover decorated en suite with chrysanthemums amongst pierced rocks 38cm high Provenance: Private English collection, acquired from Phillips Oxford, 28 th November 1991

£800-1,200

112

249 BISCUIT SANCAI-GLAZED FIGURE OF SEATED GUANYIN QING DYNASTY, KANGXI PERIOD

清素三彩觀音坐像

seated in royal ease pose, holding a ruyi sceptre rests against left arm, costume covered with sancai glaze in aubergine, green and yellow colours, flesh in cream glaze, with a square wooden stand 21cm high

£200-300

250 TWO YIXING STONEWARE TEAPOTS 20TH CENTURY

二十世紀荊溪南孟臣製款反溪款宜興紫砂茶壺（兩隻）

each with a slightly squatted bulbous body, set with a short straight spout and a looped handle, the lid topped with a spherical finial, the stoneware in rich brown colour, the base stamped with a six-character ‘Jing Xi Nan Meng Chen Zhi’ seal mark (2) 10.5cm wide each

£300-500

251 FOUR QIANJIANG ENAMELLED ‘LANDSCAPE’ PORCELAIN PLAQUES REPUBLIC PERIOD, 20TH CENTURY

民國淺絳彩山水紋瓷版畫（兩幅四片）

each depicting a scholar crossing a bridge in a mountainous waterside landscape, mounted on a wooden frame with green velvet ground (4) 20cm x 13cm each plaque Provenance: Private London collection, in the family since the early 20th century; one frame with hand writing on the back “these are special brought back from China 1930 by Noonaa & Nunc”

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

113

252 FLAMBE-GLAZED SHIWAN POTTERY FIGURE OF A MONK LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初鈞釉石湾窯僧人擺件

naturalistically moulded in standing position, his right hand holding a crutch with a gourd tied on the top, his head slightly raised with bright and piercing gaze towards the sky, the face well-defined with prominent nose, firm lips and wrinkled cheeks, wearing a long robe covered in bluish glaze with glossy reflection 23.5cm high Provenance: Private London collection, in the family since the early 20th century

£300-500

253 YIXING STONEWARE BLUEENAMELLED TEAPOT QING DYNASTY, 19TH CENTURY

清宜興紫砂藍釉加彩花卉紋茶壺 of cylindrical body, covered overall in dark blue enamel, the sides and the cover decorated with blossoming chrysanthemums and orchids, with a wooden stand 15cm wide Provenance: Private English collection

£250-350

254 CONJOINED YIXING STONEWARE ‘SCROLL’ TEAPOT LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初馬正英款紫砂書卷式茶壺

conjoined of two cylindrical form as a book scroll tied by a braided string, the sides engraved with inscriptions from two poems, the spout and the handled carved in imitating bamboo sections, the base stamped with a threecharacter ‘Ma Zheng Yin’ maker’s mark 15cm wide

£200-300

255 THREE FAMILLE ROSE ‘CHINESE MEN’ PORCELAIN PLAQUES REPUBLIC PERIOD, 20TH CENTURY

民國粉彩人物紋瓷版畫（一幅三片）

respectively painted with a literati holding a book, an elder carrying an abacus and umbrella, and a bearded farmer carrying a hoe on his left shoulder, three porcelain plaques mounted together on a wooden frame with green velvet ground (3) 20.cm x 13cm each plaque Provenance: Private London collection, in the family since the early 20th century

£400-600

114

256 YIXING STONEWARE TRIPOD CENSER 20TH CENTURY

二十世紀宜興紫砂三足小香爐

finely potted of compressed bronze form with a pair of flared looped handles on the mouth rim, supported on three conical feet, the underside impressed with a six-character apocryphal Xuande mark in a recessed rectangular panel 8.5cm diameter

257

£150-250

YIXING STONEWARE OF TWO ‘FU DOGS’ 20TH CENTURY

二十世紀紫砂’時來運轉’雙獅戲球擺件

finely carved with two fu dogs playing with a brocade ball, one in recumbent position has its left eye half closed and left front paw raised, the other fu dog standing behind and holding a turnable ball with its two front paws, its mouth widely opened with joy 15.1cm high Provenance: Private English collection

£300-500

258 YIXING STONEWARE VTEA CANISTER 20TH CENTURY

二十世紀王南林製款宜興紫砂茶葉罐連蓋

the oval body rising to round shoulders, terminating to an upright neck, topped with a cylindrical cover, the base stamped with a four-character ‘Wang Nan Lin Zhi’ maker’s mark 16cm high

£500-700

259 YIXING STONEWARE TEAPOT WITH THREE CUPS LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初宜興紫砂梅花紋茶壺（含杯三件）

the tea pot of globular form, the rim and the finial of the cover decorated with tree trunk sections, the sides of the teapot and each cup incised with plum blossoms on branches (4) teapot: 21cm wide; cup: 4.5cm diameter

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

Provenance: Private English collection

£300-500

115

JAPANESE WORKS OF ART

116

261 FINE JAPANESE FULLY ARTICULATED BOXWOOD DRAGON OKIMONO MEIJI PERIOD

明治木製龍置物

displaying a fine level of detail, a slender segmented body with dorsal spines, sinuous legs and long claws, fearsome visage with independent jaw, the eyes inlaid with horn 61cm long

£3,000-4,000

117

260 KATANA EARLY-MID 20TH CENTURY

二十世紀関住石原兼直作款武士刀

fully bound sharkskin tsuka, fuchi engraved with floral motifs and copper tsuba, single copper habaki, in its red leather saya with red and yellow cord tassel, steel blade, the tang signed ‘Seki Ju Ishihara Kanenao Saku’ £500-700

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

118

262 TWO JAPANESE BRONZE WARES EARLY 20TH CENTURY

二十世紀琢齋款銅鑄獸耳瓶及四足香爐（兩件）

comprising: a vase with globular body raising to a tapered cylindrical long neck, two mythical beast masks flanked the sides to form handles with a carved band, signed ‘Takusai’ to the base; a circular censer raised and supported by four legs formed of crashing waves, signed possibly by maker ‘Kenka’ (2) vase: 20cm high; censer: 13.8cm diameter

£300-500

263 JAPANESE BAMBOO JIZAI-KAGI HEARTH TETSUBIN HOLDER MEIJI PERIOD

明治竹製自在鉤

the hollow bamboo support fixed with a loop handle and a further wedge shaped support, with the accompanying hardwood pole and hook 99.5cm long Provenance: Private Scottish collection

£300-500

264 PAIR OF JAPANESE BRONZE ‘DRAGON’ VASES MEIJI PERIOD

明治銅鑄龍紋瓶（兩件）

each raised from a circular foot, the body with six raised panels showing various scenes in low relief including flowering plants and birds amidst branches, rising to a tall slender neck and subtly flaring rim, each with encircling dragon (2) 46.7cm high each

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

119

265 FOUR JAPANESE INLAID BRONZE MEDALLIONS MEIJI PERIOD

明治銅細工鎏金徽章（一幅四件）

comprising: one circular bronze roundel inlaid with gold and copper depicting a mother and child walking together through a garden, with toadstools and foliage in the background; one square medallion inlaid with gold and copper depicting a fan and mirror; one circular bronze roundel inlaid with gold and copper depicting a frog pulling a rickshaw with a smaller amphibian running behind, with hills in the background, possibly referencing a Kawanabe Kyōsai work; one square medallion inlaid with gold and copper depicting a kite perched upon a rock with a raised snake below (4) largest: 2.8cm diameter; frame 14cm x 14cm

266 FOUR JAPANESE PIECES OF JEWELLERY 20TH CENTURY

二十世紀胸針及圓蓋盒（一組四件）

comprising: one silver compact box with hinged lid, decorated in enamel with a view looking across a body of water towards Mount Fuji, a pagoda in the foreground; one bronze and enamel butterfly brooch; one disk brooch with painted decoration of a bridge leading to four houses across a lake; and one scalloped brooch with painted decoration of a temple and lake scene, with Mount Fuji and a pagoda in the background (4) largest: 7.8cm diameter

£400-600

£100-150

267 GROUP OF SEVEN JAPANESE SILVER ‘FUKUJIN DEITIES’ OKIMONO EARLY 20TH CENTURY

二十世紀初純銀款七福神像置物

comprising: a large silver figure shown striding forward with a jovial demeanour, the broad folds of his garment tied at the waist, he holds an open fan in his right hand; a small silver figure of Ebisu; a silver figure of Daikokuten; a silver figure of Benzaiten; a silver figure of Jurōjin; a silver figure of Hotei; a silver figure of Bishamonten, each base marked ‘Jungin’ (pure silver) (7) largest: 17cm high, total weight 1024g

£300-500

120

268 Y JAPANESE IVORY ‘THRESHING SCENE’ OKIMONO MEIJI PERIOD

明治象牙雕婦童打穀置物

depicting a traditional rice threshing scene, the female figure feeding the freshly cut plants into a Senbakoki whilst the child kneels below her, holding a woven basket containing the crop, a bird perches on the side hoping to steal away a small share 15.4cm high

£800-1,200

269 Y JAPANESE IVORY ‘STREET VENDOR’ OKIMONO MEIJI PERIOD

明治如石款象牙雕貨郎置物

carved on an integral plinth, shown wearing waraji straw sandals and a traditional loose fitting garment with etched decoration, with an expressive demeanour and inked detailing to the eyes and hair, he carries a large number of woven baskets and drums attached via a long bamboo pole slung across his right shoulder, a number of the drums with inlaid with lacquer, the base signed ‘Ryuseki’ 19cm high

£1,500-2,500

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

121

270 JAPANESE KOMAI INLAID IRON BOX AND COVER MEIJI PERIOD

明治錯金方形蓋盒

271 JAPANESE SILVER AND ENAMEL VASE MEIJI PERIOD

明治銀製琺瑯鏨萬錦瓶

of tapering form rising to a fluted rim, with applied trailing floral decoration and enamel highlights

of square shape, supported on four short feet, the hinged cover decorated in gold nunome-zogan with a temple amidst trees and mountains in the background, the base signed with an image of Mount Fuji which stands for the Komai Company 4.5m wide

£300-500

16.5cm high Provenance: Private English collection

£800-1,200

272 FINE JAPANESE KOMAI INLAID IRON CIRCULAR BOX AND COVER MEIJI PERIOD

明治日本国京都住駒井製款錯金圓蓋盒

of circular form, sitting on a flat base with a hinged cover, the exterior fully decorated in gold nunome-zogan with blossoming peony, chrysanthemum and lotus flowers, the undecorated base signed in gold nunome-zogan with ‘Nippon koku Kyoto ju Komai sei’ (made by Komai from Kyoto, Japan) mark within double squares beneath a dragonfly, further adorned with three flower heads scattered around 6cm diameter

£2,500-3,500

122

273 ANCIENT JAPANESE HANIWA EARTHENWARE FIGURE KOFUN PERIOD, 5TH - 6TH CENTURY

古墳時代埴輪土製人偶像

formed of low fired red earthenware, depicting a young lady holding a water jug atop her head, she wears a necklace, with triangular nose and oval perforations for the eyes and mouth, raised on a bespoke wooden mount 34cm high, 47.5cm high with stand Provenance: Found at Shogun-Tsuka, near Haniu village, Gunma Prefecture. Private collection, United States, acquired at Mathias Komor Gallery, New York, March 31, 1962 Published: Matsubara, M. 2004. Haniwa. Pacific Press Service. Plate 68 Exhibited: Lytton Center, ‘Collectors Choice’, Los Angeles, April 1964 Otis Art Institute, ‘Taste of Angeles’, Los Angeles, March - May 1968

£4,000-6,000

HANIWA (literally “clay cylinder” in Japanese) are hollow earthenware figures that were used to mark the tops of large tomb mounds known as kofun. Created during the Kofun Period (3rd – 6th centuries AD), they date to a preliterate era in Japanese history and are thus a critical visual library of daily life. The very earliest haniwa were produced in the 250’s and were simple cylinders used as boundary markers. By the 450’s however, figures began to be added to the upper section of these cylinders. These forms often depicted architectural models, miko (female ritual specialists who served the shrines), various animals (most commonly horses) and soldiers, most notably a magnificent example excavated in Ōta, Gunma Prefecture and now residing in the National Museum Tokyo. Of stylised form, these figural haniwa possess a distinct, haunting appearance. With a minimalist face consisting of simple cut out eyes and mouth, there is little attempt to portray a sense of realism in the shape of the body. This simplicity is undoubtedly part of their visual power, which imposes itself forcefully upon the viewer. Though the earlier cylinder haniwa are accepted as having been used as boundary markers, there is considerable debate as to the function of the later figural examples. The preponderance of soldiers and miko could suggest that their function was primarily defensive, to protect the deceased from supernatural beings. Another theory contends that they were used as a demonstration of the wealth and sophistication of the interned, with the range of figures and animals perhaps intended to serve in the afterlife. The present example was uncovered near Haniu village, Gunma Prefecture, a leading regional centre for the production of haniwa. Stylistically a similar example can be found at The British Museum (accession number Franks.2210). Yet the depiction, that of a girl holding a water jug atop her head, is an unusual one, with the vast majority of female forms depicting miko. She is also missing the flat shelflike headdress most often associated with the ritual specialists, once again pointing to the more prosaic yet rare attribution of a worker or servant.

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

123

124

274 Y JAPANESE TORTOISESHELL BRISÉ FAN MEIJI PERIOD

明治玳瑁金漆山水屋舍紋扇

linked with silk, decorated in gold paint on both sides with a central hut surrounded by forests and a lake with a fully rigged sailing ship, with mountains in the distance, above a goose flies through the clouds, the guard with a dragon, chrysanthemum spray and bird in flight 47cm wide Provenance: Private London collection

£800-1,200

275

JAPANESE PAPER AND IVORY FAN MEIJI PERIOD

明治象牙描金紙摺扇

double-paper leaf with bamboo sticks and ivory guards, each side painted in ink, one showing ripening blueberries amongst flowers, the reverse depicting a crane fishing in a reed bed with a songbird above, the ivory guards decorated in gold paint with flowering branch and bird 40cm wide Provenance: Private London collection

£300-500

276 Y JAPANESE PAPER AND IVORY FAN MEIJI PERIOD

明治應真款象牙描金紙摺扇

double-paper leaf with gilt borders, bamboo sticks and ivory guards, each side painted in ink, one side depicting a garden scene of blossoming flowers with cherry tree branch and signed ‘Ō Shin’, the reverse with tall grass billowing in the wind, the guards adorned in gold paint with plant pots 47cm wide Provenance: Private London collection

£400-600

277 SHIBIYAMA TWO PANEL SCREEN MEIJI PERIOD

明治芝山鑲嵌對屏

two fold screen, each with red lacquer inset and carved wood frame, the central panels inlaid with ivory and mother of pearl depicting birds amongst foliate branches 93cm high x 89.3cm wide

£200-300

125

278 Y JAPANESE IVORY OKIMONO OF A SWEEPER AND SON MEIJI PERIOD

明治寶一款象牙雕掃地父子置物

carved on a integral plinth, the adult figure shown wearing straw sandals and a loose fitting garment tied at the waist, holding a simple broom in his right hand, with the small child balanced on his shoulders he leans slightly forwards, the boy shown with a mischievous expression, reaching out to touch his fathers head, the base signed ‘Hoichi’ 17cm high

£500-800

279 Y FINE JAPANESE IVORY ‘CORN COB’ OKIMONO MEIJI PERIOD

明治象牙雕玉蜀黍置物

naturalistically depicting the full cob including stem, with silken detail on the overlap between the thin layer of husk and the corn, raised on a bespoke metal stand 26.6cm high

£1,800-2,200

280 Y JAPANESE IVORY ‘STREET VENDOR’ OKIMONO MEIJI PERIOD

明治利正款象牙雕貨郎置物

carved on an integral plinth, shown wearing waraji straw sandals and a traditional loose fitting garment with etched decoration, he carries a large number of woven baskets and drums attached via a long bamboo pole slung across his right shoulder, a number of the drums with inlaid mother of pearl and agate, the base signed ‘Toshimasa’ 23.5cm high

£1,500-2,500

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

126

281 SATSUMA BUDDHA MEIJI PERIOD

明治琪山款薩摩燒佛像

rising from a hexagonal base, the Buddha seated in meditation on a lotus throne, wearing robes richly decorated with flowering peony and foliage, the throne adorned with a dragon amidst heavenly clouds, the base signed ‘Dai Nippon Satsuma Kizan’ in gold in a rectangular panel 18cm high

£300-500

282 SATSUMA VASE MEIJI PERIOD

明治半林畫款薩摩燒人物紋梅瓶

the baluster body rising to a short neck and flared rim, the exterior depicting a gathering of Buddhist Kannon and rakan in a landscape setting, the design reserved on a gilt ground, the base signed ‘Hanbayahi’ in gold underneath a Shimazu family crest 31cm high Provenance: Private Scottish collection

£250-350

283 PAIR OF SATSUMA ‘RAKAN’ VASES MEIJI PERIOD

明治保土田款薩摩燒瓶（兩件）

each of baluster form, rising from a circular base to a flared rim, the body decorated various Buddhist rakan and an appliqued gold dragon running across the body surrounded by a white dotted border, the base signed ‘Hododa’ in gold in a rectangular panel below a Shimazu family crest (2) 20.8cm high each Provenance: Private English collection, Isle of Wight

£300-500

127

284 FINE SATSUMA ‘PHOENIX’ VASE MEIJI PERIOD

明治俵旭向山兤石畫款薩摩燒鳳凰花卉紋瓶

rising from a circular foot, of ovoid form with flared neck, painted in various coloured enamels on a cream field, a series of six panels alternately depicting elaborately plumed phoenix and horizontal medallions containing mythical creatures, the footrim and neck both adorned with flowers and scrolling foliage reserved on a blue ground, the base inscribed with a Shimazu family crest in dark blue and a ‘Dai Nippon Satsuma’ generic marking to its right and a seven-character maker’s mark to the left 31.2cm high Provenance: Private Scottish collection

£800-1,200

285 LARGE SATSUMA VASE MEIJI PERIOD

明治薩摩竹齋款薩摩燒大瓶

rising from a flat base, with tapering shoulders and flared rim, the body depicting a rich field of peonies, chrysanthemum and camellia amongst ethereal clouds in gilt, the base signed ‘Satsuma Chikusai’ in gold and a Shimazu family crest in red 44.5cm high Provenance: Private Scottish collection

£800-1,200

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

128

286 PAIR OF SATSUMA VASES MEIJI PERIOD

明治保土田撰明推堂作款薩摩燒（兩件）

each raised on a splayed foot, the squat body extended to a tall neck and terminating to a flared rim, the neck flanked with a pair of gripping mythical beast handles, the body decorated with seated rakan on one side, the reverse depicting a group in conversation with a lake and blossoming cherry trees in the background, the basebase signed ‘Hododa’ in gold in a rectangular panel below a Shimazu family crest (2) 14.4cm high each Provenance: Private English collection, Isle of Wight

£100-150

287 SATSUMA VASE MEIJI PERIOD

明治淩峯款薩摩燒櫻花樹紋撇口瓶

rising from a circular base, the spherical body leading to a tall neck and elaborately flared rim, painted in red, blue and gold enamel, the exterior decorated with a large cherry blossom tree and a branch of flowering peony on a crackled cream ground, the foot adorned with chevron panels containing foliage and a band of key-fret pattern, the mouth rim painted with foliage on a blue ground, the base signed ‘Ryōho’ in gold in between a blue Shimazu family crest and a ‘Shōgetsu’ seal in iron red 25cm high Provenance: Private Scottish collection

£400-600

288 PAIR OF SATSUMA ‘KANNON AND RAKAN’ VASES MEIJI PERIOD

明治薩摩燒雙龍耳對瓶

each of pear-shaped from, rising from a circular base to a flared rim, the body decorated with a gathering of Buddhist Kannon and rakan, flanked with a pair of sinuous dragons as handles, the neck adorned with Shimazu family crest, the base signed ‘Hododa’ in gold in a rectangular panel below a Shimazu family crest (2) 25.5cm high each

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

129

289 JAPANESE FUKAGAWA BOTTLE VASE MEIJI PERIOD

明治大日本有田町深川製款魚塘紋膽瓶

rising from a short foot, the globular body leading to a tall neck and subtly everted rim, the body painted with scenes of koi swimming amongst reeds highlighted in gilt, the neck decorated with overlapping circular patterns of various colours, the base signed ‘Dai Nippon Arita Fukagawa Sei’ mark under Mount Fuji and a stream in underglaze blue 24.5cm high Provenance: Formerly in a private UK collection

290

£400-600

IMARI PORCELAIN BLUE AND WHITE BOWL EDO PERIOD OR LATER

江戸伊萬里燒青花’福壽寳’紋碗

sitting on a ring base with steep sides and deep bowl, painted with dual phoenix and tendrils separated by characters of longevity, prosperity, and precious, the underside with a 19th century label reading “Imari porcelain bowl and cover from the Dundas Collection” 15cm diameter Provenance: Dundas Collection, Scotland; Private Scottish collection

£200-300

291 IMARI LOBED BOWL MEIJI PERIOD

明治成化款伊萬里燒花口碗

292 LARGE IMARI VASE WITH LID MEIJI PERIOD

明治伊萬里燒描金花鶴紋蓋瓶

rising from a recessed foot, the hexagonal body painted with scenes of cranes in flight amidst a lush garden landscape and trees in bloom, the shoulders and the domed lid adorned with separate panels of chrysanthemums and peonies amidst foliage

standing on a circular base, with steep sides leading to a scalloped rim, decorated with segmented panels of various scenes including scrolling foliage, waves amidst clouds and flowering peonies on rising platforms, with inset roundels of flowering cherry tree blossoms, fir trees and birds in flight, the base incised with an apocryphal six-character Chenghua mark in underglaze blue 24.8cm diameter

63cm high

Provenance: Private Edinburgh collection

Provenance: Private Scottish collection

£200-300

£600-800

130

293 UTAGAWA KUNIYOSHI (JAPANESE 1798-1861) GROUP OF TWO WOODBLOCK PRINTS FROM THE 47 RONIN SERIES,, C. 1848

歌川國芳誠忠義士傳版畫（一組兩幅）

comprising: two pieces of the ‘47 RoninSeichu gishi den (Biographies of Loyal and Righteous Samurai)’ series by Utagawa Kuniyoshi, entitled; ‘Kiura Okaemon Sadayuki’ making a two-handed sword stroke viewed from behind; ‘ Yukugawa Sampei Munenori’ cutting at a flying handheld lamp (2) 35.5 cm x 24cm each Provenance: Private Scottish collection

£400-600

294 ENDO TAIGAKU (FL. 1820’S - 1830’S) JAPANESE KACHO-E WOODBLOCK PRINT, EDO PERIOD

遠藤戴岳版畫

ink on paper, depicting a bird resting on a tree branch, signed ‘Taigaku’, framed 34cm x 11cm Note: For another example please see The RISD Museum, Providence, Rhode Island, accession number 34.193

£300-500

131

295 FOUR JAPANESE WOODBLOCK PRINTS 18TH-19TH CENTURY

細田栄之北尾重政歌川国安及豊原国周等版畫（一組四幅） comprising: a work by Hosoda Eishi entitled ‘Suma’, from the series ‘Genji in Fashionable Modern Guise’ dating to 1789; a work by Shigemasa Kitao taken from the series ‘Mirror of Beautiful Women of the Green Houses’ dating to 1776; a work by Utagawa Kuniyasu from the series ‘Kokon hyakunin retsujo kagami’ featuring a woman in travelling clothes standing before a hagi bush; a work by Toyoharu Kunichika featuring the actor Gonjuro (4) largest: 36.2cm x 23.3cm Provenance: Private London collection.

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

132

296 THREE JAPANESE WOODBLOCK PRINTS EDO PERIOD

江戶歌川國芳及歌川豊国版畫（一組三幅）

comprising: a work by Utagawa Kuniyosh i (17971861) entitled ‘Agematsu: Eda Genzo’, from the series Sixty-nine Stations of the Kisokaido Road; a work by Utagawa Toyokuni III (1786-1865) depicting an actor in a blue robe; a second work by Utagawa Toyokuni depicting two geishas (3) largest: 34cm x 23cm Provenance: Private Scottish collection

£100-200

297 FOUR JAPANESE WOODBLOCK PRINTS 19TH CENTURY

歌川國貞及北洲版畫（一組四幅）

comprising: a work by Utagawa Kunisada II (1823-1880) entitled ‘Courtesan Agemaki of the Miuraya House’; a work by Shunkosai Hokushu (fl.1810-1832) entitled ‘Nakamura Natsue playing as Shizuka Gozen’; a second work by Utagawa Kunisada II entitled ‘The Person with Umbrella’; a third work by Utagawa Kunisada II depicting a lady in a garden with scissors and sakura blossom (4) largest: 35.5cm x 24cm Provenance: Private Scottish collection

£150-250

133

298 UTAGAWA KUNISADA (JAPANESE 1786-1865) GROUP OF FOUR KABUKI WOODBLOCK PRINTS

歌川豊国版畫（兩組四幅）

comprising: a set of four woodblock prints of Kabuki actors by Utagawa Kunisada including a work entitled ‘Bando Hikosaburo’; a work entitled ‘Sawamura Tossho’; a work entitled ‘Ansaki Motome’; a work entitled ‘Otomo Hitachinosuke’ (4) 34cm x 23cm each Provenance: Private Scottish collection

£150-250

299 TWO JAPANESE WOODBLOCK PRINTS 19TH CENTURY

十九世紀歌川國明二代版畫（一組兩幅）

comprising: a work by Utagawa Kuniaki II (18351888) entitled ‘The 47 Ronin, Act 10: The Amakawaya Shop’; a work (signature unclear) depicting an outdoor meeting of artists and scholars being waited upon (2) largest: 22cm x 34cm Provenance: Private Scottish collection

£100-200

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

134

SOUTH EAST ASIAN WORKS OF ART 300 ’PENANG’ PAINTED IN 1979

陳存義《檳城》水彩畫

watercolour on paper, depicting vibrant street market in Penang, signed ‘Choon Ghee 1979’ to the bottom left, framed 37cm x 55.5cm Provenance: Private Edinburgh collection, acquired from Penang during family visit in 1980s

£600-800

301 BRASS GARUDA WAYANG KULIT OIL LAMP INDONESIAN, 19TH CENTURY

銅製迦樓羅型皮影戲油燈

cast as a ferocious Garuda with wings spread and with its head, wings, tail held together by nuts and bolts, the entire body incised with patterns to imitate feathers, its hollow body as a vessel, set with a hook 40cm high

£300-500

302 BURMESE LACQUER BETEL BOX 19TH-20TH CENTURY

緬甸檳榔漆盒

of cylindrical form, consisting of a base carved in relief on the slightly waisted feet and painted with a band of stylised flowers with rings on the top, a main body or cover internally sectioned in half with the exterior intricately painted with narrative figures of marching army and cavalier, a shallow tray, and a cover painted on top with a pagoda and narrative figures, all design decorated with red, black, and yellow lacquer 35cm high

£300-500

135

ISLAMIC & INDIAN WORKS OF ART 303 GROUP OF FOUR BEYKOZ GILT CLEAR GLASS VESSELS OTTOMAN TURKEY, 19TH CENTURY comprising three bottles with cylindrical bodies, two of which with stoppers; and a tankard; all decorated in gilt with repeat floral motifs (4) bottles: tallest 22cm high; tankard: 12.3cm high

£1,000-1,500

304 GROUP OF TWO BEYKOZ NARGILE GLASS BOTTLES OTTOMAN TURKEY, 19TH CENTURY each with drop-shaped body on a splayed foot, one painted in polychrome with floral sprays, the other with gilt decoration (2) height: 31cm and 26.4cm

£1,000-1,500

305 Y ANGLO-INDIAN EBONY INLAID CABINET 19TH CENTURY the rectangular top above eleven fitted drawers, the central section in the form of an architectural façade with columns and a balustrade above, each individual drawer with a central section of inlaid ivory in an interwoven vine motif and ivory handle 64.5cm x 41cm x 26.5cm

£500-700

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

136

306 CALLIGRAPHIC ALBUM PAGE WITH PERSIAN POETRY IN NASTA’LIQ SCRIPT MUGHAL INDIA, 18TH CENTURY Persian manuscript on paper, with six lines in nasta’liq within cloudbands reserved against a gold ground decorated with polychrome floral tendrils, two further lines in the upper and lower registers, rules outlined in blue, green, red and gold, an elegant border decorated in gold on a cream ground with animals, birds, foliage and trees, framed 26cm x 17cm

£800-1,200

307 OTTOMAN CALLIGRAPHIC PANEL (QIT’A) SIGNED MEHMED ATAULLAH, DATED AH 1200/ AD 1785-86 Ottoman manuscript on paper, comprising an upper register in large muhaqqaq, nine lines of diagonal naskh beneath, the inscription includes the reading ‘The calligrapher hand is blessed with the Divine’, ruled in red and gold, mounted and framed 10.5cm x 21.5cm Note: Shanizade Mehmed Ataullah (d.1826) was a renowned scientist in the early nineteenth century. He was born in Istanbul in 1771, and after having completed his studies in the madrasa, including Arabic and Persian, he joined the Suleymaniye Medical School in 1786. This calligraphic panel dates to the last years in the Madrasa, just before the start of his medical career. A prolific author and translator, among Ataullah’s most famous works are a five-volume work on medicine, entitled Hamse-i Shanizade, and a three-volume translation from French of Charles Bossut’s mathematical theories. He practised calligraphy under the supervision of calligrapher Isma’il Zuhdi Efendi and Yesari Esad Efendi.

£1,500-1,800

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

137

308 EARLY COPY OF POEMS (DIWAN) BY THE OTTOMAN COURT POET MESIHI (D. 1512) TURKEY, 16TH CENTURY Ottoman manuscript on paper, written with a very fine nib in black nasta’liq, 79 leaves with eight lines arranged in two columns within a gold border, outer blue rule, frontispiece (or opening folio) with illuminated header, modern binding 19.5cm x 12.5 cm Note: Born in Prishtina, Mesihi was one of the leading figures of classical Ottoman poetry. He served the court of Sultan Bayazid II (r. 1481-1512). He was a celebrated calligrapher and particularly famed for his mastery of nasta’liq script.

£1,500-2,000

138

CONDITIONS OF SALE 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.

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. O UR 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

19.2 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.

139 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; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction.

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. 8. 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 25% of the Hammer Price of each Lot up to and including £300,000, plus 20% from £300,001 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. A RTIST’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 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), 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. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. 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.

140 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 anti-money 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 money-laundering, 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 cheque used for payment whichever is later. 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 NON-PAYMENT

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 1. 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

141 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.

K. 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. 1. 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 2. 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.

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142

GUIDE TO BIDDING & PAYMENT REGISTRATION

BIDDING

PAYMENT

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, by fax or on our website. Please note that all first-time bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration:

ABSENTEE BIDDING

Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. There will be no on-site payment facilities and no cash accepted as all our venues are closed to the public.

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.

Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com 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 The-Saleroom, Invaluable and 51bidlive (additional charges applicable). TELEPHONE BIDDING (LIMITED AVAILABILITY) Let us be your eyes and ears in the auction room by booking a telephone bid. Call or email us to arrange. Please note that telephone bidding will only be available for lots over £3,000 and all bids must be booked by Tuesday 12th May. First come-first served basis. 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.

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. CREDIT OR DEBIT CARDS Payment can be made by Visa Debit, Maestro, Mastercard or Visa Credit cards. UNION PAY is not available for this sale. ONLINE CARD PAYMENTS We do not accept card payments by phone. Please use our online payment service (provided by Sage Pay). 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 No cash payments will be accepted for this auction.

Inside Back Cover Lot 285

LO NDO N | E D IN BURGH | GLA S GO W LYON AN DTUR N BULL .C OM