Fine Asian & Islamic Works of Art | Auction 14th May 2021

FINE ASIAN & ISLAMIC WORKS OF ART 14TH MAY 2021 LIVE ONLINE LONDON

FINE ASIAN & ISLAMIC WORKS OF ART FRIDAY 14 MAY 2021 AT 10AM Sale Number LT640

VIEWING BY APPOINTMENT Lyon & Turnbull, 22 Connaught Street, London, W2 2AF

Fri 7th to Thurs 13th May | 10am to 5pm Day of sale | closed for viewing Viewing slots are one hour long, one person per slot.

CONTACT BIDDING AT THIS SALE ONLINE, TELEPHONE & COMMISSION BIDDING Please see the guide to bidding on page 140

BOOKING

Front Cover and Inside Front Cover A selection of lots

To book a viewing time please use one of the methods below: ONLINE www.lyonandturnbull.com/appointment-bookings CALL +44 (0) 207 930 9115 EMAIL info@lyonandturnbull.com

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

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BUYER'S GUIDE BUYER'S PREMIUM

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

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).

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

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

BIDDING & PAYMENT

For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue. Please note no cash payments will be accepted for this auction.

REMOVAL OF PURCHASES

ADDITIONAL VAT

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.

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

CATALOGUE DESCRIPTIONS

† VAT at the standard rate payable on the hammer price

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

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

REGISTRATION

All potential buyers must register prior to placing a bid. Paddle registration must be completed in advance of the sale day. Please note that bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration: 1 – Government issued photo ID (Passport/Driving licence) 2 – Proof of address (utility bill/bank statement).

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

BIDDING LIMITS

Bidding levels in this auction will be capped. All new clients and clients who are looking to spend over £7,000 hammer may be requested by Lyon & Turnbull to submit a Bid Limit Request application and deliver to Lyon & Turnbull a deposit.

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.

ENDANGERED SPECIES

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

COLLECTIONS & STORAGE OF PURCHASED LOTS

FOR INTERNATIONAL BUYERS & UK (OUTSIDE SCOTLAND) BUYERS STORAGE: Items will be stored 22 Connaught Street, until Thursday 27th May at 12 midday.

Thereafter we will store items at Stephen Morris Shipping Ltd., Ockham Drive, Greenford Park, Greenford, UB6 0FD. Telephone +44(0)20 8832 2222. Items will be available to collect from 9am on Tuesday 1st June.

Please ensure payment has been made prior to collection. This can be done online, cheque, bank transfer or in person at our London office - details will be shown on your invoice also. Please note we are unable to accept cash or payments over the phone.

COST: Please note from Tuesday 1st June you will be charged by our storage partners.

Insurance 0.25% (all items) Smalls (paintings and objects) £2.50 admin fee then £1.00 per day.

Furniture pieces - £5.50 admin fee then £2.50 per day.

FOR SCOTTISH BUYERS STORAGE: Items will be stored 22 Connaught Street, until Thursday 27th May at 12 midday.

Thereafter items will be transported to our Edinburgh saleroom and will be available to collect from 9am on Thursday 3rd June.

Due to social distancing requirements all collections will be by appointment only (this applies to both carriers and personal collections).

CALL 0131 557 8844 EMAIL info@lyonandturnbull.com Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Opayo) - details will be shown on your invoice. Please note we are unable to accept cash or take payments over the phone.

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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

Official WeChat account

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

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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）。

瀕危品種

請注意有Y記號的拍品在運往歐盟以外地區可能 欲了解更多信息，請查詢 受到CITES條款的約束。 www.defra.gov.uk/ahvla-en/imports-exports/cites 取貨與倉儲 國際買家及英國境內的非蘇格蘭買家

增值稅

倉儲: 截至5月27日星期四中午12點之前，拍品將存放 於22 Connaught Street。

‡符號表示買家需額外支付拍賣落槌價5%的進口稅（ 已降低）。

提貨時間：周一至周五，早上十點半到下午 四點。 預約請撥打0207 930 9115，或電郵 london@lyonandturnbull.com。 沒預約恕不受理。 注： 拍賣日不開放提貨。

†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。 Ω符號表示買家需額外支付拍賣落槌價的標準進口稅， 依照法律規定的稅率。 所有標注【‡】及【Ω】的拍品將可能需進一步遵守進出 口條約，詳情請參閲此圖錄末尾的買家須知‘Buyers Section D.2’ 所有書籍類拍品無需支付增值稅。 提貨

拍品的包裝、運輸和保險則僅限於買方。 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。 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。

客戶務必提前預約到本公司倫敦藝廊及辦事處提貨。

此後，拍品將儲存在 Stephen Morris Shipping Ltd., Ockham Drive, Greenford Park, Greenford, UB6 0FD。 電話+44(0)20 8832 2222。 買家可在6月1日星期二 上午9點開始於此倉儲地點取貨。

請確保在取貨之前已完成付款。 買家可通過在線支付、 支票、銀行轉帳或親自蒞臨本公司倫敦辦公室完成付 款–詳細信息也將顯示在您的發票上。 敬請注意，我們無 法通過電話接受付款。

費用: 敬請注意，自6月1日星期二起，我們的倉儲合作夥 伴將向您收取費用。 小件拍品（繪畫和物件）- £2.50 手續費，然後每天增收 £1.00 傢俱及大型物件 - £5.50手續費，然後每天增收£2.50 蘇格蘭買家

倉儲：截至5月27日星期四中午12點之前，拍品將存放 於22 Connaught Street。

此後，拍品將被運送到本公司位於愛丁堡的辦公室。 買 家可在6月3日星期四上午9點開始於此地取貨。 提貨時間：周一至周五，早上九點到下午五點。 預約請 撥打0131 557 8844，或電郵 info@lyonandturnbull. com。 沒預約恕不受理。

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

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競拍和付款指南 競拍註冊

所有買家必須在競拍前註冊。 註冊 信息可以親自在我們的前台，或通 過電子郵件、傳真或訪問本公司網 站提交。 請注意所有首次參加禮昂 騰博拍賣的競拍者都需要提供以下 材料以便進行註冊： 1. 由政府機關簽發的身份證件（護 照或駕照）； 2. 地址證明（水電煤帳單或銀行對 帳單）

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

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

本次拍賣出價上限為7,000英鎊。 欲 花費（落槌價）超過此上限，請於拍 賣前填寫並呈交出價上調表格，我 們將向您索取銀行證明或押金。

所有新客戶將被索取銀行證明及兩 千英鎊（£2,000）押金。

線上拍賣

此次拍賣不設現場競拍。 電話競拍

買家可以通過電話參與本公司拍 賣，此次拍賣只接受最低估價至少 3,000英鎊或以上的拍品進行電話 競標。 由於電話線路數量有限，必 須提前預訂，並最遲在2021年05月 13日（周四）之前申請註冊。 所有電 話競拍必須進行書面形式註冊，列 出欲競拍的拍品號碼和買家的電話 號碼。 我們建議您預留最高出價，在 電話無法撥通的情況下有備無患。 我們無法保證會有足夠的電話線， 或者可以在拍賣時接通電話，但會 盡我們所能進行安排。 此服務是本 公司自願提供，風險則必須由買家 承擔。 書面競拍

競拍表格可以在本公司官網取得。 填寫完的表格應在拍賣前儘快以郵 寄、傳真或電郵的方式提交。 我們將 代表您在最高限額的範圍内出價。 如果收到兩個相同的出價，則第一 位提交出價的買方有優先權。 所有 出價必須在拍賣前一小時收到。 此 項服務風險由買家承擔。 網路競拍

本公司網站刊登完整的拍賣圖錄。 競拍者可通過網站留下缺席投標， 並將收到本公司電子郵件確認其 投標。 買家也可通過本公司網站注冊在線 競拍，只需點擊拍賣日程，相關拍賣 會或任何一項拍品，并完成注冊。 相 同管道，買家亦可下載實時出價軟 件L&T Live（禮昂騰博在線） ，此項 服務不收取額外費用。 我們的在線 出價合作平臺為Invaluable、TheSaleroom、Liveauctioneers以及聯 拍在線，此項服務額外徵收費用。

付款

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

本公司帳號信息可在拍賣帳單上查 詢，或向公司財務部門索取。 信用卡或借記卡

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

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

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

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

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。

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ORDER OF SALE

Lot no

1-60

Scholar's Life

61-69

Works of Art

70-91

Metalwares

92-119

141-149

Snuff Bottles & Glass

150-159

Paintings & Works on Paper

160-300

Ceramics

Jade & Hardstones

Including a Private Scottish Collection (168-172)

and a Private English Collection (244-248)

301-314

Japanese Art

315-320

Indian & Islamic Works of Art

SCHOLAR'S LIFE LOTS 1-60

A class of literati scholars first emerged in ancient Chinese society as early as Confucius’ (551-479 BC) era, becoming extremely sophisticated during the Ming dynasty (13681644). Wen Zhengming (1585-1645) published the treaties Zhangwu zhi (‘On superfluous things’) in 1621, describing the ideal environment of the scholar’s studio with its utensils and possessions. In this spirit, the literati scholars felt compelled to proudly live their lives according to an established set of rules in styles and taste, collecting works of art that were not only utilitarian, such as boxes, brush pots, washers, but revealed a level of sophistication and a fondness of antiquity.

Apart from scholar’s objects, images of scholar’s life also vividly preserved in various medium/ material culture. A spinach-green jade brush pot (lot 21) carved minutely with some scholars having tea around a kang table, some walking leisurely in the meandering mountain path, and one seated scholar reading on a rock. A blue and white basin depicted 'Seven Sages of the Bamboo Grove' (lot 40), a group of seven Chinese scholars of the 3rd century, playing musical instruments.

An ivory carving of a napping scholar (lot 18) and a famille rose circular plate depicting a scholar napping in a garden (lot 56) both of which change our impression of the rigidity of scholar’s life.

During the tough time of the pandemic, with lockdown in place all over the world, working from home has become the new normal. With people around the globe adapting their lives and homes to best continue as normally as possible. Used in scholar’s studios, these ancient ‘working from home’ tools will hopefully continue to bring the same pleasure to new collectors as the ancient scholars before them.

Detail of lot 57

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1 BRONZE CENSER WITH WOODEN COVER XUANDE MARK

宣德款 銅鑄獸耳香爐

heavily cast with a compressed pear-shaped body, rising from a short foot to a waisted neck and flared mouth, the shoulder flanked with two mythical beast heads, the base cast with a six-character Xuande mark in a recessed square panel, with a wooden cover inset with a white jade finial of a standing attendant (1) 12.7cm wide Provenance: Private USA collection, California

£300-500

2 HEXAGONAL VASE WITH BAMBOO APPLIQUE LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初 竹黃題詩六角花瓶

of slender six-sectioned baluster form, each side incised with flowers and scenic landscape intermittent by inscriptions and a seal, set on a fitted wooden stand (1) 20cm high Provenance: Private Taiwanese collection

£300-500

3 BRONZE PAPERWEIGHT OF AN ELEPHANT QING DYNASTY, 19TH CENTURY

清 銅鑄‘萬壽無疆’象形紙鎮

cast as a recumbent caparisoned elephant with its head turning left, the trunk extending backwards, the flat-base engraved with 'Wan Shou Wu Jiang (boundless longevity)' within frame (1) 7.2cm wide Provenance: Private Scottish collection, Glasgow, c. 1900, thence by descent

£200-300

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4 ZITAN BRUSH POT QING DYNASTY, 18TH-19TH CENTURY

清 紫檀木雕筆筒

of plain cylindrical form, rising on three short feet to a subtly waisted body and lipped rim (1) 15.4cm diameter £500-700

5 UNUSUAL 'POETRY' BUFFALO HORN WINE CONTAINER QING DYNASTY, 19TH CENTURY

清 牛角雕詩文杯

of naturalistically horn shape, the interior hollowed out as a wine container, the exterior carved in relief with birds flying amongst plum blossom tree, the reverse carved with a fourteen-character inscription, the base with metal mount with raised circular nails, the inner curve with two later iron russet mount connected with a metal string, the horn acquired with natural patination in warm honey-brown colour (1) 29cm wide £500-700

6 CARVED WOODEN 'BUDDHIST LION' CENSER 木雕瑞獅香爐

finely carved as a ferocious beast crouching and snarling to its left, detailed with swirls of fur on the forehead and body, the elaborate high tail serves as the cover to a circular hollowed container on the top of its back (1) 24cm wide £300-500

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

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7 ZITAN BRUSH POT QING DYNASTY, 19TH CENTURY

清 紫檀筆筒

of tapered cylindrical form with plain sides, with classic dark purplish colour (1) 10.8cm high £250-350

9 8 GE-TYPE CRACKLE-GLAZED WATER POT QING DYNASTY, 19TH CENTURY

清 仿哥釉水丞

potted in hemispherical body with flat base, and rounded shoulder gently elevated short neck toward opening, covered overall with a soft creamy-grayish glaze suffused with a fine russet crackle, the mouth rim further applied with a dark-blue glaze, save for the foot rim to expose the dark-grey body (1)

BRONZE TRIPOD RITUAL WINE VESSEL, JUE MING TO QING DYANSTY, 17TH-18TH CENTURY

明末清初 仿古銅三足爵

the deep U-shaped body supported on three splayed blade-like legs, opening to an oblong wide mouth with long spout and slightly pointed tail, decorated around the body with a frieze of meander pattern topped with a row of ruyi heads, set on one side with a mythical beast looped handle, surmounted by a pair of posts capped by conical tops, some remnants of gilding visible on the handle and the body (1) 13cm high

7cm wide

Provenance: Private English collection

Provenance: Private Taiwanese collection

£200-300

£200-300

10 ZITAN RECTANGULAR BOX AND COVER QING DYNASTY, 19TH CENTURY

清 紫檀帶蓋長方盒

top of the cover raised with flattened top, the body tapering down and supported on four feet, further with a rectangular recessed panel on the base (1) 7.7cm wide Provenance: Private Taiwanese collection

£400-600

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11 WHITE METAL 'HERMIT' BRUSH POT QING DYNASTY, 19TH CENTURY

清 吳石遷款 銀製山水隱士詩文筆筒

of cylindrical form, engraved to the exterior with a hermit holding a qin instrument at the gate of a thatched house amongst large pine trees and mountainous landscape, back of the hills a wide river with sampans, above further incised with poem, signed 'Wu Shi Qian' and dated to the Ding Hai year during the Guangxu reign, corresponds to 1887 (1) 15.8cm diameter Provenance: Private European collection

£4,000-6,000

12 GILT BRONZE CENSER 銅鎏金獸耳爐

cast in compressed globular form, gently flared rim, a pair of mythical beast heads flanked the sides, the base with a three-character stamp mark, the exterior covered overall with a warm burnt orange patina, with a fitted tomobako box (1) 15.5cm wide £600-800

13 Y SUANZHIMU RECTANGULAR BOX WITH COVER QING DYNASTY, 19TH CENTURY

清 俞樾款 酸枝木文房盒

of rectangular form raised on four feet, the cover finely carved with a poem by Zhang Ji (712-779) entitled 'Night Mooring by Maple Bridge', either side of the cover with a trefoil carving, signed by the maker 'Yu Yue' (1821-1907) (1) 30.5cm wide Provenance: Private Taiwanese collection

£300-500

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

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14 BRONZE 'DRAGON' SCULPTURE LATE MING TO EARLY QING DYNASTY, 17TH CENTURY

明末清初 銅鑄龍形擺件

cast as a dragon standing on three-clawed feet supporting its sinuous body rising to a ferocious head (1) 9cm wide Provenance: Private Taiwanese collection

£400-600

15 HUANGHUALI 'MAGNOLIA' BRUSH POT QING DYNASTY, 18TH CENTURY

清 黃花梨雕玉蘭紋筆筒

finely carved in high relief with magnolia blooms issuing from gnarling branches surrounding the petalled cylindrical body, mouth rim further with floral details (1) 15.6cm wide Provenance: Private Swedish collection

£4,000-6,000

15A HONGMU RECTANGULAR TABLE QING DYNASTY, 17TH-18TH CENTURY

清 紅木案桌

the paneled top set within a rectangular frame with a molded edge above a narrow waist, with shaped and beaded apron and raised on elegant cabriole legs (1) 98cm wide x 79cm high x 36cm deep Provenance: Private German collection

£3,000-5,000

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16 BAMBOO-VENEER 'PEONY' BOX AND COVER QING DYNASTY, 18TH CENTURY

清 竹黃嵌壽山石雕海棠如意形蓋盒

of ruyi form, supported on a short straight foot, the flat top finely carved with a cartouche enclosing a meandering sprig of soapstone-inlaid peonies surrounded by a key-fret border, the straight sides carved with square and hexagonal pattern incised with starburst, the patinated bamboo of a warm honey-brown colour (1) 8.8cm wide Provenance: formerly in a private English collection, acquired from Sotheby's London, 18 May 2018, lot 312

£4,000-6,000

17 MOTHER-OF-PEARL INLAID BLACK LACQUER SQUARE WOODEN STAND QING DYNASTY, 18TH-19TH CENTURY

清 黑漆嵌螺鈿花卉紋方座

the flattened top is delicately inlaid with mother-of-pearl and gold to the central medallion with floral sprays visited by a dragonfly, within a further inlaid border, all above a narrow waist, raised on floral-decorated coin-ground aprons and inward-curving legs, the whole is raised on base stretchers of conforming shape, all on a plain lacquered ground (1) 12.1cm x 12.1cm x 5.2cm Provenance: Collection of Dr John A Packer, Edinburgh

£200-300

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

14

18 Y IVORY CARVING OF A NAPPING SCHOLAR MING TO QING DYNASTY, 17TH-18TH CENTURY

明至清 象牙雕打盹書生擺件

worked in round, carved as a scholar serenely leaning against his folded legs having a nap, his facial expression incised with minute details together with his hair, brows, and beard dyed in black (1) 10cm high Provenance: Collection of Dr John A Packer, Edinburgh

£400-600

19 20 ROCK CRYSAL 'MOUNTAIN' BRUSH REST QING DYNASTY, 19TH CENTURY

CELADON JADE 'DEER AND CRANE' BRUSH REST QING DYNASTY, 18TH CENTURY

清 青玉雕鹿鶴同春筆架

carved in the form of a mountain with peaks and rugged surface (1)

carved as a boulder with openwork rocks and dense pine trees forming a canopy, one side with with a recumbent deer, a crane peeping from a corner and bird perching in between, the other side with a grooming crane, the stone of even celadon colour (1)

13.5cm long

8.5cm long

清 水晶雕山形筆山

Provenance: Private Taiwanese collection Note: a closely comparable rock crystal brush rest in the shape of a mountain, dated to the Qing dynasty and was in the Qing Court collection, is in the collection of the National Palace Museum, Taipei, collection number Gu Za 故雜 394

£600-800

Provenance: Private English collection

£1,500-2,000

15

21 SPINACH-GREEN JADE 'SCHOLARS' BRUSH POT QING DYNASTY, 19TH CENTURY

清 碧玉雕文人山居圖筆筒

the cylindrical body supported on five cloud-shaped feet, intricately carved around the sides with a continuous mountainous landscape, the rocks and trees framing various vignettes, including scholars having tea around a kang table in a courtyard and an attendant bringing out a teapot; scholars walking leisurely in the meandering mountain path leading to a pavilion; a seated scholar reading on a rock accompanied by his attendant, whilst two other scholars seated on mat in conversation, the stone of dark spinach-green tone with some black inclusions (1) 15.5cm high

Provenance: Private French collection

£4,000-6,000

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

16

22 WHITE JADE 'BAMBOO' VASE QING DYNASTY, 18TH CENTURY

清 白玉雕喜鵲登竹仿竹節式花插

naturalistically carved in round as a section of bamboo, one side carved in openwork with two slender bamboo shoots with expanding leaves in low relief, each with a magpie perching atop, the stone of even white tone with very light greenish tinge (1) 8.8cm high Provenance: property of a gentleman; formerly in the collection of an European diplomat Sven Hedin (1865-1952) who acquired it from Hong Kong in 1930s Note: A comparable jade paperweight of similar bamboo form and dated to the Qianlong period in the Heber R. Bishop Collection is in the collection of Metropolitan Museum of Art, accession number 02.18.575; a Qing dynasty jade double vase joined with bamboo, fungus, and phoenix is in the Avery Brundage Collection at the Asian Art Museum, San Francisco

£3,000-5,000

23 TWO PALE CELADON JADE CARVING OF SMALL BOULDERS LATE MING TO EARLY QING DYNASTY, 17TH CENTURY

明末清初 青白玉雕'鹿鶴同春'及'福 壽雙全' 山子（一組兩件）

comprising: one carved in openwork depicting figures with deer and cranes underneath pierced gnarling pine trees issuing lingzhi, the stone of pale green tone; another boulder with each side depicting an immortal accompanied by his attendant in a grotto formed by openwork trees, large peaches and lingzhi fungus, the stone of pale green colour with white inclusions; both boulders with the interior hollowed out (2) heights: 6.1cm and 6.2cm Provenance: Private English collection, one acquired from Scotland and the other acquired from London about 8 years ago

£3,000-5,000

24 PALE CELADON ' SCHOLAR PLAYING MUSIC' JADE PLAQUE QING DYNASTY, 19TH CENTURY

清 青白玉雕文人撫琴詩文玉牌

carved on one side with a seated scholar playing the qin musical instrument, the other side with a corresponding poem, the stone of even pale celadon colour (1) 6cm high Provenance: property of a gentleman; formerly in the collection of Pietro Accorsi (1891-1982), one of the most renowned Italian antique dealers

£1,000-1,500

17

25 ROCK CRYSTAL SQUARE WATER POT QIANLONG PERIOD

清乾隆 水晶雕方形水丞

of square form, carved with canted edges, the gradually curved sides terminating to a lipped mouth rim, each side carved in low relief with knotted ribbons (1) 5.8cm wide Provenance: property of a gentleman; formerly in a private German collection, acquired from an antique shop at Munich between 1965 and 1980 Note: a round crystal water jar incised with a Qianlong mark formerly in the Qing Court collection is now in the collection of National Palace Museum, collection number Gu Za 故雜 392

£1,000-1,500

26 PALE CELADON JADE 'FINGER CITRON' WATER POT QIANLONG PERIOD

清乾隆 青白玉雕佛手形水丞

elegantly rendered as a finger citron, also known as 'Buddha's hand' for its shape, borne on a short twig with the finger-like sections gently curling upwards, the top of the fruit with a circular opening and body hollowed as a vessel, the stone of even translucent pale green colour, on a fitted wooden stand carved in openwork with various small finer citrons on leafy branches (1) 9cm wide Provenance: property of a gentleman; formerly in the collection of an European diplomat Sven Hedin (1865-1952) who acquired it from Hong Kong in 1930s Note: Finger citrons are not edible unless preserved with salt or sugar, but were known to have been used by Empress Cixi to fragrance rooms in the Palace.

Their auspicious symbolism derives from the play on the Chinese word for finger citron, foshou, homophonous with the words for blessings, fu, and longevity, shou. Hence, they were a popular subject in jade carvings of the Qing dynasty. A comparable jade water holder in the shape of a Buddha's hand citron formerly in the Qing Court collection is now in the collection of the National Palace Museum, Taiwan, collection number Gu Yu 故玉 3166; another Qing dynasty finger citron-form jade box and cover was in the C.T. Loo & Co., New York collection and sold at Christie's Live Auction 2553 on 23 Mar 2012, lot 1943

£4,000-6,000

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

18

27 WHITE JADE OVAL WATER POT LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初 白玉雕童子壽桃雙耳水洗

carved as an oval vessel supported on a short straight foot, both sides of the tapering body finely engraved with a poem 'Yi Jian Mei' by Li Qingzhao (ca. 1084-1155), flanked by a pair of handles with a climbing joyous boy holding a lingzhi sprig to one side, the opposite with a peach borne on foliage, further incised with a key-fret band on the mouthrim, the stone of translucent whitish green colour with russet patches (1) 12cm wide Provenance: Private English collection

£1,500-2,000

28 CELADON JADE BRUSH REST OF A CAMEL MING DYNASTY

明 青玉帶皮雕駱駝筆山

naturalistically carved in recumbent position with legs neatly tucked beneath its body, turning its head backwards, the two humps detailed with incisions, the stone of a celadon-white colour with russet inclusions (1) 8cm wide Provenance: property of a gentleman; formerly in the collection of one of the most renowned Italian antique dealers, Pietro Accorsi (1891-1982) Note: a closely comparable Ming dynasty jade camel of similar posture sold at Sotheby's Hong Kong on 5th October 2011, lot 2140

£3,000-5,000

29 PALE CELADON JADE 'DRAGON-HEAD' WATER POT QING DYNASTY

清 青白玉雕龍首水丞

of oblong form, supported on a short ring foot, the exterior carved overall with rows of stylised lingzhi fungus, one side with a lingzhi extending as a looped handle, the stone of pale green tone with russet patches to one side (1) 8.5cm wide Provenance: Private English collection

£2,000-3,000

30 WHITE JADE 'SCROLL' INK STICK REST 白玉帶皮雕書卷式童子乘槎圖墨床

carved as an opened scroll with both scrolling ends supporting the flattened top with undulating sides, the top depicting in low relief a joyous boy on a log raft borne on peaches afloat on crashing waves, the stone of whitish colour and the top scattering with russet skin patches (1) 6cm x 4.2cm Provenance: Private English collection, acquired from Scotland

£400-600

19

31 YUE WARE FROG-SHAPED JARLET FIVE DYNASTIES

五代 越窯青瓷蛙盂

with protruding head and bulbous body, the centre top with a waisted and flaredrimmed tube, covered overall with a green glaze and three dark spots scattered evenly, the unglazed base revealing a brown buff body (1) 9cm wide Provenance: Private English collection, Middlesbrough

£600-800

32 QINGBAI WATER DROPPER SOUTHERN SONG DYNASTY OR LATER

南宋或以後 青白釉纏枝蓮紋水滴

finely potted with a hemisphere body terminating into a straight short mouth, attached with an everted spout and lopped handle, the body decorated in relief with swirling flower motifs, the exterior covered overall in a translucent pale bluish colour with green tinge, with a Japanese tomobako wooden box (1) 8.5cm wide Provenance: Private Taiwanese collection

£300-500

33 PEACHBLOOM-GLAZED BRUSH WASHER QING DYNASTY, 19TH CENTURY

清 康熙款 豇豆紅釉鏜鑼洗

applied with a glaze of soft rose colour thinning to pale pink at the sides, variegated with yellowish-green and white spots, the base inscribed with an apocryphal six-character Kangxi mark in underglaze blue (1) 10cm diameter Provenance: Private Taiwanese collection

£400-600

35 34 PEACHBLOOM-GLAZED SEAL PASTE BOX AND COVER KANGXI MARK, POSSIBLY OF THE PERIOD

康熙款 豇豆紅釉印盒

of circular form, covered on the top of cover and exterior of the box with a pale red glaze variegated with white patches, the base inscribed with a six-character Kangxi mark in underglaze blue (1) 7.4cm diameter

PEACHBLOOM-GLAZED 'APPLE' WATER POT KANGXI MARK

康熙款 豇豆紅釉蘋果尊

the globular body tapering towards the foot and curving inward before rising up to a short cylindrical neck and everted mouth, covered overall in a peach-red glaze thinning from mouth and darkening around the foot with white variegation, the base inscribed with a six-character Kangxi mark in underglaze blue (1) 8cm diameter £300-500

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

20

36 LONGQUAN CELADON-GLAZED VASE SOUTHERN SONG DYNASTY

南宋 龍泉窯青釉膽瓶

the bulbous body supported on a short foot, extending towards a long neck and terminating in a stepped rim, a section of the mouth rim sunken during firing, the interior and exterior covered overall with an unctuous pale celadon glaze, stopping unevenly to reveal the burnt orange foot, with a Japanese tomobako wooden box (1) 14.6cm high Provenance: Private Taiwanese collection

£600-800

37 GE-TYPE CRACKLE-GLAZED LOBED WASHER POSSIBLY YUAN TO MING DYNASTY

可能元至明 仿哥釉海棠形筆洗

finely potted and modelled after a Song prototype with a broad flat base supported on four ruyi-headed feet, rising to curved sides with an everted rim, covered overall in a thick bluish-grey glaze with a web of fine 'iron-wire' crackles, the uneven glaze around the foot rim revealing the dark bronze 'iron' body (1) 15.9cm wide Note: with a paper label on the base 'A Ge-type mallow-form washer, Yuan to Ming dynasty'

£3,000-5,000

21

38 GE-TYPE CRACKLE-GLAZED VASE MING DYNASTY

明 仿哥釉洗口瓶

sturdily potted on a short ring foot, the ovoid body rising to a waisted neck and inward curving wide mouth, applied overall save for the foot with a creamy white glaze with a network of black and faint russet crackles, with a tomabaku box (1) 24cm high Provenance: Private Taiwanese collection, formally in a private Japanese collection Note: the form of this vase mainly existed during the Ming dynasty and especially popular in the Wangli period, two Ge-type crackle-glazed vases of the same shape and dated to Ming dynasty are respectively in the Zhangzhou Museum and Xiamen Museum.

£1,500-2,500

39 TURQUOISE-GLAZED BASIN QIANLONG MARK

乾隆款 孔雀綠釉卷缸

potted with bulbous body and lipped rim, covered overall save for a disc band on the base with a translucent vibrant peacockgreen glaze, underneath the mouth incised with gradually thinning bands, the unglazed disc band revealing the buff body, encircling a countersunk glazed centre engraved with a six-character Qianlong mark (1) 20cm diameter Provenance: property of a gentleman; formerly in the collection of Frederick H Jewell (1836-1906), acquired from Hong Kong in 1903, thence by descent

£3,000-5,000

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

22

40 BLUE AND WHITE 'SEVEN SAGES OF THE BAMBOO GROVE' BASIN KANGXI PERIOD

清康熙 青花竹林七賢紋卷缸

potted in bulbous body and lipped rim, the body decorated with the famous 'Seven Sages of the Bamboo Grove' playing musical instruments, the scene set amongst a mountainous landscape with clouds (1) 20.5cm diameter £1,200-1,500

41 BLUE AND WHITE 'BOGU' GINGER JAR QING DYNASTY, 19TH CENTURY

清 青花冰梅紋開光博古圖罐

of ovoid form, the body painted with four sets of antiquities in foliated cartouches against a 'cracked-ice and prunus' ground, with a wooden stand (1) 17.6cm high Provenance: Private London collection

£400-600

42 BLUE AND WHITE BRUSH POT QING DYNASTY, 19TH CENTURY

清 青花人物故事紋筆筒

of cylindrical form, within two incised bands painted with a night scene of a scholar on shore, a boatman awaiting him to board, the base unglazed (1) 17.6cm high £200-300

23

43 BLUE AND WHITE BOWL KANGXI PERIOD

清康熙 富貴長春款 青花夜游赤壁圖碗

potted with deep rounded sides and gently flared rim, painted on one side within a rectangular border with scholars sailing on boat in a dramatic landscape at night, the reverse plain, further decorated with a floral medallion within a lotus band in the interior, the base inscribed with a four-character 'Fu Gui Chang Chun' mark (1) 19cm diameter £800-1,200

44 BLUE AND WHITE BRUSH POT QING DYNASTY, 18TH-19TH CENTURY

清 青花山水人物紋筆筒

sturdily potted with cylindrical form, supported on three bracket feet, the exterior painted with small figures in mountainous landscape setting (1) 19cm diameter £500-700

45 BLUE AND WHITE VASE QIANLONG PERIOD

清乾隆 青花山水紋撇口瓶

the bulbous body supported on a high flared foot raised to a waisted neck and everted mouth, around the body decorated with small houses within a dramatic shanshui landscape, below the mouth with downward facing plantain leaves (1) 15.2cm high Provenance: Private London collection

£400-600

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

24

46 QIANJIANG ENAMELLED INK REST REPUBLIC PERIOD

民國 吳寄甄款 淺絳彩‘精忠報國’墨床

of rectangular scroll-form, depicting the historical and legendary scene with General Yue Fei in the Southern Song Dynasty kneeling whist his mother tattooed his back with 'serve the country with the utmost loyalty', inscribed with associated idiom 'Jing Zhong Bao Guo' and signed by the artist 'Wu Ji Zhen' (1) 8.3cm wide £300-500

47 WUCAI 'DRAGON AND PHOENIX' BOX AND COVER WANLI MARK BUT QING DYNASTY

清 萬曆款 五彩龍鳳呈祥紋扇形蓋盒

of fan-shape, three sides of the body painted with a pair of dragon and phoenix amongst flame-clouds, the cover similarly decorated, central topped with a finial, the base inscribed with a six-character Wanli mark within a shaped cartouche in underglaze blue (1) 9cm wide £600-800

48 TWO SCHOLAR'S OBJECTS QING DYNASTY

清 '任煥章'款 粉彩鼎式爐 及 '俞子明'款 淺絳彩香插 文房用具（兩件）

comprising: one famille rose incense burner of archaic ding form with lid, the burner supported on four taotie-masked legs, each side with different decorations, one side painted with a vase and finger citron and inscribed with 'Ren Huan Zhang' mark, the lid with a lion knob and 'Zi Sun Yong Bao' inscriptions; together with one qianjiang enamelled incense stick holder with a hexagonal dish, the dish finely painted a bird perching on tree branches above chrysanthemums and inscribed with 'Yu Zi Ming' mark (2) censer: 8.8cm high; incense stick holder: 8.8cm wide £600-800

25

49 ROBIN'S-EGG-GLAZED YIXING STONEWARE SEAL PASTE BOX '陳鳴遠製'款 爐均釉宜興紫砂印盒

of circular form supported on a short foot, both the box and cover with lipped rims, the base stamped with a four-character 'Chen Ming Yuan Zhi' mark, with a fitted burlwood box and a collector's paper label (1) 10.5cm diameter £300-500

50 GROUP OF THREE ROBIN'S EGG-GLAZED WARES QING DYNASTY, 19TH CENTURY

清 各色爐鈞釉筆插及水丞（一組三件）

comprising: a butterfly-shaped brush holder and washer; a cubic openwork brush holder; and an aubergine-form brush washer moulded with a faux wooden stand, except the stand, all covered with a turquoise glaze suffused with a network of purple crackles (3) largest: 9.5cm wide Provenance: Private Taiwanese collection

£300-500

51 FAMILLE ROSE SEAL PASTE BOX REPUBLIC PERIOD

民國 乾隆款 琺瑯彩花卉紋印盒

enamelled on the cover with peony sprays with foliage issuing from a pile of rock within a key-fret band, the box similarly decorated, the underside with a recessed unglazed band, the central base inscribed with a four-character apocryphal Qianlong mark within doublesquares in overglaze blue (1) 8.4cm diameter £400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

26

52 FAMILLE ROSE WALL VASE OF SCROLL FORM QING DYNASTY, 18TH CENTURY

清 '陶'款 粉彩山水樓閣書卷形壁瓶

in the form of a half-opened scroll, the front painted with a building in mountainous landscape, connected to a handle on the left decorated with continuous longevity in blue paint, with an open aperture as a vase, the flat back with apertures designed for hanging (1) 15cm high £800-1,200

53 GREEN AND YELLOW-ENAMELLED BISCUIT BRUSH POT GUANGXU PERIOD

清光緒 素三彩綠地堆塑梅花紋筆筒

of cylindrical form, the body moulded and applied with flowering prunus, the cherry blossoms featured in yellow enamel, all against a luscious and translucent green ground (1) 15.3cm diameter £300-500

54 WUCAI 'LION' BASIN QING DYNASTY, 19TH CENTURY

清 五彩瑞獅紋卷缸

sturdily potted, lipped rim, delicately painted on the rounded sides with five different fierce Buddhist lions with brocade balls and billowing scarves, the base left unglazed (1) 27.5cm diameter Provenance: Private Dutch collection

£400-600

27

55 FAMILLE ROSE 'DRUNKEN TAIBI' PLATE 1992

一九九二年 粉彩太白醉酒盤

supported on a tapering foot to a foliated rim, the interior painted with the Tang poet Li Bai, reclinging against a stool and drinking under a candlelight, the left side inscribed with his name and the year of Ren Sheng, further with painter's name Dai Rong ?, the base inscribed with three lines of inscriptions, respectively 'Department of Light Industry (輕工業部)' 'Institute of Porcelain (陶瓷研究所置)' and the production year corresponding to the Spring, March 1992 (1) 30cm diameter Provenance: Private European collection

£300-500

56 FAMILLE ROSE 'SCHOLAR NAPPING AT GARDEN' PLATE QING DYNASTY, 18TH CENTURY

清 粉彩文人午寐故事紋盤

painted within a gilded key-fret band with a narrative scene with a half-seated scholar in a courtyard setting, a female attendant bringing a pillow to him and supported his left shoulder seemingly in the process of putting the pillow underneath his head, another lady coming from a corner holding a fan and an incense burner (1) 20.6cm diameter £200-300

57 WUCAI 'SCHOLAR AT LEISURE' ROULEAU VASE LATE MING TO EARLY QING DYNASTY, 17TH-18TH CENTURY

明末清初 五彩文人賞戲圖棒槌瓶

finely painted on the cylindrical body with a night scene, including a scholar holding a folded fan and his wife having titbits and wine before a large shanshui screen, they are appreciating a play performed by two joyous bearded figures, one seated playing musical instruments, another holding a spear with crescent-blade in action, the vase with waisted ribbed neck decorated with shanshui landscape (1) 48.5cm high Provenance: Private Swedish collection

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

28

58 FAMILLE ROSE BRUSH WASHER GUANGXU MARK

光緒款 粉彩山水紋筆洗

supported on a short foot, painted to the interior with a sailor on a sampan in a mountainous landscape setting, the exterior undecorated, the base inscribed with a six-character Guangxu mark in underglaze blue (1) 15.5cm diameter £200-300

59 YELLOW GLAZED 'SCHOLAR' JAR QING DYNASTY

清 嘉靖款 黃釉暗刻文人圖小罐

potted with high bulbous shoulders tapering down, the body carved with scholars in an outdoor setting underneath pine tree, applied overall with an opaque yellow glaze, the white-glazed base inscribed with a Jiajing mark in double-circles in underglaze blue (1) 10cm high £400-600

60 WUCAI BRUSH POT QING DYNASTY, 19TH CENTURY

清 五彩乘舟圖筆筒

painted on one side with a scholar handling a fan in his right hand with his two attendants sailing on a sampan against red-enamelled water, the reverse with bright enamels of a shore issuing with gnarling pine tree and large rocks, large disc-circle of the base unglazed, leaving a recessed central button glazed but unmarked (1) 13.9cm high £400-600

29

WORKS OF ART

61 CINNABAR LACQUER SQUARE-SECTIONED VASE QING DYNASTY, 19TH CENTURY

清 剔紅山水人物紋鎏金獅耳方瓶

each side of the body delicately carved with figures in a landscape setting, the base inset with an apocryphal six-character Qianlong mark in a rectangular gilt-bronze panel (1) 26.2cm high Provenance: Private Scottish collection, Glasgow, c. 1900, thence by descent

£400-600

62 GILT LACQUERED 'LANDSCAPE' WOODEN BRISÉ FAN QING DYNASTY, C.1820-30

清 黑漆畫山水紋木扇

each side divided by two gilt-red-paint bands into three sections, the top two sections painted densely with small houses amidst trees in a mountainous landscape setting, the exterior of both guards finely lacquered with stylised triangles together with red dots, all against a black ground (1) 32.5cm wide £800-1,200

63 Y GROUP OF TWO CANTON IVORY CARD CASES QING DYNASTY, 19TH CENTURY

清 象牙雕人物紋卡片盒（一組兩件）

each of rectangular form, carved in mid relief to all surfaces with scenes of figures at various pastimes and occupations amongst pavilions and trees (2) largest: 10.7cm x 6.9cm Provenance: Collection of Dr John A Packer, Edinburgh

£200-300

64 Y IVORY FIGURE OF AN ACOLYTE QING DYNASTY, 17TH-18TH CENTURY

清 象牙雕脅侍座像

carved seated in royal ease pose on a ruyi-decorated podium, with both hands in anjali mudra, the figure casts down in a serene expression (1) 21cm high Provenance: The Beal House collection, Yorkshire.

Ian Colin Stewart (1949-2019), the late-owner of Beal House, lived in Hong Kong and Singapore in the 1980s before settling in North Yorkshire. The considerable amount of oriental art at Beal reflects the years he spent in the East.

£600-800

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

30

65 CARVED WOODEN 'LINGZHI' BOX AND COVER QING DYNASTY, 19TH CENTURY

清 雍正年製款 木雕靈芝紋蓋盒

realistically rendered to imitate a lingzhi fungus, the cover with naturally pierced and undulating texture decorated with bats, the body made of organic lingzhi of trunk-form covered in black lacquer, on a bespoke shaped openwork lingzhi wodden stand (1) box: 17cm wide £2,000-3,000

66 CARVED SANDALWOOD BOX AND COVER QING DYNASTY, 18TH CENTURY

清 檀香木雕三多靈芝紋內嵌鎏金銅圓蓋盒

the cover and box each of dome-shape, the cover further with a protruding knob, intricately carved overall with foliated peaches, pomegranates, and Buddha's hand citrus amidst swirling lingzhi, the top of cover with a 'Shou' medallion, the interior mounted with gilded bronze (1) 24cm wide Provenance: Private French collection

£4,000-6,000

31

67 CARVED 'HONGMU' WOODEN TABLE SCREEN BASE AND FRAME QING DYNASTY, 19TH CENTURY

清 紅木雕團壽竹節大插屏座連框

comprising: a two-feet stand with splayed lower flanges and slotted grooves, the panels carved in low relief with continuous longevity pattern and antiquities, the top of two slotted grooves respectively mounted with a hunchback male immortal holding a peach in hand and a female immortal holding a vase; together with a rectangular frame with bamboo carvings and longevity panels (1) 85cm x 66.5cm Provenance: Private London collection

£1,000-1,500

68 BLACK-LACQUERED ELMWOOD ALTER TABLE QING DYNASTY, 19TH CENTURY

清 黑漆榆木嵌藤面長桌

of rectangular form, the elongated tabletop terminating into everted ends and inset with rattan top, the wood covered in black lacquer (1) 232cm wide x 85cm high x 43cm deep Provenance: Private UK collection, London. With a certificate issued from The Ashwood Gallery, Bangkok on 10th April 2002, stating that the table is dated to the Qing dynasty, circa 1850 and originally from the Shanxi province, Northern China

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

32

69 LACQUERED WOOD CARVING OF SEATED GUANYIN QING DYNASTY, 18TH CENTURY

清 黑漆木雕觀音座像

carved seated upright in royal-ease pose on a high rock-plinth, right hand rested above the knee in karana mudra, left varada mudra, the bodhisattva wears a long pleated dhoti covering his legs, his bare body adorned with beaded necklaces and a band drapes from left shoulder folds on the body, a four-leaf crown above his serene face surrounding a high chignon, applied overall with black lacquer (1) 32cm high Provenance: Private English collection

£8,000-12,000

33

METALWARES 70 BRONZE 'STAR AND CLOUD' MIRROR WESTERN HAN DYNASTY

西漢 星雲連弧紋銅鏡

of circular shape, cast to the recessed central well with a sacred mountain knop encircled by stars connected by curvy clouds, enclosed by a band of semi-circular motif (1) 10.6cm diameter Provenance: Private Taiwanese collection Note: a closely comparable example is in the collection of the National Palace Museum, Taipei

£600-800

71 BRONZE 'LION AND GRAPEVINE' MIRROR TANG DYNASTY

唐 葡萄瑞獅紋銅鏡

of circular shape, cast to the recessed central well with a lion knop encircled by four smaller recumbent lions and grapevines, enclosed by a band of birds alternating with clusters of grapes, all between a ridged border and a further band of detached floret (1) 11cm diameter Provenance: Private Taiwanese collection

£600-800

72 INSCRIBED ARCHAIC BRONZE RITUAL WINE VESSEL, ZHI LATE SHANG DYNASTY, 12TH-11TH CENTURY BC

商朝晚期 銘文青銅觶

of slender cylindrical form, the elongated pear-shaped body supported on a tall spreading foot and rising to a flaring mouth, the neck encircled by a double band, the inner foot cast with a two-character pictogram 'Zu Ding (ancestor Ding)', the patina of a mottled malachite-green colour with traces of cuprite (1) 15.2cm high Provenance: formerly in the collection of Luz Papasian (1915- 2013), New York Note: Bronze ritual vessels, such as this Zhi, would be filled with food and wine and set out in a form of communal banquet for the ancestors to come and share with their living descendants. This vessel remarkably preserves the very name of the individual to whom it was dedicated, 'Zu Ding (ancestor Ding)', which was cast on the inner foot.

£5,000-7,000

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

34

73 VERY RARE BRONZE RITUAL TRIPOD VESSEL NEOLITHIC-TO-BRONZE-AGE-STYLE, MONGOLIA, DONGHU TRIBE

新石器時代至青銅時期類型 蒙古東胡部落 青銅三足禮器

the shallow hemisphere body sturdily cast on three splayed tall feet with pointed ends, the slightly ribbed rim flanked with two looped ring handles on either side, the vessel covered overall with green and blue patination (1) 18.5cm wide Provenance: formerly in the Robert Hatfield Ellsworth (1929-2014) Collection, acquired from Sotheby's New York on 19th March 2002, lot 30 Note: Robert Hatfield Ellsworth (July 13, 1929 – August 3, 2014) was a Manhattan-based American art dealer of Asian paints and works of art. His art collection is mainly found in museums in the United States. He was a supporter of architectural restoration in Huangshan, China and is an honorary Chinese citizen.

£2,000-3,000

35

74 PAIR OF VERY RARE BRONZE RITUAL TRIPOD VESSELS NEOLITHIC-TO-BRONZE-AGE-STYLE, MONGOLIA, DONGHU TRIBE

新石器時代至青銅時期類型 蒙古東胡部落 青銅高足盤型禮器

each vessel composed of a shallow dish body with inward turning rim, sturdily supported on a tall, hollowed foot terminating to a splayed base, the vessel covered overall with green and blue patination (2) 20.2cm high each Provenance: formerly in the Robert Hatfield Ellsworth (1929-2014) Collection, acquired from Sotheby's New York on 19th March 2002, lot 30 Note: Robert Hatfield Ellsworth (July 13, 1929 – August 3, 2014) was a Manhattan-based American art dealer of Asian paints and works of art. His art collection is mainly found in museums in the United States. He was a supporter of architectural restoration in Huangshan, China and is an honorary Chinese citizen.

£3,000-5,000

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

36

75 SET OF FOUR EXPORT SILVER TEA WARES QING DYNASTY, TU MAO XING, JIANGXI, CIRCA 1880-1930

清末民初 涂茂興款 外銷銀茶具組 （一組四件）

comprising: one tea kettle on stand set with burner, 25cm high on stand; one teapot, 23.5cm wide; one sugar container, 16.5cm wide; and a milk jug, 12cm wide, all similarly decorated with bamboo groove around the body, set with sinuous bamboo sprig as handles, stand on ruyi-cloud foot, all base of the vessels, including the burner with a hallmark '涂茂興' (4) total weight: 1968g

Provenance: Private Scottish collection

£500-800

76 GILT BRONZE BELT HOOK SONG OR YUAN DYNASTY

宋或元 銅鎏金鏤空花卉紋帶扣

cast openwork in ovoid, with a rosette to the centre surrounded by tendrils, mounted on a wooden panel (1) 4.6cm high; 10.6cm high with stand Provenance: Private Taiwanese collection

£300-500

77 COLLECTION OF EIGHT TIBETAN ARTICLES QING DYNASTY, 19TH CENTURY

清 西藏合金及銅鑄佛龕（一組兩件）及 各式陶塑擦擦佛像（一組六件）

comprising: a white metal covered brass portable shrine, Gau, decorated with kirtimukha and eight auspicious emblems on the cover; a brass square Gau amulet box, repoussé and chased with a crossed-vajra on the cover; and a collection of six terracotta Tsa Tsa Buddhist votive amulets (8) largest: 10.5cm high Provenance: Private Taiwanese collection

£300-500

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78 GILT BRONZE STANDING FIGURE OF BUDDHA SHAKYAMUNI POSSIBLY NEPAL

尼泊爾 銅鎏金釋迦摩尼佛立像

of generous proportions, impressively cast standing in slight tribhanga, right hand lowered in varadamudra, right gently holding the folds of his robes, wears a long dhoti beneath a slightly shorter sanghati with their hem incised, the face exquisitely modelled in serene expression, flanked by a pair of elongated and pierced earlobes, his head with spiral hair tufts rising to an ushnisha, mounted on a wooden stand (1) 58.5cm high; 68.5cm high with wooden stand Provenance: Private London collection Note: a very similar example, dated early Malla period 13th century and originated from Nepal, was sold at Christie's Hong Kong on 2 December 2015; another comparable Nepalese example, dated to probably 8th - 10th century, is in the collection of the Harvard Art Museum, object number 2011.2

£4,000-6,000

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

38

79 SMALL GILT BRONZE FIGURE OF VAISHRAVANA QING DYNASTY, 19TH CENTURY

清 銅鎏金寶財天王座像

the Guardian of the North is cast seated upon a snarling fierce lion, holding a mongoose in his left hand, right hand held in tarjanimudra, his head well defined with bulging eyes below an intricate tiara, wears a full armour flanking with billowing scarf, the lion's mane, mouth and the figure's hair pigmented in red, all above a single-lotus throne sealed with a floral-incised plate on the base (1) 7cm high Provenance: Private Taiwanese collection

£400-600

80 GILT BRONZE FIGURE OF VISHNU 19TH-20TH CENTURY

十九至二十世紀 銅鎏金毗濕奴座像

cast seated in ardha padmasana on a single lotus throne elevated on a short column, each of the martial deity's hands holding a designated ritual attribute, including the conch, chakra, lotus bud and gada, he wears an elaborate crown enclosing a high chignon, backed by a foliated mandorla, the base unsealed (1) 14.1cm high Provenance: Private English collection

£400-600

81 GROUP OF THREE MINIATURE GILT BRONZE STATUES LATE NORTHERN DYNASTIES TO EARLY TANG DYNASTY

北朝末至初唐 袖珍型銅鎏金佛菩薩像（一組三件）

comprising: a figure of a bodhisattva, cast standing in tribhanga on an oval throne, backed by a high pointed nimbus, wears a long diaphanous robe, right hand raised, all elevated on a square openwork plinth; a figure of a standing arhat, slenderly rendered and supported on a domed plinth; and a figure seated in lalitasana raised on a globular base supported on a plinth (3) largest: 10.1cm high Provenance: Private Taiwanese collection

£300-500

82 GROUP OF THREE BRONZE BUDDHIST FIGURES 銅鑄佛教造像（一組三件）

comprising: the smallest gilt bronze figure of Virupa, the mahasiddha's right hand extending parallel to his ear in tarjani mudra, left hand holding a kapala cup, he wears a yogic band across his right shoulder, sits in lalitasana on a flayed deer skin bedding on a lotus seat, the base sealed and engraved with a crossed vajra, 8.8cm high; a gilt bronze figure of Shakyamuni, with right hand in bhumisparsha, the Buddha seated on a double lotus throne, his serene face detailed in pigments and flanked by large pair of ears; the base sealed with a plaque engraved with a crossed vajra, 11.6cm high; and the largest arhat, cast seated on a two-tiered plinth decorated with eight auspicious emblems in front and covered with a cloth draping to both sides, right hand in anjali mudra, left holding a prayer book with top inscribed, Tibetan inscriptions further on the back of the plinth, the base sealed with a plate engraved with a crossed vajra, 22cm high (3) largest: 22cm high £800-1,200

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83 PAIR OF GILT BRONZE FIGURE OF TEMPLE GUARDIANS QING DYNASTY, 18TH CENTURY

清 銅鎏金金剛力士立像（一對）

the figures standing fiercely on rock-podiums, arms raised, one holding a double-gourd, their flame-like hair pigmented in orange licking upward, adorned with necklaces and pendants, further with long billowing celestial scarves, their loose dhoti flapping in undulating hems with the striking pose, each base sealed with a plaque incised with double-vajra (2) 23cm high each; 26cm high with stand Provenance: Private German collection

£6,000-8,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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84 CLOISONNÉ ENAMEL 'LOTUS' TRIPOD CENSER XUANDE MARK BUT QING DYNASTY

清 宣德款 銅胎掐絲琺瑯纏枝蓮紋沖耳三足爐

the bowl-shaped body supported on three cabriole feet, flanked by a pair of upward-pointing curvy pierced handles, the exterior of the body decorated with a band of large stylised lotus blossoms against dark-blue ground, on the top of one yellow lotus inscribed with a six-character Xuande mark in gilding underneath a floral band, the base adorned with four lotus heads against turquoise-ground enamel (1) 18cm wide £3,000-5,000

85 CLOISONNÉ ENAMEL YELLOW-GROUND BOTTLE VASE QING DYNASTY, 19TH CENTURY

清 銅胎掐絲琺瑯黃地纏枝蓮紋瓶

of ovoid shape with elongated cylindrical neck, brightly enamelled overall on the body with scrolling lotus blossoms and tendrils, further decoration to the neck with a confronting pair of blue mythical beasts to each side, all against a yellow ground (1) 34.5cm high Provenance: Private English collection, acquired from a deceased Cornish collector

£3,000-5,000

85A GILT-BRONZE SEATED AVALOKITESHVARA POSSIBLY TANG DYNASTY

唐式觀音座像

the bodhisattva cast in seated posture dhyanasana, with his right hand resting on his right thigh and his left elbow supported on the other, the deity wears a dhoti and adorned with jewelled necklets, his head tied in high chignon decorated with elaborate tiara, overall richly gilded (1) 98cm wide x 79cm high x 36cm deep Provenance: Private Swiss collection

£5,000-8,000

41

86 PARCEL-GILT BRONZE FIGURE OF MAITREYA POSSIBLY QING DYNASTY

或為清代 局部鎏金銅鑄彌勒菩薩座像

magnificently cast seated upright in bhadrasana on a single-lotus pedestal atop a waisted plinth with two feet resting on a lotus, the waisted section of the plinth supported by four vajra on the corners, each side with two mythical beasts, the bodhisattva's hands in dharmachakra mudra at his heart, legs covered by his dhoti detailed with floral hem, richly adorned with beaded jewellery and ear rings, an elaborate five-leaf crown enclosing his high chignon, in front with another Buddha, flanked by lotus blossoms one atop with dharmachakra, another a penba hu, issuing toward his gentle face, gilded on the exposed flesh, the base unsealed (1) 28cm high Provenance: Property of a gentleman, the Netherlands

£15,000-25,000

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

42

87 CLOISONNÉ ENAMEL 'LOTUS' VASE QING DYNASTY, 19TH CENTURY

清 銅胎掐絲琺瑯蓮紋瓶

the tapering ovoid body rising to a tall waisted neck with lipped rim, brightly decorated against a turquoise ground with large lotus blooms borne on meandering leafy scrolls, the shoulder encircled with a raised gilt filet, the neck similarly decorated with lotus scrolls and flanked with two stylised copper handles (1) 18.8cm high £400-600

88 GILT BRONZE 'DOUBLE PHOENIXES' CANDLE HOLDER QIANLONG MARK BUT LATER

乾隆款 銅鎏金百寶嵌雉鷄形燭臺

cast as a pair of phoenixes on a high rock enclosing a hollowed tree trunk , the feathers and lingzhi featured by various inlaid gemstones, the base with a four-character Qianlong mark (1) 19cm high £800-1,200

89 CANTON ENAMEL CIRCULAR PLATE QING DYNASTY, 18TH CENTURY

清 珍華款 廣東銅胎畫琺瑯郭子儀祝壽圖盤

the copper body raising on a short circular foot, finely painted on the interior medallion with a scene of the birthday reception for General Guo Ziyi in terrace building, the cavetto with a dense foliage meander against a light blue ground, the reverse decorated with grape fruits on vines interspersed with prunus against a white ground, the base painted with a two-character 'Zhen-Hua' mark in double ovals lines, further encircled by a stylised blue chi dragon (1) 21.6cm diameter Provenance: Private UK collection, formally in a Singapore collection

£1,000-1,500

90 GILT BRONZE INLAID WITH CLOISONNÉ ENAMEL PANEL RECTANGULAR JARDINIERE 鎏金銅鏨胎嵌掐絲琺瑯長方形盆

supported on a tall, splayed foot, the canted edge terminating into a splayed mouth rim, the sides with foliated perforation inlaid with cloisonné enamel panels depicting small figures in garden setting, the mouth rim inlaid with square olive green and red glass (1) 32cm wide £1,000-1,500 See two other Canton enamel wares from a Private English collection on page 102, lots 244 and 245

43

91 GILT-BRONZE AND CLOISONNÉ ENAMEL GHANTA QING DYNASTY, 18TH-19TH CENTURY

清 鎏金銅胎掐絲琺瑯佛首鈴

the ritual hand bell cast in dome-shape, rising to a stupa-like tiered handle, the lowest a band of stylised bats, further with shaped ruyi and lobed bands, topped with a Buddha's head with two faces, the main body enamelled with highly stylised mirrored-image motifs against a turquoise ground, the top of the domed interior set with a loop (1) 20.5cm high Provenance: Private French collection Note: a comparable gilt-bronze and cloisonné-enamelled ghanta with Qianlong mark and of the period was sold at Bonhams Hong Kong, 27th May 2012, lot 316

£4,000-6,000

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

44

JADE & HARDSTONES 92 CELADON JADE ‘TRIPLE HUANG’ BI DISC HAN DYNASTY

漢 青褐玉三璜聯璧

comprising three flat arc-shaped sections, each with straight edges and a conical hole drilled at each end, the stone of yellowish celadon colour with russet and calcification inclusions (3) 9cm wide each Provenance: Private Taiwanese collection

£400-600

93 BLACK AND CELADON JADE CARVING OF A LUDUAN SONG TO MING DYNASTY

宋至明 灰青玉雕甪端擺件

carved with a unicorned mythical beast in seated position, the minutely carved head resting on its back, bushy tail wrapping around its left hind leg, the stone of uneven celadon and black colour (1) 4.8cm wide £1,500-2,500

94 PALE YELLOW SOAPSTONE CARVING OF A SEATED GUANYIN QING DYNASTY, 19TH CENTURY

清 黃白壽山凍石雕如意觀音座像

the figure shown seated with her right hand holding a ruyi sceptre and resting on her right knee, her left hand hidden within the sleeve of the gracefully draped robes and resting on a low table with a bat-head design and a clawed leg, her hair pulled up in a high chignon covered with a headscarf, the stone of even transparent pale yellowish tone (1) 14cm high Provenance: Private Taiwanese collection

£400-600

45

95 CELADON JADE WITH RUSSET SKIN CARVING OF A SEATED ARHAT LATE MING TO EARLY QING DYNASTY, 17TH CENTURY

明末清初 青玉帶皮雕戲獅羅漢

carved with a figure kneeling next to a beast, their bulging eyes gazing to one direction, his left palm covers the beast's mouth, he wears a robe with a knot under his chin, which partly drapes on the recumbent lion, his wrinkled face minutely detailed with an alerted expression, the stone of an even green colour with attractive orange russet infusions mainly on the front ending with streaks in the back (1) 5cm high £1,000-1,500

96 PALE CELADON JADE CARVING OF GUANYIN QING DYNASTY, 19TH CENTURY

清 青白玉雕持珠觀音立像

carved in round with a standing Guanyin Avalokitesvara dressing in a long robe, her right hand in vitarka mudra in front of her chest, holding a rosary in her left hand, flanked by a small water vase on a rocky foundation, the stone of even pale celadon colour (1) 24.5cm high £800-1,200

97 CELADON JADE BUDDHA TRIAD 青玉雕三世佛（一組三件）

each Buddha carved seated in padmasana, both hands in dhyana mudra holding a wish fulfilling gem, backed with a Mughal style gold-inlaid, gem-set, and carved white jade shaped mandorla, all above a cloth-padded carved wooden double-lotus throne (3) Buddha: 6.1cm high each; overall: 11.5cm high £300-500

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

46

98 SMALL PALE CELADON JADE 'QIN' BELT HOOK QING DYNASTY, 18TH-19TH CENTURY

清 青白玉雕龍首琴身帶鉤

carved with a dragon's head forming the hook, the gentlely arched shaft carved in relief in the form of a qin musical instrument, reverse of the shaft with a round knob, the stone with a pale white tinge (1) 6.5cm wide Provenance: Private Taiwanese collection

£400-600

99 WHITE JADE 'BOY AND GOURD' PENDANT QING DYNASTY, 18TH-19TH CENTURY

清 白玉雕童子葫蘆吊墜

carved in round with a boy seated astride a gourd, the boy adorned with a ruyi-shaped necklace and carrying a branch of ruyi fungus over his right shoulder, the semi-translucent stone of an even white tone (1) 4.5cm high £1,000-1,500

100 WHITE JADE PENDANT OF A MYTHICAL BEAST QING DYNASTY, 18TH CENTURY

清 白玉雕瑞獸吊墜

carved in round with its legs tucked underneath its body, the arched body finely carved in relief with swirling wings, the horned head well defined with bulging eyes and upturned snout, the stone of even white colour (1) 5.8cm wide £2,000-3,000

101 'CHICKEN-BONE' JADE CARVING OF A CHICKEN MING DYNASTY

明 雞骨白玉雕雞形擺件

carved in seated position with its feet tucked underneath, its head turned right looking backwards with an alerted expression with bulging eyes, the body naturalistically carved with feathers, the stone of creamy colour with variegated russet and brown inclusions (1) 6cm wide £200-300

47

102 WHITE JADE 'DOUBLE-GOURD' PENDANT QING DYNASTY, 18TH-19TH CENTURY CENTURY

清 白玉雕福祿葫蘆形吊墜

finely carved of a double-gourd form, decorated with a further gourd carved in high relief beneath a flying bat, the stone of even white colour (1) 5cm high £2,000-3,000

103 WHITE JADE HAT FINIAL QING DYNASTY, 17TH CENTURY

清 白玉雕花間行龍爐頂

carved in reticulation as a sinuous, four-clawed dragon rising from a meander of formal lotuses, the oval base with four small circular piercings to the underside, the stone with scattered cloudy white and russet inclusions (1) 5.2cm wide Provenance: formerly in a private English collection

£5,000-7,000

104 YELLOWISH CELADON JADE CARVING OF A DOG QING DYNASTY, 18TH-19TH CENTURY

清 青玉雕臥狗擺件

carved in round as a recumbent dog with its head tucked between its front legs, the tail curling around its rear hind, the stone of even rich green tone with yellowish tinge and patches of russet skin (1) 6.8cm wide Provenance: Private French collection

£2,000-3,000

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

48

105 CELADON JADE CARVING OF BOYS AT PLAY QING DYNASTY, 19TH CENTURY

清 青玉雕嬰戲擺件

depicting a boy lying sideways with crossed legs, his head looking up, his right palm resting on the head of an infant crawling in front, their faces and clothes incised with details, the stone of even celadon colour (1) 5cm wide £500-700

106 WHITE JADE 'DRAGON' BELT HOOK MING DYNASTY, 17TH CENTURY

明 白玉雕龍形帶鉤

finely carved with a horned dragon's head forming the hook, the top of arched shaft carved in low relief with a diamond-shaped flower head flanked by archaic swirling motifs, reverse of the shaft with a round knob, the stone with an even white tone (1) 10cm wide £800-1,200

107 GROUP OF SIX JADE PIECES 各式玉雕（一組六件）

comprising: a small pale celadon dish of hexagonal form, 9cm wide; a wide jade sword slide of plain sides, 5cm wide; a yellowish-celadon jade thumb ring with russet skin, the exterior carved with buffaloes under pine tree, 3.1cm diameter; a chicken-bone white jade thumb ring with some darker area, the exterior incised with a flower and some small Chinese characters, with some remanent of gilding in the concave parts, 2.8cm diameter; a brownish-celadon jade square seal carved with a qiling as a knob, 2.2cm wide; together with a chicken-bone white jade square seal with inscription and a rectangular knob, 2cm wide (6) largest: 9cm wide £200-300

49

108 YELLOW JADE RIBBED VASE QING DYNASTY, 18TH-19TH CENTURY

清 黃玉弦紋瓶

of oval section, raised on a pedestal foot and terminated in a gently flared rim, the body with three evenly spaced double-ribs, the neck with a further double-rib and flanked by a pair of dragon-scroll handles, the semi-translucent stone is of yellow colour with areas of pale milky brown inclusions (1) 13.7cm high £10,000-15,000

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

50

109 WHITE JADE CARVING OF A TOAD QING DYNASTY, 17TH-18TH CENTURY

清 白玉雕蟾蜍

the pebble carved in the round as a crouching toad looking to its left, the lustrous white stone cleverly worked with some yellowish skin on its back (1) 4cm wide Provenance: formerly in a private English collection formed in the 1960's

£4,000-6,000

110 PALE CELADON JADE 'DRAGON' BELT HOOK QING DYNASTY, 18TH-19TH CENTURY

清 青白玉雕龍形帶鉤

carved with a dragon's head forming the hook, the top of gently arched shaft carved in a sinuous chi dragon, reverse with a round knob, the stone of even pale celadon tone (1) 10.7cm wide Provenance: Private English collection, acquired from a deceased Cornish collector

£800-1,200

111 PALE CELADON JADE ARCHAISTIC 'GUI' TABLET QIANLONG MARK, 18TH-19TH CENTURY

清 乾隆款 題詩白玉圭

the plaque tapering to a tip, a median ridge on one side, the ridged side finely incised on top with a seven-star Chinese constellation, middle with a poem, signed Qianlong on the Spring of Ji Hai year, lower with a stylised pointy rock in the middle of ferocious crashing waves, the reverse top with a circular 'Gu Xi Tian Zi', the middle inscribed and signed similarly in autumn, and the lower part with 'Wu Fu Wu Dai Tang Bao' in a square panel, the stone of translucent even white tone, set on a carved wooden bespoke stand (1) 26.2cm high; 30cm high with stand £3,000-5,000

51

112 PAIR OF PALE CELADON JADE CARVINGS OF GARUDA QING DYNASTY, 18TH-19TH CENTURY

清 青白玉雕人形迦樓羅吊墜（一對）

finely rendered as a mirrored-image mythical creature garuda, each carved as a courtly human figure hybrid from waist down with large clawed-legs, holding a lingzhi sprig pointing downward with one hand, the other a belt across his body, wearing court hat, flanked with wings issuing from the back, incised with feathery details (2) 6cm high each Provenance: Private French collection

£2,000-3,000

113 WHITE JADE ARCHAISTIC 'GUI' CENSER QING DYNASTY, 18TH-19TH CENTURY

清 白玉雕簋式爐

of archaic vessel gui form, the bulbous body supported on a stepped ring foot, carved with highly stylised taotie masks to each side with raised vertical flanges sectioned the body, flanked by a pair of looped dragon head biting the rim as handles set with rings, the stone of shades of yellowish white tone suffused with russet streaks on the foot (1) 21cm wide Provenance: Private English collection

£3,000-5,000

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

52

114 JADEITE 'GOAT' SEAL REBUPLIC PERIOD, 20TH CENTURY

民國 翡翠玉雕羊鈕方章

carved with a recumbent goat on a cubic podium as a knob, each side of the podium decorated with a band of key-fret on the upper part, the stone of an even celadon tone (1) 4cm high £200-300

115 JADEITE 'TWIN COINS' PENDANT 翡翠雕雙銅錢吊墜

carved in reticulation of two coins flanked by two bats in flight and underneath a branch of peach fruits, each coin incised with auspicious Chinese character on the reverse, the stone of transparent crystal texture with dark green inclusions (1) 6.3cm wide £500-700

116 TWO JADE PENDANTS QING DYNASTY, 19TH CENTURY

清 玉雕'蝙蝠菱角'及'豆莢' 吊墜（一組兩件）

one carved in the form of two water chestnuts with a bat hovering above and a cicadas perching at one corner, the celadon stone of greyish tinge; the other carved with a branch of legumes with leafy foliage, one side carved cleverly with original yellowing skin left on the leaves, the stone of translucent white colour (2) heights: 5.5cm and 5cm £200-300

117 WHITE JADE CARVING OF A SNAKE QING DYNASTY, 19TH CENTURY

清 白玉雕盤蛇

attractively rendered in openwork as a coiling snake, the top side of the sinuous body incised with diamond pattern, belly detailed with ridges, the diamond-shaped head minutely silhouetted and with eyes, the stone of translucent white colour (1) 5.5cm wide £600-800

53

118 SOAPSTONE 'CHI DRAGON' SEAL 19TH-20TH CENTURY

十九到二十世紀 壽山石雕‘德日新’三螭鈕章

of ovoid form with the finial carved in openwork and high relief with a mother chi dragon playfully nipping at the haunches of her two wrestling cubs atop an oval seal, the seal read 'De Ri Xin ('Virtue renewed every day') ' encircled with a pair of sinuous chi dragons, the stone of uneven creamy white and yellowish skin colour (1) 7.2cm high Provenance: Private European collection

£3,000-5,000

119 HARDSTONE-INLAID JADE-EMBELLISHED HAND MIRROR QING DYNASTY, 19TH CENTURY

清 鑲白玉牌及青白玉帶鉤嵌寶石手鏡

the metal mounting set with a reticulated white jade 'peach tree' plaque, 12.6cm wide and a pale celadon jade 'chi dragon' belt hook, 13.3cm wide; the jade dated to 19th century and the metal mount dated to late Qing to early Republic period (1) 28.5cm wide £3,000-5,000

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

54

120 WHITE JADE 'DRAGON' BANGLE QING DYNASTY, 19TH CENTURY

清 白玉雕雙螭龍如意雲紋手鐲

of circular form, the exterior finely worked in relief with two sinuous chi dragons meandering against a ruyi cloud ground, the finely polished semi-translucent stone of an even white colour (1) 6.5cm outer diameter; 4.7cm inner diameter Provenance: property of a gentleman; formerly in the collection Pietro Accorsi (1891-1982), one of the most renowned Italian antique dealers, Note: Two jade bangles similarly carved in relief with chi dragons were in the Qing Court collection and are now in the collection of the National Palace Museum, Taipei, collection numbers Gu Yu 故玉 7977 and 9618; two other comparable white jade bangles carved in relief with floral motifs were sold at Bonhams Hong Kong, 27th November 2018, lot 189

£1,000-2,000

121 WHITE JADE PLAQUE QING DYNASTY, 18TH CENTURY

清 子岡款 白玉雕蓮池御製詩玉牌

carved in mid relief on one side with a lotus pond, cleverly leaving the original yellowish skin on the large lotus leave, pod and the blossoming flower, the other side with a corresponding imperial poem, all below a ruyi cloud pattern, the stone of even translucent white colour (1) 5.8cm high Provenance: property of a gentleman; formerly in the collection of Frederick H Jewell (1836-1906), acquired from Hong Kong in 1903, thence by descent

£2,000-3,000

122 PAIR OF CELADON JADE CUPS QING DYNASTY, 19TH CENTURY

清 青玉酒杯（一對）

each supported on a short straight foot, the plain sides terminated in a slightly inward mouth rim (２)

5.5cm diameter each

Provenance: property of a gentleman; formerly in the collection of Frederick H Jewell (1836-1906), acquired from Hong Kong in 1903, thence by descent

£1,000-1,500

55

123 WHITE JADE WITH RUSSET SKIN 'HERMIT'S HUT' SNUFF BOTTLE QING DYNASTY, 18TH CENTURY

清 白玉留皮雕隱士廬圖鼻煙壺

carved from an oval pebble with the interior hollowe from the narrowest point as a container, one side carved with two small houses in mountainous landscape in low relief, the other side incised with a hermit's hut at a bay and a corresponding poem, the stone of white tone with russet inclusions and original brownish skins (1) 6.5cm high

reverse

Provenance: property of a gentleman; formerly in the collection of an European diplomat Sven Hedin (1865-1952) who acquired it from Hong Kong in 1930s

£1,500-2,500

124 WHITE JADE WITH RUSSET SKIN SNUFF BOTTLE QIANLONG PERIOD

清乾隆 白玉留皮詩文鼻煙壺

carved from a pebble and hollowed the interior out from the narrowest point as a container, one side carved with a prunus tree in low relief on the original yellowish skin, the other side incised with a corresponding poem, the stone of even white tone (1) 5cm high Provenance: property of a gentleman; formerly in the collection of an European diplomat Sven Hedin (1865-1952) who acquired it from Hong Kong in 1930s

£2,000-3,000 reverse

125 WHITE JADE CARVING OF AN APSARA QING DYNASTY, 18TH CENTURY

清 白玉雕飛天吊墜

carved in round with a flying deity apsara dressing in a long robe with scarf floating horizontally due the the wind blow, her bare foot revealed beneath the clothing, her head half raised with jewelled high chignon topped with floral crown, both arms extending forwards in different mudras, a band of swirling clouds supporting her underneath, the stone of even white colour (1) 8cm wide Provenance: property of a gentleman; formerly in the collection of an European diplomat Sven Hedin (1865-1952) who acquired it from Hong Kong in 1930s

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

56

126 RARE PALE CELADON JADE CARVING OF A BIXIE WESTERN HAN DYNASTY

西漢 青白玉雕辟邪

the mythical beast carved in round, prowling with the right front leg striding forward, its head baring with ferocious teeth and bulging eyes, the muscular body of the horned beast rendered with a large pair of wings extending from the front haunches and detailed with fine plumage, echoing the contours of the long tail, its abdomen carved in relief with male feature, the celadon stone suffused with faint russet inclusions (1) 7.5cm wide Provenance: Private English collection Note: A closely related carved jade bixie, also dated to the Han dynasty in the Palace Museum, Beijing, is illustrated in The Complete Collection of Treasures of the Palace Museum, Jadeware (I), Hong Kong, 1995, p. 240, no. 201.Compare also to another bixie dated to the Western Han dynasty in the collection of the Xianyang Museum in Shaanxi province, illustrated in Zhongguo yuqi quanji-qin han, vol. 4, Shijiazhuang, 1993, p. 109, no. 148.

£3,000-5,000

127 WHITE JADE WITH YELLOW SKIN CARVING OF A BUDDHIST LION QING DYNASTY, 18TH CENTURY

清 白玉帶皮雕佛獅擺件

the pebble carved in round as a recumbent fo-dog looking to its left, with its back arched in an elegant curve and tail coiling on its right rear hind, the head well defined with bulging eyes and body finely carved with maned body, the lustrous white stone cleverly worked with some yellowish skin on one side (1) 6.5cm wide Provenance: Private English collection

£4,000-6,000

57

128 RARE WHITE JADE 'DAYLILY' PENDANT JIN DYNASTY, 12TH CENTURY

金 白玉雕萱草花珮

carved on the domed surface in openwork with two symmetrical daylilies blossoming with three luscious leaves, with well-defined flower petals and veins of the leaves, the stone of pale white tone with some white spot inclusion, some metal corrosion stuck in between the concave parts on the back side (1) 7.5cm wide Provenance: Private English collection; acquired form UK market about 10 Years ago; possibly sold to the UK market during the mid-20th century for earning foreign currency Note: a closely comparable example, dated to the Jin dynasty, is in the collection of the National Museum of China

£4,000-6,000

129 WHITE JADE WITH RUSSET SKIN CARVING OF A BUFFALO WITH BOYS QING DYNASTY, 18TH-19TH CENTURY

清 白玉帶皮雕童子牧牛擺件

delicately carved in round with a recumbent water buffalo with its right foreleg half raised and the rest tucked underneath it body, two herdboys on its right side as one holding a long rope in control of the animal, the white stone with russet inclusions (1) 7cm wide Provenance: Private English collection, acquired from Christie's London "The Art of China: Featuring the Arnhold Collection, Sale 17412, lot 51; previously in the collection of the late Gerard Arnhold (1918-2010) , who has donated part of his collection to The Oriental Museum of the Durham University, and part of the collection offered at Christie's sale in 2019 Note: a closely comparable jade carving of boy with water buffalo, dated to the Qianlong period, is in the Florence and Herbert Irving jade collection at the Metropolitan Museum of Art, accession number: 2015.500.5.15

£6,000-8,000

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

58

130 CELADON JADE OVAL BELT HOOK LIAO TO YUAN DYNASTY

遼至元 青玉雕魚塘荷花'春水紋'橢圓形帶扣

carved in openwork on a domed surface with a large carp swimming in a lotus pond, the stone of a even green tone (1) 7.5cm wide Provenance: Private English collection Note: a comparable oval jade belt hook, carved in openwork with a crane flying above a lotus pond, was excavated from the tomb of a Yuan-dynasty General Qian Yu in 1960, and currently in the collection of the Wuxi Museum, Jiangsu Province

£2,500-3,500

131 WHITE JADE 'MONKEY ON HORSE' BELT HOOK QING DYNASTY, 18TH CENTURY

清 白玉雕馬上封侯玉帶鉤

intricately carved with a horse's head forming the hook, confronting three monkeys climbing around a peach on top of the gently arched shaft, reverse of the shaft with a round knob, the stone with a pale white tinge with a touch of brownish skin at the end (1) 8.5cm wide Provenance: Private English collection

£1,200-1,800

132 PALE CELADON JADE THUMB RING QING DYNASTY, 18TH-19TH CENTURY

清 青白玉扳指

of cylindrical form, plain sides, the stone of even pale green colour (1) 3.3cm outer diameter, 2.3 cm inner diameter Provenance: Private English collection

£500-700

133 SET OF CELADON JADE 'DRAGON' BELT HOOKS MING TO QING DYNASTY, 17TH-18TH CENTURY

明至清 青玉雕蟠龍帶鉤（一組）

composed in two parts, one part carved in openwork with a form of sinuous chi dragon with its body knotted in lobbed geometric form and its head forming the hook, the other part similarly with a knotted body in openwork and a looped end, the stone of even celadon colour (2) overall 10.5cm wide Provenance: Private English collection

£2,000-3,000

59

134 YELLOWISH CELADON JADE 'GOAT-HEAD' CUP MING DYNASTY

明 青黃玉雕羊首螭虎尊

the oblong shaped vessel supported on a waisted circular foot, engraved to both sides of the body with highly stylised chi dragons, one side of the rim rising to a goat's head with prodigious backward-curling horns, the opposite with a high-relief ferocious chi dragon clinging on the mouth of the cup with front paws, body swinging to one side with curvy tails, the stone of luscious green colour with yellowish tinge (1) 9.5cm wide Provenance: Private English collection, acquired from Italy

£6,000-8,000

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

60

135 PALE CELADON JADE DOG 青白玉雕狗形擺件

carved as a slender recumbent dog with its head slightly raised to right above two front legs, ears tucked down, tail coiling on rear hind, the stone of even translucent pale green colour with patches of dark brown skin especially on its rear hind and its nose tip (1) 8.7cm wide Provenance: Private Spanish collection, Barcelona

£400-600

136 PALE CELADON JADE 'DRAGON AND PHOENIX' PLAQUE 白玉'龍鳳呈祥'玉牌

each side carved in low relief with four-character in an oval cartouche, all below a dragon and a phoenix atop, the stone of even translucent pale celadon colour (1) 6.5cm high Provenance: Private Spanish collection, Barcelona

£400-600

137 PALE CELADON JADE FAN 青玉雕喜上梅梢扇

carved in the form of a handled fan, one side carved in mid relief with a magpie perching on a prunus growing from a rock, the reverse plain without decoration, the stone of even pale celadon tone (1) 32.5cm wide £2,500-3,500

61

138 PALE CELADON JADE 'IMMORTAL' PLAQUE 清白玉雕仙人玉牌

of rectangular form, one side carved in high relief with three immortals underneath a large pine tree, surrounded by cranes and lingzhi fungus, the stone of pale celadon colour with yellowish tinge (1) 11.5cm high Provenance: Private Spanish collection, Barcelona

£1,800-2,200

139 WHITE JADE CARVING OF AN ELEPHANT QING DYNASTY, 19TH CENTURY

清 白玉雕太平有象把件

finely rendered in round as an arched-back recumbent elephant with the ruyi-headed trunk tucked to the right side of its folded foreleg, the body incised with details, the stone of an even translucent white tone with charming patches of russet skin on the forehead and tip of the tusks (1) 7cm long Provenance: property of a gentle man; formerly from a private German collection, acquired from Beijing in 1965, thence by descent

£1,000-2,000

140 PALE CELADON JADE BOWL QING DYNASTY, 19TH CENTURY

清 青白玉淺碗

the shallow, rounded sides rising from a slightly recessed base to a straight rim, the pale green stone with russet inclusions and opaque white flecking (1) 11cm diameter Provenance: property of a gentle man; formerly from a private German collection, acquired from Beijing in 1965, thence by descent

£1,000-1,500

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

62

SNUFF BOTTLES & GLASS 141 CARVED BUFFALO HORN SNUFF BOTTLE QING DYNASTY, 19TH CENTURY

清 牛角雕螭龍鼻煙壺

of flattened ovoid tapering form, each side carved in high relief with a chi dragon crawling to the shoulder and opposite to each other, the tail estending across the exterior, with a horn domed stopper (1) 9.4cm high Provenance: Private English collection Note: a closely comparable buffalo horn snuff bottle similar carved with chi dragon was sold at Lyon & Turnbull on 30th March 2011, lot 82

£500-700

142 GROUP OF THREE ROCK CRYSTAL SNUFF BOTTLES LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初 水晶雕三星鼻烟壺（一組 三件）

carved as Sanxing, the gods of the three stars, the Fu Xing (God of Fortune) holds a staff, pointed hat as stopper, the Lu Xing (God of Prosperity) holds a spectre, a rounded hat as stopper, and the Shou Xing (God of Longevity) holds a peach, a balled-hat as stopper (3) largest: 9.4cm high Provenance: Collection of Dr John A Packer, Edinburgh

£200-300

143 GROUP OF THREE PAINTED ENAMEL SNUFF BOTTLES QIANLONG MARK

乾隆款 銅胎畫琺瑯鼻烟壺（一組三件）

comprising: one of flattened globular form, finely enamelled to both sides with a blonde European mother with her son; other two of bulbous body, the sides respectively decorated with peonies against a black ground and prunus on branches against red ground, each base inscribed with a four-character Qianlong mark (3) largest: 6cm high £300-500

63

144 GROUP OF TWO SNUFF BOTTLES QING DYNASTY, 19TH CENTURY

清 青金石雕佛手 及 霏雪地套紅料螭龍紋鼻烟壺（一組 兩件） comprising: a lapis lazuli piece carved as a Buddha's hand citrus, topped with a brownish branch-shaped stopper; and a translucent-white Peking glass flattened double-gourd shaped bottle, overlaid with red sinuous chi-dragon to both sides, topped with a red stopper (2) heights: 8cm and 6.5cm Provenance: Collection of Dr John A Packer, Edinburgh

£200-300

145 PAINTED ENAMEL SNUFF BOTTLE QIANLONG MARK, 18TH CENTURY

清 乾隆款 銅胎畫琺瑯花鳥紋鼻 烟壺

reverse

of flattened globular form, finely enamelled to both sides in circular cartouches enclosed by filigree with birds perching on branches, with luscious peony and lotus blooms, all against a dark green ground moulded with gilded filigree, with a pink glass stoper, the base inscribed with a four-character Qianlong mark (1) 5.5cm high Provenance: Private English collection

146

£600-800

IRON-RED 'BUDDHIST LION' SNUFF BOTTLE QING DYNASTY, 19TH CENTURY

清 礬紅彩瑞獅紋鼻煙壺

of tapered cylindrical form, finely painted on the body with a pair of beasts, the larger in iron-red, smaller grisaille, the countersunk base unmarked, with a fitted wooden stand (1) 8cm high Provenance: Collection of Dr John A Packer, Edinburgh

£200-300

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

64

147 PAIR OF BLUE-OVERLAY WHITE PEKING GLASS BOWLS QING DYNASTY, 19TH CENTURY

清 涅白地套藍料金魚紋對碗

each of the translucent blue overlay carved through to the translucent white ground with two goldfish swimming freely amongst lotus flowers and leaves, the foot and the outer mouth rim further with bands of blue-overlay (2) 5.2cm diameter each Provenance: Collection of Dr John A Packer, Edinburgh

£200-300

148 GROUP OF FIVE YELLOW PEKING GLASS WARES 20TH CENTURY

二十世紀 乾隆款 各式黃料器（一組五件）

comprising: the largest a vase of baluster shape, carved on relief with dramatic shanshui landscape on an ovoid cartouche on both sides with inscriptions, all against a repetitive triangular ground, unmarked; a yuhuchun vase, decorated to the bulbous body with a pair of five-clawed dragons each chasing a flaming pearl; a cylindrical brush pot carved with carps hopped off undulating water with high stems of lotus; a prunus and bird-decorated lidded cup; and a circular box with cover, carved with five bats and eight-auspicious emblems, except the largest vase, all bases incised with a four-character Qianlong mark (5) largest: 30cm high Provenance: Collection of Dr John A Packer, Edinburgh

£500-700

65

149 IMPERIAL RED-OVERLAY TRANSLUCENT GLASS BOTTLE VASE QIANLONG MARK AND OF THE PERIOD

清乾隆‘乾隆年製’方框刻款 霏雪地套紅料瓶

the body and neck carved through a layer of ruby red glass to a snowflake ground with peony and lotus sprays in circular cartouches, the spandrels with continuous floral meander, the neck with fan-shaped panels containing prunus and lotus, the base incised with a fourcharacter Qianlong mark within square panel (1) 27.3cm high Provenance: Private English collection, acquired from Christie's London, 13 November 2001, lot 105 Note: a smiliar pair which also bear Qianlong marks, illustrated in Elegance and Radiance: Grandeur in Qing Glass, The Andrew K.F. Lee Collection, Hong Kong, 2000, p. 296, no. 111. The style of carving of the ruby-red overlay to the snowflake ground is highly similar; another closely comparable white glass with red overlay vase, similarly with a four-character Qianlong mark and dated to the late 18th century, is in the collection of the Philadelphia Museum of Art, accession number 1925-27-93; a further comparable example was sold at Christie's Hong Kong, Live Auction 3322 on 28th May 2014, lot 3496

£4,000-6,000

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

66

PAINTINGS & WORKS ON PAPER 150 THANGKA DEPICTING AVALOKITESVARA SHADAKSHARI QING DYNASTY, 19TH CENTURY

清 四臂觀音唐卡

seated on a multi-coloured lotus throne, the white-bodied chaturbhuja deity holds a sinuous lotus and mala with two hands, additional two folded in anjali mudra, elaborately adorned with necklaces, bangles and crown, wears a colourful patchwork dhoti detailed in various patterns, flanked on either side by two attendant deities Manidhara, the Jewel Holder, and Shadaksari Mahavidya, who reflects him in female form, above them a pair of makara decorated the throne and surmounted by zeepa above a Buddha, orderly surrounded by a divine entourage and lineage masters (1) 88.54cm x 74.5cm Provenance: Private London collection

£3,000-5,000

151 THANGKA DEPICTING CHAKRASAMVARA QING DYNASTY, 19TH CENTURY

清 勝樂金剛唐卡

with a body blue in colour, four faces, striking in alidhasana on a multi-coloured lotus throne, his twelve arms hold various ritual implements and a flayed elephant skin out-stretched, in yab-yum form with Vajravarahi, the red-skinned consort clinging on his left thigh, bare body adorned, all before a floral-flame prabhamandala, surrounded in neat compartments of monks, lineage figures and protector deities (1) 47cm x 38cm Provenance: Private London collection

£1,500-2,500

152 THANGKA DEPICTING VAJRADHARA QING DYNASTY, 19TH CENTURY

清 金剛總持唐卡

the dark blue-skinned deity seated cross-legged on a multi-coloured lotus throne elevated on a snow-lion-decorated podium, wearing a red dhoti, shoulders covered by green shawl, body and arms adorned, both hands crossed before the chest holding vajra and ghanta, face in a serene expression underneath an eight-leaf crown, flanked by four protector deities and disciples, all against a dark background (1) 48cm x 37cm Provenance: Private London collection

£1,500-2,500

67

153 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 Note: The 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'.

In Tibet, moxibustion 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

£1,200-1,500

154 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 another 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 Note: The 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 variety of herbology from the 'Exegetical Tantra'.

Tibetan 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

£1,200-1,500

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

68

155 THANGKA DEPICTING GREEN TARA QING DYNASTY, 19TH CENTURY

清 綠度母唐卡

seated in lalitasana on a multi-coloured lotus throne elevated with a pedestal, her right foot resting on a smaller pink lotus, left hand raised in abhaya mudra and right lowered in varada mudra, both issuing a lotus stem, wears a creamy coloured top finely detailed with scrolling lotus, heavily adorned with features in gilt, a colourful band surrounding her, further with a band of lineage masters, out with mountainous and celestial landscapes scattered with Buddhist teaching narratives (1) 97cm x 66cm Provenance: Private London collection

£3,000-5,000

156 THANGKA DEPICTING AMOGHAPASHA QING DYNASTY, 19TH CENTURY

清 不空羂索觀音唐卡

standing upright on a lotus throne with the body slightly tilted to his left, the eightarmed avalokiteshvara holds a ghanta, lotus stem, and lasso as his distinguished implement, others in various mudras, wears a layered dhoti, bare body adorned with bangles and necklaces, his crown surrounds a high chignon above a peaceful expression flanked by a pair of big ear rings, all before an elaborate pillared prabhamandala, beyond with four inscriptions each in a roundel (1) 48cm x 37cm Provenance: Private London collection

£1,500-2,500

69

157 ZHANG DANNONG (CHINESE B.1903-D.1975) WEST TAIHUA MOUNTAIN, DATED 1932 AND 1952

一九三二年畫 張丹農 太華西峰圖水墨掛軸 紙本設色

ink and watercolour on paper, scroll, inscribed to the lower right with a poem describing the landscape of West Taihua Mountain, dated August in the year of Ren Shen (corresponds to 1932), signed and stamped, left top with: 'In memory of the Duke and Duchess of Kent's visit to Malaya, gifted in September 1952 in Xing Zhou (now Singapore)', signed and stamped (1) 119cm x 42.2cm Provenance: Private Scottish collection Note: According to the inscription, the Duke and Duchess of Kent referred to would be Prince George, Duke of Kent (1906 - 1968) and Princess Marina of Greece and Denmark (1906-1968), recorded visited Sarawak (then a British Crown Colony) in 1952, where she laid the foundation stone of the Cathedral of St. Thomas in Kuching.

£500-700

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

70

158 CHEN YANNING (CHINESE 1945-) ROARING TIGER

陳衍寧《虎嘯圖》鏡框 紙本設色

ink and colour on paper, framed, titled, stamped and signed upper right (1) 58.5cm x 38.6cm; 80cm x 58.6cm overall Provenance: Susan J and Michael Gassaway (Syllavethy Gallery, Aberdeenshire), with a letter of authenticity stating that the work was painted in the gallery during his visit to the Britain in 1986 under the sponsorship of the gallery by an official invitation from The Scottish Arts Council.

Note: Mr and Mrs Gassaway met Chen Yanning on a trip to China in 1984, when he was the Head of the Guangdong Institute of Fine Art. To reciprocate his hospitality, Susan and Michael invited Yanning to visit the UK to view some of the Old Masters of Western Art that he had only seen in books back in China. Two years later, Yanning arrived in Aberdeen and together with Susan and Michael, he visited the museums in Scotland and London. Yanning made the museum attendants nervous as he wanted to get up close to study the thickness of paint on his favourite masterpieces. He, Susan and Michael communicated by using sign language and drawing sketches and quickly established a great friendship.

A comparable ink painting of three reclining tigers resting on a rock, also painted by Chen Yanning in 1986, was sold at Duton's Tianjin, China, 18th Dec 2011, lot 115

£800-1,200

159 FEMALE DEITY 'SONGZI NIANGNIANG' COLOUR ON PAPER QING DYNASTY, 19TH CENTURY

清 送子娘娘圖 框 紙本設色

painted with a female deity seated on a chariot pulling by a lion and protected by a guardian god, followed by a female attendant holding a large fan, below the scene with a various female figures each holding a new-born babe in hands (1) 142.5cm x 75.5cm Note: Songzi Niangniang (The Maiden Who Brings Children), also referred to in Taiwan as Zhusheng Niangniang (註生娘娘), is a Taoist fertility goddess.

She has been identified with many historical figures and often depicted as Guan Yin herself in drawings or as an empress figure, much like Xi Wangmu and Mazu.

£500-700

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CERAMICS

INCLUDING A PRIVATE SCOTTISH COLLECTION (168-172) AND A PRIVATE ENGLISH COLLECTION (244-248) 160 LARGE STRAW-GLAZED AMPHORA TANG DYNASTY

唐 白釉雙龍耳尊

of tapered ovoid form, the narrow cylindrical and ribbed 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 an uneven line around the middle, exposing the burnt orange body, with a wooden stand (1) 35cm high Provenance: Private English collection, Brighton

£3,000-5,000

160A PAINTED POTTERY FIGURE OF A HORSE TANG DYNASTY

唐 加彩陶馬

moulded on a rectangular platform standing sturdily on four legs, mouth closed and ears laid back in tamed and calm manner, a cloth draped over the saddle and gathered on the sides flaps, with traces of red pigments, in a glazed case (1) 27.5cm wide £1,000-1,500

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

72

161 SANCAI BOX AND COVER TANG DYNASTY

唐 三彩圓蓋盒

of circular shape, the exterior covered with an attractive mottled green, amber and straw glaze stopping just above the foot and revealing the buff body, with a Japanese tomobako wooden box (1) 5.6cm diameter £300-500

162 GREEN-GLAZED CUP TANG DYNASTY

唐 綠釉杯

supported on a short foot with flattened base, rising to rounded sides and gently everted rim, applied with a luscious green glaze in the interior and stops irregularly around the middle of the exterior, exposing the creamy buff body, with a fitted Japanese cloth pouch and a tomobako wooden box (1) 8.5cm diameter Provenance: Private Taiwanese collection, formally in a private Japanese collection

£500-700

163 POTTERY DOG NORTHERN WEI DYNASTY

北魏 陶狗

moulded as a recumbent dog on a plinth, its head tucked between two front paws, the body hallowed from the base (1) 17.7cm wide Provenance: Private Taiwanese collection

£300-500

73

164 AMBER-GLAZED VASE LIAO DYNASTY

遼 褐釉長頸瓶

supported on a slightly everted foot to wide shouldered body, moulded with a ribbed and elongated trumpet-mouth, applied overall stopped short of the foot with amber-coloured glaze, exposing the creamy buff body (1) 29.2cm high £400-600

165 DING-TYPE PEAR-SHAPED VASE NORTHERN SONG DYNASTY

北宋 定窯長頸白釉膽瓶

of elegant classic pear-shape, supported on a straight foot rising to a rounded body surmounted by a slender neck gently flaring at the mouth, covered overall in a rich ivory-white glaze with characteristic teardrops but for the unglazed ring foot revealing the crisp whitish-grey body, with a Japanese wooden tomobako box (1) 14.8cm high Provenance: Private Taiwanese collection

£1,600-2,200

166 JIZHOU 'TORTOISESHELL' GLAZED BOTTLE VASE SOUTHERN SONG DYNASTY OR LATER

南宋或以後 吉州窯玳瑁釉膽瓶

the pear-shaped body supported on a short foot, extending upwards with a slender neck and terminating to a lipped rim, the exterior and the upper part of the interior covered with a rich dark brown glaze liberally splashed in translucent golden glaze imitating mottled tortoiseshell, the base unglazed revealing the buff body (1) 15.5cm high Provenance: Private Taiwanese collection

£600-800

167 CIZHOU WHITE-GLAZED CARVED 'FLORAL' DISH NORTHERN SONG OR JIN DYNASTY

北宋或金 磁州窯白釉劃花折沿盤

the widely flared, rounded sides with a flattened rim, the interior carved with a large floral spray, the body covered overall with a white slip and under a clear glaze that falls irregularly on the exterior towards the unglazed foot to expose the pale grey stoneware; with an old Japanese paper label on the base (1) 17.6cm diameter Provenance: Private Taiwanese collection

£600-800

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

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A PRIVATE SCOTTISH COLLECTION (168-172)

168 DING WARE 'FOLIATE' BOWL NORTHERN SONG DYNASTY

北宋 定窯白釉花口碗

the deep rounded lobed sides rising from a short straight foot to an everted foliate rim, applied on the thinly potted body save for the foot rim with an ivory white glaze (2) 12.1cm diameter Provenance: Private Scottish collection, has been collecting Asian ceramics for 25 years; acquired from R & G McPherson Antique, Kensington Church Street, London on 14 June 2002, with a photocopied handwritten receipt which states the piece dates to Northern Song Dynasty, c. 11th Century

£500-800

169 BLUE AND WHITE 'POEM' STEM CUP YUAN DYNASTY

元 青花詩文高足杯

the deep rounded sides of the cup supported on a gently tapered foot and raised to an everted rim, the exterior inscribed in cursive script within two bands with 'Bai Nian Chang Ci Zui San Wan Liu Qian Chang' (In life's possible hundred years; one should get oneself drunk in total of thirty-six thousand times) (1) 9.1cm high Provenance: Private Scottish collection, has been collecting Asian ceramics for 25 years; acquired from Peter Wain, Shropshire on 16 June 2000, with an original handwritten receipt which states the piece dates to Yuan Dynasty (1260-1368 AD)

£800-1,000

170 XING WARE BOWL FIVE DYNASTIES

五代 邢窯白釉碗

potted on a short foot raised steeply to a slightly lipped rim, covered overall with a thick creamy white glaze with greenish tinge, thinning and stopping short of the foot to one side, the other thickening and dripping near to the foot (1) 20.2cm diameter

Provenance: Private Scottish collection, has been collecting Asian ceramics for 25 years; acquired from Yue Gu Zhai Antique Co., Hong Kong (悅古齋) on 19 September 2001, with an original handwritten receipt which states the piece dates to Five Dynasties, 907-960 A.D.

£500-800

75

171 LONGQUAN CELADON-GLAZED STEM CUP YUAN OR EARLY MING DYNASTY, 14TH CENTURY

元至明初 龍泉青釉高足杯

heavily-potted, the deep rounded sides raised to a lipped rim, supported on a tall segmented foot simulating bamboo, covered overall and save for the base of the foot with an olive-green glaze (1) 8.8cm high Provenance: Private Scottish collection, has been collecting Asian ceramics for 25 years; acquired from Denis Young Antiques, Bath, with an original receipt which states the piece dates to 14th century: "Yuan or Early Ming Dynasty. Formerly attributed to the early 15th Century, but recent opinion suggests the 14th"

£400-600

172 GROUP OF THREE QINGBAI WARES SONG DYNASTY

宋 青白釉印花卉紋芒口斗笠碗、弦紋帶蓋杯、瓜菱式小執壺（一組三件）

comprising: a conical-shaped bowl, decorated on the interior with flower sprays in cartouches, 15.4cm diameter; a lidded cup potted on a high straight foot, a raised band decorated the centre of the cylindrical body, 9cm high; together with a small water dropper, of lobbed melon-shape, 10cm wide, all applied with a translucent bluish white glaze (3) largest: 15.4cm wide Provenance: Private Scottish collection, has been collecting Asian ceramics for 25 years The conical bowl acquired from Denis Young Antiques, Bath on 15 July 1999, with a photocopied handwritten receipt stated the piece dated to the Song Dynasty; The interior of the lidded cup with a sticker 'NATIONAL MUSEUM PHILIPPINES, ₱ 5.00 RP, 0047763'; Both the lidded cup and small water dropper acquired from Robert McPherson Chinese Ceramics, Kensington Church Street, London, on 16 June 1999, with a photocopied handwritten receipt which states the pieces dates to Song Dynasty, 12th-13th century.

£400-600

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

76

173 DING-TYPE 'DAYLILY' PLATE WITH A LACQUER BOX 定窯白釉劃花萱草紋盤 及 乾隆底款 '御 筆題養正圖詩'款 長方漆盒

the plate with flat base extending to splayed foliate sides, the interior carved freely with a daylily flower with leaves, overall covered with a creamy white glaze with ivory tinge, the plate contained in a lacquer rectangular box, a paper label mentioned that the collector acquired the plate in the early winter of the Year of Geng Zi, the base of the box with a carved and gild-paint six-character Qianlong mark (1) plate: 16.5cm diameter; box: 35cm wide £300-500

174 GROUP OF SIX DING-TYPE SMALL BOWLS AND SAUCERS 瞻麓齋藏紙籤 定窯小碗小盤（一組六件）及 '中國人民銀行山西省太原支行'紙籤 黃花梨長方蓋盒

comprising: a conical shallow bowl carved in the form of a lotus on the interior, the base carved with a 'Guan' character; a conical shallow bowl carved with a daylily on the interior; a deep bowl supported on a splayed foot and moulded with a lotus pond scene on the interior; a lobed shallow saucer moulded with two fish swimming in a pond; a shallow circular saucer carved with a duck on wavy water, the base carved with a 'Guan' character; and a shallow circular saucer carved with flower head in the central medallion, the base carved with a 'Guan' character, all contained in a rectangular huanghuali box padded with embroidered setting, the middle attached with a label of collector's studio mark 'Zhan Lu Zhai Cang', the cover of the box with a paper label 'People's Bank of China' and 'The Branch of Taiyun, Shangxi Province' (6) largest: 10.6cm; box: 39.5cm wide £300-500

175 CELADON-GLAZED FOLIATED-RIM BOWL FIVE DYNASTY

五代 安徽績溪霞澗窯白覆輪花口黑胎青瓷茶盞

potted with steep rounded sides rising from a ring foot to notched-rim, covered overall save for the mouth rim with green glaze featuring a dense creamy network of crackles, the foot rim left unglazed exposing the blackish brown buff body (1) 12.3cm diameter Provenance: Private Taiwanese collection

£400-600

77

176 CIZHOU 'SGRAFFIATO' BROWN-GLAZED BOTTLE VASE, YUHUCHUN PING JIN OR YUAN DYNASTY

金或元代 磁州窯花卉紋玉壺春瓶

the rounded pear-shaped body raised on a short foot, tapering to a slender neck and a flared mouth, applied overall with a thick brownish-black glaze, the central band around the body with the glaze cut away, forming the reserve-decorated two large flower heads with leaves, the shoulder similarly carved with a band of petals, the glaze stopping neatly above the foot to reveal the buff body (1) 22cm high Provenance: Private Taiwanese collection Note: a closely comparable Cizhou brown-glazed yuhuchun vase, dated to the Jin dynasty, was sold at Sotheby's New York, 11 Sep 2019, lot 511

£600-800

177 FUQING KILN TEABOWL SOUTHERN SONG DYNASTY

南宋 福清窯兔毫茶碗

of Jian-style, applied overall with thick black glaze finely suffused with 'hare's fur' russet streaks on the mouth rim downward, the glaze stopping irregularly above the foot exposing the dark brown buff body (1) 11.5cm diameter Provenance: Private Taiwanese collection

£400-600

178 HENAN TIANMU BROWN-GLAZED TEA BOWL SONG DYNASTY OR LATER

宋或以後 河南天目釉變斗笠碗

well potted with steep sides rising from a short foot to a brass mounted mouth rim, covered overall save for the foot rim with a rich and glossy dark brown glaze, liberally splashed with silvery-brown streaks, the unglazed foot rim revealing the brown stoneware body (1)

15.2cm diameter Provenance: Private Taiwanese collection

£400-600

179 LONGQUAN CELADON-GLAZED BOWL NORTHERN SONG DYNASTY

北宋 龍泉青釉折沿碗

the rounded shallow body supported on a ring foot rising to a short everted mouth, covered overall with a pale green glaze suffused with creamy network of crackles (1) 13cm diameter 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

180 JIAN-STYLE TEABOWL SONG DYNASTY

宋 建窯系黑釉碗

potted with steep sides, applied overall with a black glaze with russet network of crackles on the exterior, the interior with dark streaks radiating from the central rosette medallion, the glaze stops irregularly near the foot exposing the dark brown buff body (1) 12.7cm diameter Provenance: Private Taiwanese collection

£400-600

181 JIZHOU WARE 'PHOENIX AND PRUNUS' TEA BOWL SOUTHERN SONG OR LATER

南宋或以後 吉州褐釉剪紙貼花鳳梅紋茶盞

of conical shape, the body supported on a short stepped foot and terminating to a everted rim, the interior decorated with a paper-cut design of two phoenixes in flight with prunus blossoms, covered overall with a bronze glaze with mottled infusions, with a Japanese tomobako wooden box (1) 11.7cm diameter Provenance: Private Taiwanese collection

£500-700

182 JIAN WARE BLACK-GLAZED WITH SILVER STREAKS TEA BOWL SONG DYNASTY OR LATER

宋或以後 建窯黑釉暗銀滴茶碗

of conical form rising from a short foot to a flared mouth rim, overall covered in a thick black glaze suffused with silver and brown streaks, the glaze pooling above the foot, revealing the dark brown stoneware body (1) 12.6cm wide Provenance: Private Taiwanese collection

£400-600

79

183 JIAN WARE 'OIL SPOT' TEA BOWL SONG DYNASTY

宋 建窯天目釉暗銀滴茶碗

of conical shape, the steep bowl stands on a short ring foot, covered inside and out with a thick black glaze suffused with dense variegated silvery streaks between oil spots and partridge pattern, the glaze terminates irregularly above the foot and exposing the brownish stoneware body, with a fitted Japanese brocade pouch and a Japanese wooden tomobako box with inscription on the back of the cover (1) 11.7cm diameter Provenance: Private Taiwanese collection

£1,800-2,200

184 CIZHOU RUSSET-PAINTED ‘FLOWER’ TEA BOWL JIN DYNASTY

金代 磁州窯黑釉鐵鏽花卉紋茶碗

potted with a deep and subtly rounded body rising from a short foot to a straight rim, the interior covered with a glossy black glaze liberally and freely painted in russet with a leafy floral spray, the black glaze covered the exterior of the body and stopping irregularly above the foot to reveal the pale buff stoneware body (1) 13.7cm diameter Provenance: Private Taiwanese collection

£800-1,200

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

80

185 FOUR MONOCHROME PORCELAIN VESSELS 各色單色釉瓷器（一組四件） comprising: a pair of small tea cups covered in lemon-green glaze, the base with a Qianlong mark, 7cm diameter; a tea bowl covered overall in a sky-blue glaze imitating jun-glaze, 9.3cm diameter; together with a small ovoid jar, the base with a Yongzhen mark, 6.5cm high, all in fitted wooden boxes with collector's paper on the cover (4) largest: 9.3cm diameter £800-1,200

186 RU-TYPE GLAZED BARBED-RIM PLATE QING DYNASTY, POSSIBLY 18TH CENTURY

清 仿汝釉葵口盤

potted on a short foot raised to wide rounded sides, terminating in an everted and foliated rim, covered overall save for the ring foot with a translucent sky-blue glaze (1) 22cm diameter Provenance: Private London collection

£500-700

188 WHITE-GLAZED 'GU' VASE QING DYNASTY, 18TH-19TH CENTURY

清 白釉觚式瓶

187 PAIR OF IRON-RED DECORATED 'DRAGON' CUPS DAOGUANG MARK, 19TH CENTURY

清 道光款 礬紅彩海水龍紋杯（一對）

each thinly potted, painted to the slightly waisted body with two sinuous dragons fiercely chasing each other, above a band of crashing waves from the foot, all between two pairs of underglaze-blue circles, the base inscribed with a six-character Daoguang mark in underglaze blue (2) 6cm diameter each £400-600

the central raised section of the vase moulded with two pairs of dragon heads facing each other all against a diamondshaped ground, between bands of moulded leaf-lappets on the flared neck and foot, covered overall with an even, pale bluish-white glaze, leaving the base unglazed (1) 24.2cm high Provenance: Property of a gentleman, acquired from Christie's South Kensington about 20 years ago

£800-1,200

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189 GILT-DECORATED CORAL-RED GROUND LOBBED VASE JIAQING MARK, 19TH CENTURY

清 嘉慶款 珊瑚紅地描金纏枝蓮紋海棠瓶

of haitang form, painted with gilt throughout with scrolling lotus and foliated tendrils, all against a coral-red-glazed ground, the interior and underside applied with turquoise glaze, the base inscribed with a six-character Jiaqing mark in iron-red (1) 22.7cm high £800-1,200

190 UNDERGLAZE COPPER-RED VASE QING DYNASTY, 18TH-19TH CENTURY

清 釉裏紅山水水牛紋撇口瓶

painted on the ovoid body with a water buffalo and a herdboy strolling in a shanshui landscape (1) 27cm high Provenance: Private Belgian collection

£500-700

191 SANG-DE-BOEUF-GLAZED MEIPING VASE QING DYNASTY, 19TH CENTURY

清 霽紅釉梅瓶

of meiping shape, covered thoroughly with an ox-blood red glaze thinning on the mouth rim, the base left unglazed exposing the greyish white buff body (1) 30cm high Provenance: Private English collection, Kent

£1,000-1,500

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

82

192 UNDERGLAZE-RED 'FISH' BOWL YONGZHENG MARK

雍正款 釉裏紅三魚紋碗

the wide everted sides rising from a short straight foot to a slightly flared rim, decorated around the exterior with three mandarin fish within matted copper-red silhouettes, reserved on an overall white ground, the interior left undecorated, the base inscribed with a six-character Yongzheng mark in double circles in underglaze blue (1) 23.3cm diameter Provenance: Private UK collection, formerly in a private USA collection

£400-600

193 LONGQUAN CELADON-GLAZED BOWL MING DYNASTY

明 龍泉青釉劃花碗

sturdily potted with rounded sides, liberally carved to the interior and exterior with floral motifs, applied overall with a thick green glaze (1) 16.2cm diameter Provenance: Private Taiwanese collection

£400-600

194 LONGQUAN CELADON-GLAZED VASE YUAN TO MING DYNASTY

元至明 龍泉青釉劃花 鳳尾尊

sturdily potted on a waisted tall foot to a globular body, raised to an elongated waisted neck and flared mouth, decorated with a carved floral motif, covered overall save for the ring foot with a green glaze (1) 29cm high Provenance: Private English collection

£1,000-1,500

195 LONGQUAN CELADON-GLAZED 'KUNDIKA' WATER BOTTLE YUAN DYNASTY OR LATER

元或以後 龍泉窯青釉淨水瓶

the baluster body supported on a short tapering foot, the long cylindrical neck rising out of a pronounced flange above the shoulder, the exterior and the base covered overall with an unctuous olive green glaze, stopping unevenly to reveal the burnt orange foot (1) 19cm high Provenance: Private Taiwanese collection

£400-600

83

196 LARGE WHITE GLAZE 'DRAGON' CHARGER POSSIBLY YONGZHENG PERIOD

或為雍正 白釉暗刻龍紋大盤

rising from a short straight foot to steep sides and everted rim, the centre of the interior finely carved with a subtle five-clawed sinuous dragon, the sides further carved with lotus with tendrils, covered overall with a transparent white glaze with bluish hue, leaving the base unglazed revealing the buff body (1) 36.3cm diameter Provenance: property of a gentleman; formerly from a private German collection, acquired from Beijing in 1965, thence by descent

£5,000-7,000

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

84

197 LONGQUAN CELADON-GLAZED 'CHRYSANTHEMUM' DISH MING DYNASTY

明 '河濱遺範'款 龍泉窯青釉菊瓣盤

potted with shallow sides rising from a convex foot to an everted multi lobed rim, the centre of the interior incised with a seal with four-character 'He Bin Yi Fan' mark, covered overall with a thick, rich olive-green glaze except for an irregularly shaped ring within the base, revealing the brick-red stoneware body (1) 13.2cm diameter Provenance: Private Taiwanese collection

£300-500

198 ROBIN'S EGG-GLAZED 'MEIPING' VASE POSSIBLY YONGZHENG PERIOD

或爲雍正 爐鈞釉梅瓶

of meiping-shape with a short cylindrical neck terminated on a lipped mouth, applied overall save for the foot ring with a mottled glaze ranging from pale blue through turquoise (1) 22.5cm high £3,000-5,000

199 LONGQUAN CELADON-GLAZED VASE YUAN DYNASTY

元 龍泉青釉劃花橄欖瓶

of ovoid form with waisted foot and neck, finely carved on the body with diamond-shaped trellis containing dashes of silhouette above a ridge-decorated band on the foot, the neck further with plantain leaves, applied overall save for the foot with a celadon green glaze; converted to a table lamp (1) 44cm high Provenance: Private UK collection

£1,000-1,500

85

201

200

LARGE LONGQUAN CELADONGLAZED YEN YEN VASE

ROBIN'S EGG-GLAZED VASE QING DYNASTY, 19TH CENTURY

YUAN DYNASTY

清 爐鈞釉柳葉瓶

元 龍泉青釉劃花鳳尾尊

the slender ovoid body with a waisted neck and flared rim, vividly applied overall with a turquoise-blue glaze suffused with dense dark blue network (1)

sturdily potted on a waisted tall foot to a globular body, raised to an elongated waisted neck and flared mouth, decorated with carved floral motif, covered overall save for the ring foot with a green glaze, converted later to a lamp stand (1)

18.5cm high Provenance: Private Taiwanese collection

44cm high

£1,200-1,800

Provenance: Private UK collection

£2,500-3,500

202 CELADON-GLAZED YEN YEN VASE QING DYNASTY, 18TH-19TH CENTURY

清 冬青釉芭蕉葉紋鳳尾尊

the tall ovoid body with elongated trumpet-neck, carved with a petal-band near the foot, above a key-fret-band on the neck with plantain leaves intermittent in different heights, covered overall save for the ring foot with translucent pale-green glaze (1) 46.5cm high £1,000-1,500

203 YELLOW-GLAZED PEAR-SHAPED VASE MING DYNASTY

明 大明年製款 黃釉劃花穿花鳳凰紋玉壺春瓶

carved on the bulbous body with two phoenixes amidst scrolling tendrils and flowers, the neck further with a band of plantain leaves, the base inscribed with a four-character 'Da Ming Nian Zhi' (Made in the year of Great Ming) in underglaze-blue (1) 19cm high Provenance: Private English collection, acquired from the estate of a recognised author in Massachusetts, America

£800-1,200

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

86

204 TWO GE-TYPE CRACKLE-GLAZED CUPS QING DYNASTY, 19TH CENTURY

清 仿哥釉小杯（一對）

each supported on a short straight foot, covered overall in a thick ivory creamy glaze with a network of black and russet crackles, leaving only the base unglazed and showing the brown body (2) 5cm and 5.1cm diameter Provenance: Private Taiwanese collection

£250-350

205 LARGE GUAN-TYPE CRACKLE-GLAZED TRIPOT CENSER QING DYNASTY, 18TH-19TH CENTURY

清 仿官釉圓形三足爐

heavily potted with bombé sides rising to an inverted rim and supported on tripod knobbed feet, covered overall in a thick pale celadon glaze with a dark crackle in imitation of Song dynasty guan ware, the unglazed base stained with a brown wash (1) 26.5cm diameter Provenance: Private Scottish collection, acquired from a dealer on the Kings Road in London about 25 years ago; a paper label on the interior with information 'St: 8873 Ic: Prc Pn: Pc: Yung Cheng Crackleware Incense Burner [Prc] ref 1374 Ex Vat: £420' Note: a closely comparable large Guan-style tripod censer similar in size and shape was in the Collection of the Rev. Dr. James Mellon Menzies and in Sotheby's New York, 11-12 September 2012, lot 250

£500-700

206 GE-TYPE CRACKLE-GLAZED SECTIONED VASE QING DYNASTY, 19TH CENTURY

清 仿哥釉象耳四方委角瓶

sturdily potted with four notched corners, raised from an everted foot to a tapered body, waisted neck and flared rim, perforated elephant-head masks with convex loops and flanked the sides, covered overall with a creamy greyish glaze suffused with distinct network of dark-brown, faint-russet and white crackles, leaving the foot rim unglazed and revealing the dark-brown body (1) 28.5cm high Provenance: Private Scottish collection, acquired from a dealer on the Kings Road in London about 25 years ago.

Note: a paper label on the inner mouth rim with information 'St: 22000 Ic: Prc Pn: M7 Pc: hk Chinese 19th Century Crackleware Vase * Ex Vat: £1150'

£800-1,200

87

207 TURQUOISE-GLAZED 'DRAGON' STEM BOWL YONGLE MARK BUT POSSIBLY QIANLONG PERIOD

或為清乾隆 永樂款 孔雀綠釉暗刻龍紋高足碗

thinly potted with deep rounded sides raised to an everted rim, set on a tall foot tapering up, applied overall save for the interior and base with a translucent and luscious peacock-green glaze, the interior finely decorated with two five-clawed dragons, the centre of the interior inscribed with a four-character Yongle mark in seal script (1) 10cm high, 15.8cm diameter Provenance: property of a gentleman; formerly in a private German collection, acquired from an antique shop at Munich between 1965 and 1980 Note: a comparable turquoise-glazed stem bowl, dated to the Xuande period (1426-1435) of Ming dynasty, is in the collection of the National Museum of China

£3,000-5,000

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

88

208 ROBIN'S-EGG-GLAZED VASE POSSIBLY QIANLONG PERIOD

或為乾隆 爐鈞釉荸薺瓶

of compressed globular form supported on an everted foot, raised to a straight cylindrical neck, covered overall save for the ring foot with finely mottled turquoise and blue glaze (1) 25.3cm high £2,500-3,500

209 GE-TYPE CRACKLE-GLAZED ARROW VASE QING DYNASTY, 19TH CENTURY

清 仿哥釉貫耳瓶

of oval pear form, a pair of tubular ears flanked the sides, the body covered overall save for the 'iron' foot with ivory glaze with a network of faint russet crackles (1) 22cm high Provenance: formerly in the collection of Nils Nessim (1916-1974) Note: Nils Nessim was a prominent oriental carpets dealer in Stockholm. He learnt about his trade from his knowledgeable father, Jean Benschoam, who had emigrated from Bulgaria to Sweden in the 1910s. Nils Nessim's business rapidly developed and soon started an exclusive antiques shop in the best part of Stockholm.

He travelled many times to China and developed the interest in Chinese art and antiques, his collection soon became well-known in Sweden. In 1959, Nils Nessim managed to receive permission from the Chinese authorities to import antiquities into Sweden from China. Part of his collections of Chinese art and antiques had been exhibited in Swedish museums.

£1,000-1,500

210 BLUE-GLAZED FOUR-SECTION 'CONG' VASE TONGZHI MARK AND OF THE PERIOD

清同治及款 藍釉象耳琮式瓶

of archaic cong form, moulded with elephant heads and rings as handles, covered overall save for the ring foot with navy coloured glaze, the base incised with a six-character Tongzhi mark in underglaze blue (1) 29.2cm high £400-600

89

211 LU-JUN FLAMBE-GLAZED VASE QIANLONG MARK AND POSSIBLY OF THE PERIOD

大清乾隆年製款 爐鈞釉直口膽瓶

the pear-shaped body supported on a short foot and extended to a slender straight neck, covered overall with a thick glaze suffused with vibrant purple, magenta, and pale sky-blue streaks, the base engraved with a six-character Qianlong mark and covered in a brownish translucent glaze (1) 33cm high Provenance: property of a gentleman; formerly in the collection of Frederick H Jewell (1836-1906), acquired from Hong Kong in 1903, thence by descent

£5,000-7,000

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

90

212 PAIR OF BLUE AND WHITE 'BUTTERFLY' DISHES LATE MING TO QING DYNASTY, 17TH CENTURY

明末清初 青花蝴蝶形盛器（一對）

each vessel moulded in the shape of a butterfly with undulating sides, further detailed in underglaze blue to the interior with the elaborate wings and body, the base with five unglazed circular points (2) widths: 15.2cm and 15.7cm Provenance: Private Taiwanese collection

£400-600

213 BLUE AND WHITE 'FISH' JAR MING DYNASTY, WANLI PERIOD

明萬曆 青花游魚蓮池紋罐

the bulbous body supported on a recessed foot and terminating to a straight neck, the exterior painted with various type of fishes swimming in a lotus pond in between bands of fruits and leafy design (1) 19.7cm high £500-700

214 BLUE AND WHITE 'DRAGON' CENSER SHUNZHI PERIOD

清順治 青花雙龍戲珠紋爐

sturdily potted with deep rounded sides and gently flared rim, depicted on the body with two four-clawed dragons confronting a flaming pearl floating above crashing waves, the foot and base unglazed revealing the buff body (1) 23cm diameter £500-700

91

215 BLUE AND WHITE BOWL MING DYNASTY

明 宣德款 青花纏枝蓮紋碗

potted with deep rounded sides extending to a flared rim, the exterior decorated with lotus sprays borne on foliage, a floral medallion painted on the interior underneath a chrysanthemum-filled trellis border, the base inscribed with a six-character Xuande mark in double circles (1) 24.5cm diameter Provenance: Private English collection, previously in the collection of Charles Aronson, OAM, ex-president of the Australian Antiques and Art Dealers Association

£1,000-1,500

216 BLUE AND WHITE 'DOUBLE FISH' CHARGER YUAN DYNASTY

元 青花魚藻紋大盤

the central medallion delicately painted with two fish amongst aquatic plants, each fish minutely defined with scaly body and bulging eyes, the cavetto of the charger broken off, with remnent of floral border visible (1) 37.5cm wide Provenance: Private English collection

£300-500

217 LARGE BLUE AND WHITE LOBBED VASE, GU WANLI MARK AND OF THE PERIOD

明萬曆及款 青花瑞獸紋八瓣觚式大瓶

of generous proportions, rising from a slightly everted high foot to a bulbed body, elongated neck and dish-like mouth and foliated rim, the lower section painted on each panel with qilin and other mythical beasts, similarly decorated to the bulbous centre, neck with pierced scholar rocks issuing with floral and foliage, the base unglazed (1) 67.8cm high Provenance: Private European collection

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

92

218 BLUE AND WHITE 'DRAGON' JAR SHUNZHI OR KANGXI PERIOD

清順治或康熙 青花雲龍紋大罐

depicting a ferocious four-clawed dragon chasing a flaming pearl amidst flames and clouds on the tapered bulbous body (1) 24cm high £400-600

219 BLUE AND WHITE AND UNDERGLAZED RED 'MEIPING' VASE 青花釉裏紅三多紋梅瓶

the body painted with three fruit-producing branches, the branches and leaves in underglaze blue and further detailed with the finger citrons, peaches and pomegranates picked out in underglaze copper-red, all below three bands of decorations with wavy circles and ruyi-head clouds around the shoulder, the short waisted neck and the tapering lower body adorned with a band of plantain (1) 22cm high Provenance: Private London collection

£600-800

220 BLUE AND WHITE 'FISH' BASIN WANLI PERIOD

明萬曆 佳堂玉器款 青花魚澡紋缸

sturdily potted, decorated around the body with fish and aquatic plants, inscribed around the band underneath the mouth with a four-character mark 'Jia Tang Yu Qi' (1) 28cm diameter £1,000-1,500

93

221 BLUE AND WHITE 'PHOENIX' CENSER KANGXI PERIOD

清康熙 青花鳳凰紋香爐

of compressed globular form, painted on the exterior with two pairs of phoenixes, one diving down with the elaborate tails above, two flying horizontally in graceful manner, the fourth one standing beside a rock (1) 14cm diameter Note: the base with an old paper label 'Fellow & Sons Birmingham, 268'

£400-600

222 BLUE AND WHITE 'DRAGON' DISH DAOGUANG MARK AND POSSIBLY OF THE PERIOD

道光款 青花雙龍趕珠紋碗

thinly potted, supported on a short foot, the inner medallion finely painted with a coiling dragon, the exterior further decorated with two five-clawed dragons chasing flaming pearls on each side amidst fire-cloud, the base inscribed with a six-character Daoguan mark in underglaze blue (1) 16.2cm diameter Provenance: Private London collection

£1,500-2,000

223 BLUE AND WHITE 'LOTUS' BOWL GUANXU MARK AND OF THE PERIOD

清光緒及款 青花纏枝蓮紋碗

thinly potted, delicately decorated on the body with stylised lotus blooms borne on slender stems issuing flame-like foliate and floral, all above a shaped panel-band from the foot, the base inscribed with a six-character Guangxu mark (1) 19.4cm diameter £400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

94

224 BLUE AND WHITE 'BIRD AND FLOWER' MOON-FLASK VASE QING DYNASTY, 19TH CENTURY

清 青花花鳥圖四繫耳抱月瓶

the body of flattened circular form, supported on a short splayed foot with two holes on the shorter sides, topped with a short straight neck with lipped mouth rim, the narrow sides of the body attached with four bands of raised nobs, either side of the body decorated with various birds perching on blossoming flower branches (1) 18.2cm high Provenance: Private Taiwanese collection

£800-1,200

225 BLUE AND WHITE 'QILIN' PLATE SHUNZHI PERIOD

清順治 青花麒麟紋盤

sturdily potted, the interior painted with a snarling seated qilin amongst stylised flames, rocks and plantain beneath the moon, all within a single circle and a brown dressed mouth rim (1) 33.3cm diameter Provenance: Private London collection

£600-800

226 BLUE AND WHITE GOURD-SHAPED 'DRAGON' VASE KANGXI MARK BUT 19TH CENTURY

清 康熙款 青花葫蘆穿花龍紋瓶

supported on a recessed foot, the bulbous lower body painted with two four-clawed dragons amongst peony flowers, the upper body adorned with extended floral decoration, the base inscribed with a four-character Kangxi mark in underglaze blue (1) 32.5cm Provenance: Private London collection

£500-700

95

227 BLUE AND WHITE 'LOTUS' BOWL KANGXI PERIOD

清康熙 青花蓮瓣紋碗

raised from a slightly everted foot to deep rounded body and wide mouth, the interior densely decorated with a petalled central medallion, within bands of decorative motifs, the exterior surrounded with overlapping lotus petals underneath a decorative triangular band beneath the mouth rim, with a wooden stand (1) 20.5cm diameter Provenance: Private London collection

£1,500-2,000

228 BLUE AND WHITE 'DRAGON' DISH QING DYNASTY, 18TH CENTURY

清 青花菱口團龍紋淺盤

supported on a recessed foot, the foliated sides with canted edge gradually tapering out and terminating to a splayed rim, the interior finely painted with a five-clawed dragon amongst clouds, the exterior painted on each side with a five-clawed dragon interspersed with ascending and descending manner, the base with a double circle mark in underglaze blue with the central mark scrubbed off (1) 17cm wide Provenance: Private Dutch collection

£300-500

229 PAIR OF BLUE AND WHITE 'DRAGON' BOWLS DAOGUANG MARK AND OF THE PERIOD

清道光及款 青花雲龍紋折腰碗（一對）

each thinly potted on a short ring foot, rising to rounded sides waisted halfway through to wider mouth, the exterior painted with two five-clawed dragons amidst clouds and slender flames, further with a coiling dragon in the central medallion of the interior, the base inscribed with a six-character Daoguang mark (2) 17cm diameter each Provenance: Private English collection

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

96

231 BLUE AND WHITE 'GU' VASE KANGXI PERIOD OR LATER

康熙或以後 青花山水人物觚式瓶

the central slightly raised section of the vase painted with a branch of flower issuing from a rock and a landscape setting respectively in a diamond-shape cartouche, the flared two ends fully painted wiht small houses in a mountainous landscape setting (1) 44.5cm high Provenance: formerly in a private USA collection

£1,500-2,500

230 BLUE AND WHITE 'QILIN' YEN YEN VASE QING DYNASTY, 19TH CENTURY

清 青花麒麟紋鳳尾尊

the high-shouldered body set with a tall trumpeted-neck, the body and the neck respectively painted with two sets of a majestic qilin standing on the edge of rock against ferocious crashing waves, mounted with a brass base (1) 52cm high; 54.6cm high with metal stand Provenance: Private UK collection

£1,000-1,500

232 BLUE AND WHITE 'LANDSCAPE' VASE QING DYNASTY, 19TH CENTURY

清 錦堂福記款 青花山水人物紋瓶

the body finely painted with a village lifestyle in layered mountainous landscape, including farmer with buffalo, carpenter carrying woods crossing bridge, fishermen catching fish on boats and fishing on a small island, the base inscribed with a four-character 'Jin Tang Fu Ji' workshop mark (1) 55.5cm high £400-600

97

233 LARGE BLUE AND WHITE 'LOTUS' VASE QIANLONG MARK, 18TH CENTURY

清 乾隆款 青花纏枝蓮紋獸耳大瓶

sturdily potted of generous proportions, a band of crashing waves on the flared foot, above with delicate lotus blossoms borne on tendrils underneath eight auspicious emblems tied on billowing scarves, moulded mythical beast masks flanked the shoulders, scrolling lotus further decorated the waisted neck, the base inscribed with a six-character Qianlong mark (1) 50cm high Provenance: Private English collection

£2,000-3,000

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

98

234 BLUE AND WHITE 'BOYS AT PLAY' JARDINIERE QING DYNASTY, 18TH-19TH CENTURY

清 青花嬰戲圖花盆

sturdily potted of four-sectioned, canted corners, supported on a tall stepped foot, the exterior painted on all sides with the scenes of a 'hundred children' at play, in which three panels with an adult and one with an elephant, the interior with three ribs at each side, the central base perforated (1) 30.2cm wide Provenance: formerly in a private USA collection

£500-700

235 PAIR OF BLUE AND WHITE VASES QING DYNASTY, 18TH-19TH CENTURY

清 青花開光花卉博古人物紋八方葫蘆撇 口瓶（一對） each of octagonal double-gourd shape, rising to a trumpeted neck and foliated mouth, painted on each panel of the faceted upper and lower sections with figures, shanshui landscape, bogu antiquities decoration, flora and foliage, two ruyi-bands further decorated the shoulders, a downward facing plantain leaf-band painted on the lower trumpeted neck, floral panels on the upper, all supported on a flared foot (2) 31cm high each £1,000-1,500

99

236 PAIR OF DOUCAI 'FLOWER' CUPS KANGXI MARK BUT 19TH CENTURY

清 康熙款 鬥彩纏枝花卉紋杯（一對）

each delicately potted, enamelled on the tapered body with floral and scrolling foliage, the motif finely outlined with underglaze blue, the countersunk button base inscribed with a six-character Kangxi mark (2) 4.6cm diameter £400-600

237 IRON-RED DECORATED BLUE AND WHITE 'DRAGON' DISH YONGZHENG MARK

雍正款 青花礬红海水龍紋碟

raised on a short straight foot to a rounded shallow body and wide mouth, the exterior painted with a ring of crashing waves near the foot with clouds above, featuring four dragons in iron-red, further with a coiling dragon in the inner central medallion, the base inscribed with a six-character Yongzheng mark in double circles in underglaze blue (1) 17.5cm diameter £600-800

238 UNDERGLAZE BLUE AND COPPER RED 'MALLET' VASE QING DYNASTY, 18TH CENTURY

清 青花釉裏紅壽星紋紙槌瓶

the domed body rising to a tall cylindrical neck with a lipped mouth rim. underneath a band of variety of inscribed 'shou' finely painted with a joyous Longevity Immortal holding a lingzhi fungus, accompanied by a recumbent deer, the reverse further with a gnarling pine tree, near the foot with a band of bamboo sprigs, the countersunk base unglazed (1) 22.5cm high £400-600

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

100

239 BLUE AND WHITE WITH FAMILLE ROSE 'GREEK GOD' PLATE QIANLONG PERIOD

清乾隆 青花加彩繪古希臘神長方盤

of rectangular shape, the interior painted in the central with two Greek gods, the sides painted with stylised floral borders in underglazed blue, possibly made for Danish market (1) 30cm wide Provenance: Private UK collection

£600-800

240 BLUE AND WHITE WITH UNDERGLAZED RED BALUSTER VASE QING DYNASTY, 18TH CENTURY

清 青花釉裏紅加官晉爵獅耳觀音尊

supported on a splayed foot, terminating in an everted mouth rim, one side of the body painted with an official announced with promotion by another official holding an imperial edit in hand, a full moon hanging above the scene on the neck of the vase, the shoulder attached with two looped lion-headed handles (1) 22.8cm high Provenance: Private Taiwanese collection

£1,000-1,500

101

242 DOUCAI 'BAGUA' PLATE LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初 鬥彩八卦紋盤

the central medallion painted with taijitu, the dualist or yin-yang diagram, enclosed by a shaped band with undulating border, further enclosed with the Eight Trigrams radiating outward, all within a band of green-enamelled crashing waves on the everted mouth, the base inscribed with a Daoguang mark in underglaze blue (1) 20.2cm diameter Provenance: Private London collection

£300-500

241 BLUE AND WHITE MOON FLASK KANGXI MARK

康熙款 青花執荷童子紋抱月壺

painted with two identical scenes of two joyous boys holding a sprig issuing to a stylised lotus on the flattened circular body in pointed quatrefoil cartouche, the shoulders applied with a pair of chi dragon handles, the base incised with a four-character Kangxi mark (1) 27.5cm high Provenance: Provide Scottish collection, Dundee

£300-500

243 BLUE AND WHITE JAR WITH COVER SHUNZHI PERIOD

清順治 青花蝴蝶花卉紋蓋罐

of ovoid form with short straight foot and neck, elegantly painted to the body with butterflies flying amongst floral sprays, including chrysanthemum, lotus, and prunus, with further prunus spray decorating the domed cover (1) 29.5cm high £300-500

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

102

A PRIVATE ENGLISH COLLECTION (244-248) 244 FOUR SETS OF CANTON ENAMEL SQUARE TEA CUPS AND SAUCERS QING DYNASTY, 18TH-19TH CENTURY

清 廣東銅胎畫琺瑯動物紋方形杯盤（四組八件）

comprising: four square saucers of canted edges, the interior respectively painted with two bulls, two white rabbits with a butterfly, a flying eagle hunting two foxes, and two dogs with their puppy, each scene depicted in a natural landscape setting, enclosed in the meandering chi dragon border on the side against a black ground, the sides on the exterior similarly decorated in blue, each base inscribed with a two-character 'Qi Wan' mark in seal; together with four square cups with canted edge, each supported on a short foot and extending to a splayed rim, each side respectively painted with a grey bull, two cranes under a pine tree, two deer with a bat and two rabbits, the interior decorated with a small blue flower against the white ground, while the base marked with five dots symbolising a flower head (8) saucer: 10.2cm wide each; cup: 4.7cm wide each Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920's

£2,000-3,000

245 CANTON ENAMEL PINK-GROUND TEACUP WITH COVER AND SAUCER QING DYNASTY, 18TH-19TH CENTURY

清 廣東銅胎畫琺瑯粉彩地開光人物茶蓋碗及盤

the teacup of circular form decorated with three diamondshaped cartouches containing small figures, the same decoration repeated on the sides of the cover and on the tray, all against a pink ground fully decorated with flowering foliage (1) saucer: 14.4cm diameter; cup: 9.5cm diameter Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920's

£600-800

103

246 PAIR OF FAMILLE ROSE 'ROOSTER AND PEONY' KENDIS QING DYNASTY, 18TH CENTURY

清 粉彩錦雞牡丹紋軍持淨水瓶（一對）

each painted with two roosters, one striding among the blossoming peony flowers, the other standing on a rock, the shoulder delicately painted with flower head in stylised ruyi patterns, the slender neck and the bulbous spout painted with flowers with foliage, the mouth rim painted in brown (2) 18cm high each Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920's Note: each base with a collector's paper label

£600-800

247 FAMILLE ROSE SEATED GUANYIN BESTOWING A SON QING DYNASTY, 19TH CENTURY

清 粉彩描金送子觀音座像

seated in royal ease pose, the bodhisattva holds an infant sitting on her right thigh, her robes and headscarf detailed with light green, pink and blue enamels, her eyes cast down with benevolent serene expression (1) 20cm high Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920's

£1,000-1,500

248 PAIR OF SANCAI-GLAZED JOSS STICK HOLDERS QING DYNASTY, 18TH CENTURY

清 素三彩佛獅香插（一對）

comprising a male Buddhist lion stepping on a turnable brocade ball and a female one with a small cub crawling on her leg, each carrying a foliate tube on the back as a joss stick holder and seated on a podium, with silver inlaid rectangular wooden stands (2) 20.5cm high each; 24cm high with stand Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920's

£600-800

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

104

249 FAMILLE ROSE GARLIC-HEAD VASE QIANLONG MARK BUT 19TH CENTURY

清 乾隆款 粉彩牡丹紋蒜頭瓶

potted with a globular body supported on a flared foot, raised to a long waisted neck and bulb-headed, finely painted with peony blooms and foliated sprigs issuing from the plain foot, the base inscribed with a six-character Qianlong mark in iron-red (1) 18cm high £200-300

250 IMITATION MARBLE-GLAZED INSCRIBED BOTTLE VASE QING DYNASTY, 18TH CENTURY

清 仿大理石釉詩文瓶

inscribed freely on both sides of the bulbous body, signed 'Ban Chi', all against a ground enamelled in sepia and grisaille to imitate marble, the base similarly enamelled and unmarked (1) 27.5cm high Provenance: Private English collection

£600-800

251 FAMILLE VERTE 'FISH' BASIN QING DYNASTY, 19TH CENTURY

清 慎德堂製款 綠彩礬紅魚藻紋盆

sturdily potted with a large cylindrical body rising to a flared wide rim, painted overall in the interior and exterior with goldfish amidst aquatic plants, the everted cavetto with a key-fret band, the recessed and glazed central circle on the base inscribed with a four-character 'Shen De Tang Zhi' mark in iron-red (1) 34.3cm diameter Provenance: Private European collection

£400-600

105

252 LARGE 'FAUX BOIS' PORCELAIN POT 仿木紋瓷桶

sturdily potted in imitation of a wooden basket, overall painted with faux bois in browns and grey extending to the interior and base reserving the countersunk, leaving only the footrim unglazed, with painted leather banding near the bottom and centre (1) 24.5cm diameter Provenance: Private English collection, the current owner's father acquired it from the USA in 1970s

£10,000-15,000

253 FAMILLE ROSE 'BATS' BOTTLE VASE GUANGXU MARK AND POSSIBLY OF THE PERIOD

光緒款 粉彩百蝠賞瓶

sturdily potted with a slightly compressed bulbous body raised to a straight long neck, finely painted overall with 'hundred bats' motif in iron-red amidst multi-coloured lingzhi-headed clouds (1) 33cm high Provenance: Private English collection, acquired from a Sydney Estate sale

£4,000-6,000

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

106

254 PAIR OF FAMILLE ROSE 'LONGEVITY' PLATES JIAQING MARK BUT 19TH CENTURY

清 嘉慶款 粉彩百壽紋盤（一組兩件）

each enamelled around the exterior with 'shou' intermittent in red and yellow, four sides further with ruyi-enclosed cartouches each with inscriptions, the interior painted with five bats facing a shou medallion, the base inscribed with a six-character Jiaqing mark (2) 17.4cm diameter each £400-600

255 FAMILLE ROSE PERSIMMON-GROUND BOTTLE VASE QING DYNASTY, 18TH CENTURY

清 粉彩醬地纏枝蓮紋膽瓶

supported on an everted foot, painted on the body with scrolling lotus and tendrils, all against a brown tone ground, the foot adorned with band of key-fret on pink ground, the interior and the base painted in light-green colour, the drilled base leaving the mark illegible (1) 33cm high Provenance: Private Belgian collection

£400-600

256 PAIR OF FAMILL ROSE BOWLS QIANLONG PERIOD

清乾隆 粉彩人物及山水紋碗（一組兩件）

each supported on a short foot and tapering to an everted mouth rim, one bowl painted on the exterior with a hunchback figure with his attendant walking toward a building, with a boatman sailing under the moon, the other bowl decorated with buildings in mountainous landscape setting (2) 13.1cm diameter each £1,000-1,500

107

257 FAMILLE ROSE 'LOTUS' VASE DAOGUANG MARK AND OF THE PERIOD

清道光及款 粉彩纏枝蓮紋雙耳瓶

richly enamelled on the body with swastika motifs, bats, and stylised lotus borne on interlocking tendrils, the waisted neck similarly decorated, flanked by a pair of sinuous ears, the base inscribed with a six-character Daoguang mark in underglaze blue in the centre of the turquoise glazed base (1) 28.5cm high Provenance: Private Dutch collection

£4,000-6,000

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

108

258 BLACK-GROUND FAMILLE ROSE 'FLOWER' BOWL QIANLONG MARK

礬紅乾隆款 黑地粉彩纏枝花卉紋碗

the deep, rounded sides supported on a short straight food and flaring towards the rim, the exterior decorated with an overall pattern of variously coloured flowers borne on delicate, leafy green meander reserved on a black ground, all between the pale green rim and a narrow band of black classic scroll on a pale green ground encircling the foot, the interior and the base glazed in white, the base inscribed with a six-character Qianlong mark in iron-red (1) 13.8cm diameter Provenance: Private London collection

£2,000-3,000

259 WUCAI JAR KANGXI PERIOD

清康熙 耕織圖 '簸揚' '捉績' 詩文圖五彩罐

the bulbous body supported on a recessed base and terminating in a short straight neck, one side of the exterior painted with a scene of winnowing , the other side depicting the silk selecting and producing process, each inscribed with a corresponding poem created by a Song-dynasty poet Zhao Mengfu (1254-1322) (1) 22.5cm wide £1,000-1,500

260 PAIR OF FAMILLE ROSE 'DRAGON AND PHOENIX' PLATES GUANGXU MARK

光緒款 粉彩龍鳳呈祥盤（一對）

each interior decorated with a confronting five-clawed dragon and phoenix flanking a flaming pearl, amidst cloud and fire scrolls, the exterior adorned with lots with foliage, the mouth rim gilded, the base inscribed with a sixcharacter Guangxu mark in iron-red (2) 21cm diameter each £300-500

109

261 WUCAI JAR KANGXI PERIOD

清康熙 花押款 五彩文王訪賢圖罐

of tapered bulbous body, waisted neck and everted short wide mouth, the exterior finely painted with figures greeting one another before a mottled horse accompanied by an attendant, another attendant leaning against a tree trunk, the base inscribed with a Daoist emblem in underglaze blue (1) 13.7cm high £800-1,200

262 FAMILLE VERTE 'DRAGON' GINGER JAR WITH COVER QING DYNASTY, 19TH CENTURY

清 綠彩雲龍紋蓋罐

enamelled in green on the tapered globular body with a pair of ferocious five-clawed dragons chasing flaming pearls amongst slender flame-clouds, all underneath a band of eight auspicious emblems on the shoulders, the cover further with a coiling dragon on top, all decorations outlined with underglaze blue, the base originally with a six-character reign mark in underglaze blue but drilled through (1) 21.5cm high Provenance: Private English collection

£1,000-2,000

263 WUCAI 'DRAGON' JAR JIAJING MARK BUT LATER

嘉靖款 五彩龍紋罐

the bulbous body supported on a slightly splayed foot and terminating into an everted mouth rim, the body painted with dragons above swirling waves, with a floral band on the shoulder and plantain leaves around the foot, the base inscribed with an apocryphal Jiajing mark in double circles in underglaze blue (1) 24.5cm high £300-500

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

110

264 LARGE WUCAI ROULEAU VASE QING DYNASTY, 19TH CENTURY

清 五彩劉海戲金蟾紋瓶

the body painted with a Daoist immortal Liu Hai and his friends teasing a mythical three-legged golden toad, the reverse with a large pine tree, the ribbed neck painted with bamboo and flowers on rock, in between with a band of peony flower heads (1) 65.5cm high £800-1,200

265 LARGE FAMILLE ROSE VASE JIAQING MARK AND OF THE PERIOD

清嘉慶 粉彩百子閙春圖螭龍耳大瓶

supported on an everted foot, raised to a tapered cylindrical body, the elongated waisted neck terminating at an everted mouth, painted around the body with 'hundred boys' at play celebrating a spring day amidst a dramatic mountainous landscape within two ruyi-bands, enamelled richly on the neck with scrolling lotus and foliated tendrils against an apple-green ground, flanked by a pair of sinuous chi dragons detailed in blue, the base inscribed with a six-character Jiaqing mark in iron-red reserved on a turquoise ground (1) 74.5cm high Provenance: Private English collection

£1,500-2,500

266 FAMILLE ROSE 'DRAGON' VASE GUANXU MARK, 19TH CENTURY

清 光緒款 粉彩礬紅龍紋戲珠賞瓶

the globular body finely painted with two red dragons chasing a flaming pearl above green swirling waves, the neck with flaring mouth decorated with red bats scattered evenly around the surface, both against a colourful ruyi-cloud ground, the shoulder with a decorative band of lotus flowers, the base inscribed with a six-character Guangxi mark in iron-red (1) 39.3cm high £300-500

111

267 FAMILLE ROSE 'WU SHUANG PU' VASE DAOGUANG MARK AND OF THE PERIOD

清道光及款 粉彩無雙譜人物紋貫耳瓶

of rouleau form supported on a tall foot, extending to a long waisted neck and flared rim, the body painted with several figures from the Wu Shuang Pu, including Jiangdong Sunlang, Yang Shuzi, Yue Fei, Dong Xian, and Lady Xian, the neck decorated with peaches and floral sprays, further flanked by a pair of faux bamboo tube ears, the base inscribed with a six-character Daoguang mark within double-squares (1) 37.5cm high £200-300

268 WUCAI ROULEAU VASE 五彩《鴛鴦縚》故事圖棒槌瓶

finely painted around the cylindrical body with a scene from the fiction Yuanyang Tao, depicting a respectable seated lady before a large shanshui screen appreciating the protagonist Zhang Shu'er dancing in long sleeves and billowing scarves on a rug, behind her a musical band, the reverse with a big tree surrounded by large, stylised rocks (1) 38cm high £600-800

269 WUCAI BEAKER VASE QING DYNASTY, 19TH CENTURY

清 五彩人物紋花觚

of gu form, the body brightly painted with a court lady accompanied by her attendants in a circular cartouche meeting with a celestial male figure standing on the cloud, the narrative scene encompassed with large rocks, the central section decorated with stylised floral sprays above a band of plantain leaves to the base, the base unglazed (1) 41cm high £300-500

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

112

270 FAMILLE ROSE AND UNDERGLAZE BLUE SEATED BODHISATTVA 青花加彩菩薩座像

shown seated in padmāsana, hands in dhyana mudra, the robe finely detailed with underglaze blue and famille rose palettes with flowers and clouds (1) 13.5cm high £350-450

271 FAMILLE ROSE OCTAGONAL WINE CUP DAOGUANG PERIOD

清道光 '解竹主人造'款 粉彩白地軋道人物紋八角杯

raised on a short straight foot to subtly rounded sides gradually to an eight-faceted body and flared mouth, finely painted with two immortals on both sides standing on clouds, all against a sgraffiato wavy ground in white enamel, the interior and base applied with light turquoise enamel, the base inscribed with a five-character 'Jie Zhu Zhu Ren Zao' in iron-red (1) 6.2cm high £300-500

272 FAMILLE ROSE 'MANDARIN DUCK' CUP '慎德堂'款 粉彩鴛鴦蓮池杯

supported on a short straight foot to an everted mouth rim, one side painted with two mandarin ducks swimming in a lotus pond, the other side inscribed with a poem ending with a Daoguang seal, the base inscribed with a three-character 'Shen De Tang' mark in iron-red (1) 5cm high £500-700

113

273 FAMILLE ROSE 'LOTUS POND' CUP YONGZHENG MARK

雍正款 粉彩蓮池杯

supported on a recessed foot to an everted mouth rim, the exterior painted with red and pink lotus blossoming in a pond with large spreading leaves, the base inscribed with a six-character Yongzhen mark in underglaze blue (1) 7.1cm diameter £500-700

274 WUCAI CUP KANGXI PERIOD

清康熙 五彩人物紋仰鐘杯

of bell-shaped, finely potted with deep rounded sides rising from a short foot to a flared rim, the exterior delicately enamelled with three figures, including a warrior in red armour to one side, a figure in martial art action with his bident pierced on a fox, another female figure wearing a high feathered crown looking at the moon (1) 6.1cm high £500-700

275 FAMILLE ROSE JUSTICE CUP TONGZHI MARK AND OF THE PERIOD

清同治 粉彩福祿壽三星紋公道杯

supported on a tapered foot extending to a slightly flared mouth rim, the interior with a domed design and a perforation adorned with ruyi cloud, in which contained a small figure of Immortal of Longevity holding a peach stuck inside, the exterior of the cup painted with three immortals for Fu (luck), Lu (wealth) and Shou (longevity) in a garden setting, the base inscribed with a four-character Tongzhi mark in double square in red (1)

276

8.3cm diameter

FAMILLE ROSE SEATED BODHISATTVA 粉彩菩薩座像

Provenance: The Late Dr Helen E C Cargill Thompson (1933-2020). The Cargill part of the family founded The Burmah Oil Company in 1876, and had interested in the East India Trading Company. Great friends of Burrell.

14.2cm high

£200-300

shown seated in padmāsana, hands in dhyana mudra, wearing a lotus crown and a orange-red long robe (1) £600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

114

277 YIXING STONEWARE TEAPOT WITH COVER PROBABLY KANGXI PERIOD

或爲康熙 宜興螭龍紋紫砂壺

the globular body supported on a recessed foot, the side attached with a large loop handle moulded as a sinuous chi dragon, with a dragon head issuing from the other side forming an angled spout, the cover topped with a ball-shaped finial carved in openwork with two phoenixes in flight (1) 26.5cm wide Provenance: Private UK collection

£2,500-3,500

278 PEWTER ENCASED YIXING STONEWARE TEACUP WITH JADE HANDLE QING DYNASTY, 19TH CENTURY

清 雲生款 鑲玉柄錫包紫砂壺

the cup supported on a flared foot, engraved around the exterior near the mouth with inscriptions, the handle set with jade-end, signed 'Yun Sheng' mark, with a Japanese tomobako wooden box (1) 8.4cm wide Provenance: Private Taiwanese collection, formally in a private Japanese collection

£300-500

279 TWO YIXING STONEWARE TEAPOTS 顧景州蓋款 '足吾所好玩而老焉'底款 宜興紫砂茶壺（兩件）

each elegantly potted with a squatted globular body, attached with a looped handle and short spout, one of orangey stoneware body with plain undecorated sides, the other with purplish body engraved with 'Zuo You Lan Yan (座有蘭言)' mark on one side, the reverser carved with inscription '全國

省銀行第六次座談會 紀念，江蘇省農民銀 行、江蘇省銀行敬賀'

indicating that this pot was commissioned by the Jiansu Provisional Bank as a gift, each cover stamped with maker's "Gu Jing Zhou' mark on the interior, the base stamped with his artist mark '足吾所好玩而老焉', with a Japanese tomobako wooden box (2) widths: 17.5cm and 18cm £500-700

115

280 FAMILLE ROSE 'FLOWER' BASIN QING DYNASTY, 18TH-19TH CENTURY

清 粉彩玉堂富貴圖八瓣花口盆

of ovoid form, the compressed bulbous body supported on an everted high foot decorated with interlinking octagonal design containing hacture lines, the body richly enamelled with luscious peony, magnolia, and osmanthus blooms, painted on each side of the petaled-mouth with floral sprays bordered with gilded fleur-de-lis (1) 33cm wide £4,000-6,000

281 CHINESE IMARI 'LOTUS' JAR KANGXI PERIOD

清康熙 青花礬紅彩描金纏枝蓮紋罐

the ovoid body painted with lotus blooms borne on foliated tendrils in iron-red, gilt and underglaze blue (1) 17.5cm high £1,000-1,500

282 PAIR OF FAMILLE ROSE SQUARE-SECTIONED VASES TONGZHI MARK BUT EARLY GUANGXU PERIOD

清光緒 同治款 粉彩仕女教子圖四方對瓶

each heavily potted with tapered body raised to waisted neck and flared rim, finely painted with ladies with children in courtyard to the front, both sides inscribed with poetry and flanked by a pair of iron-red taotie masks holding gilded ring in their mouth (2) 56.5cm high Provenance: Private Paris collection

£2,500-3,500

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

116

283 TWO FAMILLE JAUNE GINGER JARS AND COVERS QING DYNASTY, 19TH CENTURY

清 黃地粉彩鳳凰牡丹紋罐帶木蓋（一對）

each of tapered form with high rounded shoulders, finely painted with a majestic phoenix striking on rock amidst luscious peony blooms and other flowers, all against a bright yellow ground, with wooden cover (2) 19cm high each (without cover) Provenance: Private London collection

£1,000-1,500

284 PAIR OF FAMILLE ROSE DECORATED BLUE AND WHITE HAT STANDS REPUBLIC PERIOD

民國 江西瓷業公司款 青花粉彩雙駿圖帽筒（一對）

each of cylindrical shape, finely painted around the body with a pair of horses underneath a tree canopy, all within two underglaze-blue scrolling tendrils bands, the base inscribed 'Jiang Xi Ci Ye Gong Si' (Jiangxi Porcelain Company) in underglaze blue (2) 28cm high each £500-700

285 LARGE PAIR OF FAMILLE ROSE CELADON GROUND VASES QING DYNASTY, 19TH CENTURY

清 粉彩青地花鳥紋獸耳海棠瓶（一對）

each of slightly compressed quatrefoil form, richly enamelled on the body with pairs of phoenixes, butterflies, and other birds, all amongst peonies, magnolia and prunus blossoms, the waisted neck flanked with a pair of mythical beasts as looped handles (2) 30.7cm high each £1,200-1,800

117

286 PAIR OF QIANJIANG ENAMELLED HAT STANDS TONGZHI MARK

同治底款 程友石款 淺絳墨彩梅花紋帽筒（一對）

each of cylindrical form, gilt-bordered quatrefoil perforations scattered on the body, the exterior painted freely with blossoming prunus to one side, reverse inscribed with poem, signed ‘You Shi’ and 'You Shi Cheng', dated to the year of Yi Mao, the base stamped with a six-character Tongzhi mark in iron-red (2) 28.5cm high each Provenance: Private Paris collection

£2,500-3,500

reverse

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

118

287 SANCAI-GLAZED 'MONKEY' EWER QING DYNASTY, 18TH-19TH CENTURY

清 素三彩壽祿猴壺

in the shape of a monkey riding a recumbent deer, its right hand holding a peach, the left palm on the deer's rear forming a handle, the monkey glazed in yellow with body detailed in carvings, the deer in a dark green glaze variegated with brown patches and a hint of yellow streaks (1) 17.5cm wide Provenance: Private Taiwanese collection

£400-600

288 QIANJIANG ENAMELLED CIRCULAR PLAQUE LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初 王少維款 淺絳彩松猿圖瓷板

delicately decorated with a section of a pine tree on the right, a big branch issuing out across to the left with suspended foliage, the middle with a crouching monkey, the top left inscribed and signed 'Wang Shao Wei' (1) 29cm diameter Provenance: Private European collection

£2,000-3,000

289 FAMILLE ROSE BIRD CAGE QIANLONG MARK

乾隆款 粉彩鳥籠

the barrel-form body supported on six bar-feet set with a prodigious sinuous hook on top, the body with pierced openwork cartouches set with vertical bars, all against a yellow ground richly decorated with floral scrolls, the flattened top further with two green dragons, central base perforated, one side of the central band inscribed from right to left with a six-character Qianlong mark (1) 30cm high £1,000-1,500

119

290 PAIR OF QIANJIANG ENAMELLED HEXAGONAL HAT STANDS QING DYANSTY, 19TH CENTURY

清 任煥章款 淺絳彩山水紋六方帽筒（一對）

each with gilded mouth rim, every faceted side perforated with quatrefoil windows with raised border, enamelled with landscape, inscriptions described that the pieces were appreciated by Mister Jingyun and six friends, signed 'Ren Huan Zhang', dated to the autumn of Ding You year, corresponds to 1897 (2) 27.8cm high each Provenance: Private Paris collection Note: Ren Huanzhang, actived in 1874-1902, an imperial painter in the late Qing court, famous for his shanshui landscape and sage-like figures, pioneered in the literati faction of painted porcelain

£2,500-3,500

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

120

291 FAMILLE ROSE 'TIGER' PORCELAIN PLAQUE REPUBLIC PERIOD

民國 粉彩懸崖虎嘯圖瓷板

vividly painted with a ferocious tiger howling at the edge of a hill, the top left inscribed with a corresponded poem 'wind blown upon a long howl in the valley, leaves on branches flew in fear, hundreds animals disappeared', inscribed further 'dedicated to Mister Qiuyun by Yiping in the spring of Wu Zi year' (1) 19.4cm x 13.7cm £400-600

292 FAMILLE ROSE 'CHRYSANTHEMUM' PORCELAIN PLAQUE 竹溪 王部款 粉彩菊紋瓷板

finely painted with luscious blossoming chrysanthemum on trellis in vibrant palettes, signed to the bottom left 'Zhu Xi', stamped 'Wang Bu' (1) 20cm x 13.2cm £400-600

293 FAMILLE ROSE ‘MAGPIE’ PORCELAIN PLAQUE 20TH CENTURY

二十世紀 粉彩喜上眉梢圖瓷板

of rectangular shape, finely depicting two magpies looking at one another from a prunus branch and a stylised rock, the rock further issued with peony blooms, all within a turquoise ground border decorated with scrolling floral and foliage, with wooden frame (1) the plaque: 31.6cm x 21.6cm Provenance: Collection of Dr John A Packer, Edinburgh

£1,000-1,500

121

294 FAMILLE ROSE BLUE-GROUND CUP QING DYNASTY, 19TH CENTURY

清 乾隆款 粉彩藍地軋道皮球花紋折沿杯

the bulbous waisted body rising to an everted rim, decorated with floral roundels around the body against a blue sgraffiato ground, the countersunk base with an apocryphal Qianlong mark in underglaze blue (1) 9.2cm diameter Provenance: Private English collection

£200-300

295 AKAJI KINRANDE BOWL CHINESE OR JAPANESE, 17TH CENTURY OR LATER

中國或日本 赤繪金襴手茶碗

the hemispherical bowl supported on a short straight food, the exterior covered in an iron-red enamel further painted with gilt floral scrolls, the centre of the interior decorated in underglaze blue with chrysanthemums and a dragonfly in double circles, the inner rim further painted with a band of diamond pattern, the base inscribed with a four-character 'Fu Gui Chang Chun' in underglaze blue, with a fitted Japanese brocade pouch and a Japanese wooden tomobako box (1) 11.9cm diameter Provenance: Private Taiwanese collection, formerly from a private Japanese collection Note: a closely comparable example dated to the Ming dynasty, Jiajing period (1522-1566) is in the collection of British Museum, museum number PDF.548

£800-1,200

296 FAMILLE ROSE PINK-GROUND WINE CUP WITH WARMER AND COVER KANGXI MARK BUT LATER

民國 康熙款 粉彩胭脂紅地軋道開光四君子圖酒杯及溫酒壺

composed in three parts: a small cup rising from sloping sides to an everted rim, decorated with two roundels containing chrysanthemum flowers around the body against a pink sgraffiato ground, the countersunk base with a four-character apocryphal Kangxi mark in red; a square wine warmer with a stepped cover, each side of the exterior decorated with prunus, orchid, bamboo and chrysanthemum in cartouches against pink ground, the base inscribed with a six-character apocryphal Kangxi mark in iron-red (1) 11.1cm 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

122

297 PAIR OF FAMILLE ROSE PINK-GROUND CUPS HONGXIAN MARK, REPUBLIC PERIOD

民國 洪憲款 粉彩胭脂紅地軋道開光菊紋杯

each rising from sloping sides to an everted rim, decorated with two roundels containing chrysanthemum flowers around the body against a pink sgraffiato ground, the countersunk base with a four-character Hongxian mark in iron-red (2) 7cm diameter each Provenance: Private Taiwanese collection

£250-350

298 FAMILLE ROSE VASE REPUBLIC PERIOD

民國 琺瑯彩花卉詩文瓶

the globular body supported on a tall splayed foot, extending to a slender long neck and terminating in a slightly splayed mouth rim, the body enamelled with butterflies in flight amongst blossoming flowers, the other side with corresponding poem, the neck enamelled with tassel decoration, the base inscribed with a four-character apocryphal Qianlong mark in overglaze blue (1) 13.5cm high Provenance: Private London collection

£600-800

299 FAMILLE ROSE 'MANTIS AND CICADA' VASE REPUBLIC PERIOD

民國 李明亮款 景鎮華豐公司底款 粉彩螳螂捕蟬紋題詩瓶

thinly potted, painted on the tapered body with bare willow branches perched by large cicadas, a praying mantis raised its sharp front legs ready to strike, inscribed with a poem and signed 'Li Ming Liang' to one side, the base inscribed with a six-character'Jing Zhen Hua Feng Gong Si' (Hua Feng Company in Jin Town) in iron-red (1) 24cm high Note: Li Mingliang, a renown porcelain painter in the Republic Period, one of the 'Zhushan Eight Friends', active in the 1930s to 1940s, specialises in depicting insects and floral

£200-300

300 IMARI 'NAMBAN' BOWL QIANLONG MARK, 19TH CENTURY

清 乾隆款 伊萬里燒黑船紋花口碗

the bulbous body raised from a short foot to a gilded lobed rim, the exterior and interior heavily enamelled with Dutch sailing vessels in cartouches, European noblemen surrounded by trellis ground filled with flowers, the base inscribed with an iron-red six-character Qianlong mark (1) 14.7cm diameter Provenance: Private Scottish collection, Dundee

£400-600

124

JAPANESE ART 301 PAIR OF SATSUMA VASES MEIJI PERIOD

明治 薩摩燒膽瓶（一對）

each of bulbous body, supported on a short foot and extending to a long slender neck, the body decorated with two foliate cartouches, inside respectively painted with an elder scholar with his pupil and two boys at play, the neck adorned with stylised geometric pattern, all decoration with gilded highlight (2) 22cm high each Provenance: Private Scottish collection

£600-800

302 GROUP OF TWO IMARI CHARGES MEIJI PERIOD

明治 伊萬裏燒大盤（一組兩件）

comprising: larger one decorated on the central medallion with a bunch of flowers issuing from a vase; the smaller one decorated with an outdoor landscape in the central medallion surrounded by gilded cranes (2) largest: 54.9cm diameter Provenance: Collection of Dr John A Packer, Edinburgh

£200-300

125

303 Y PAIR OF POLYCHROMED IVORY HEN AND COCKEREL MEIJI PERIOD

明治 象牙雕彩繪雌雞與雄雞（一對）

both naturalistically rendered in standing position, the hen with her head turned slightly to the right and with a short tail, the cockerel with his head half-raised and beak opened seemingly crowing, his long tail arched with sickle feathers, each finely carved with feathered body whilst their wings and tails painted with red and green, their crowns and wattles covered in gilt paint (2) heights: 18.6cm and 20cm Provenance: Private English collection, acquired about 20 years ago

£800-1,200

304 Y IVORY OKIMONO OF A POULTERER MEIJI PERIOD

明治 宗廣款 象牙雕人物置物

holding a woven basket covered with a peony and butterfly-decorated cloth, looking down in benevolent expression towards a hen followed by four chicks, all above a circular plinth, underneath a lacquered maker's mark 'Munehiro' above a double-squares mark (1) 12cm high Provenance: The Late Dr Helen E C Cargill Thompson (1933-2020). The Cargill part of the family founded The Burmah Oil Company in 1876, and had interested in the East India Trading Company. Great friends of Burrell.

£300-500

305 Y STAINED IVORY OKIMONO OF A BIRD CATCHER WITH STAND MEIJI PERIOD

明治 玉光齋 象牙雕捕鳥人置物

standing on a podium, left hand holding a bird, right hand holding the tip of a staff extending to the ground with a pleated sack issuing chrysanthemum, he bears a big woven basket, flask, and a net around his waist, the base marked with 'Gyokossai' and signed by the artist, with a square wooden stand (1) 24.3cm high without stand Provenance: Collection of Dr John A Packer, Edinburgh

£250-350 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

126

306 LARGE BRONZE SCULPTURE GROUP OF FUGEN BOSATSU LATE EDO TO MEIJI PERIOD, 19TH CENTURY

江戶末至明治 十九世紀 銅鑄普賢菩薩騎象像

composed in two parts, the detachable bodhisattva seated in royal ease pose with his right leg gently raised higher, his left hand raised before the chest in prana mudra and right rested on his thigh in dhyana mudra, wears a loose dhoti tightened on waist with a band from the left shoulder, bellowing scarf wraps around the hands flowing the legs, adorned on the front chest with garland of inlaid jewels, the high chignon surrounded by a moderate inlaid crown above a serene facial expression, on the back of a caparisoned and bejewelled elephant standing on all fours, unsigned (1) 76.7cm high Provenance: The Collection of Robert Cowan Marshall, thence by descent.

Robert Cowan Marshall (d. 1935, fig. 1) was a Glasgow Industrialist and a contemporary of the shipping magnate Sir William Burrell and Kilmarnock lace tycoon Alexander Morton. Cowan Marshall purchased Bruntshields (fig. 2) in 1896 from the local horse dealers in Paisley, the Crawfords, where he continued his passion for both the Hackney Horse but also his love for collecting. Bruntshields was home to his treasures. An image from the ledger (fig. 3) made by Cowan Marshall explains that this bronze sculpture was shown at the Glasgow International Exhibition of 1901.

Note: Fugen Bosatsu, also known as Fugen Bodhisattva (skt: Samantabhadra), is the Bodhisattva of Universal Goodness, Virtue, and Worthiness. Symbolising meditation and praxis (diligent practice of Buddhist tenets), Fugen is often accompanied by Monju Bosatsu (skt: Mañjuśrī), who conversely symbolises wisdom and the enlightened mind, flanking the Gautama Buddha, forming the Shakyamuni Triad, or the Avatamsaka Trinity (Shaka Sanzon).

Originated from India, the image of Fugen Bosatsu followed the spread of Buddhism through the Silk Road and later by marine route to the Japanese archipelago. Believed to be the white six-tusked elephant who entered Queen Maya’s womb and became the later Siddhartha Gautama, the iconography of Fugen Bosatsu in Japanese Buddhism, or the larger geographical sense of East Asian and Mahayana Buddhism, never drifted afar from its descriptions in the Lalitavistara Sutra, especially on Fugen’s distinctive elephant vehicle (vahana).

The magnificent example presented here is conventionally cast in generous proportions in two parts. His face with a downward benevolent gaze forming a meditative solemn expressions. The Bosatsu is distinguishable largely by his designated Elephant King vahana, which he sits on in latitasana. The two parts are combined with a short slot issuing from the end of the U-shaped ribbon on the figure’s back, sets on an aperture on the top of the elephant before a large and hollowed hemisphere. The harmonious formation of the group embodies all the requirements of the Buddhist iconography, emanating meditative tranquillity and the sense of transcendental wisdom.

A comparable example of Fugen Bosatsu atop elephant can be seen in the Sanjūsangen-dō, a Buddhist temple of the Tendai sect in Kyoto, Japan (Publication: Buddhist Deities of Sanjusangen-do: Rengeo-in Sanjusangen-do Temple, 2000). This 13th century example was carved in the Heian-Kamakura Period, deemed to be the prototype of Fugen Bosatsu in Japanese Buddhism. The differences with our example are the presence of a lotus throne on the earlier piece, and the bosatsu is much relaxed in positions and incorporated better in flow with his vahara in the later piece.

This large bronze sculpture group of Fugen Bosatsu was showcased and bought by Robert Cowan Marshall from the Glasgow International Exhibition 1901.

£6,000-8,000

Fig. 1

Fig, 2

Fig. 3

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

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307 SETO-WARE BLUE AND WHITE BOWL EDO PERIOD, 19TH CENTURY

江戶 瀬戶燒 真陶園半介製款 青花花卉紋碗

finely decorated with an array of overlapping roundels on the exterior, each painted with various motifs, including bamboo groove, coin pattern, floral-filled trellis, prunus, key-fret, waves, and others, between two scrolling floral bands, the base inscribed with a six-character maker's mark in underglaze blue (1) 18cm diameter; 8.9cm high Provenance: Private English collection, previously in the collection of Charles Aronson, OAM, ex-president of the Australian Antiques and Art Dealers Association

£1,000-1,500

308 LACQUERED AND GILT-DECORATED KODANSU (CABINET) MEIJI PERIOD

明治 金漆箪笥

with eight drawers in which two are behind the a hinged door, finely decorated with a gnarled pine tree from the front extending to the top, visited by three gold and three black cranes, prunus branches further decorate the sides and back, edges mounted with metal (1) 27.2cm wide x 23.9cm high x 16.5cm deep Provenance: From an Irish Estate

£300-500

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309 LARGE PAIR OF JAPANESE TAPESTRIES MEIJI PERIOD

明治 七賢圖及高士賞軸圖壁掛（一組兩幅）

comprising: one depicting seven sages surrounded by rocks under a moon, one carrying a qin zither; another woven with five figures congregating in a bamboo grove under heavy clouds, three appreciating a scroll depicting pine trees, all faces finely detailed in embroidery and padded (2) 213cm x 122cm each Provenance: Private English collection, acquired about 15 years ago from Sanaiy Carpets on Pimlico Road, London.

The shop has since relocated on Kensington Church Street

£1,500-2,000

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

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310 TWO MONKEYS PLAYING WITH A FROG EDO PERIOD

森狙仙 雙猴戲蛙圖 設色紙本 鏡框

ink and colour on paper, framed, signed Sosen and sealed Reimyo lower right (1) 43cm x 52cm Provenance: Private Scottish collection, Dundee Note: Mori Sosen, active in the Osaka area, did many paintings of animals based on sketches from life and was especially known for his pictures of monkeys, deer being his next favourite theme.

In about 1808, at the age of sixty-one, he even changed the first character of his name to one meaning 'monkey'. He also founded a school of animal painting with his brother Shuho, in Osaka, which paralleled the Maruyama school in Kyoto.

Maruyama-Shijo School

£600-800

311 TANI BUNCHŌ (JAPANESE B.1763-D.1841) INK PAINTING 'ZHONG KUI', EDO PERIOD

江戶 谷文晁款 水墨鍾馗扇面

of fan shape, one side painted with the mythical vanquisher of ghosts Zhong Kui holding a sword In his right hand, the top left of the painting with calligraphies, the first two indicating the painting painted in the year of 'Jia Shen', corresponding to 1704, 1764 or 1824 (1) 47.5cm wide Provenance: Private Taiwanese collection Note: As a Japanese literati (bunjin) painter and poet, he began studying the painting techniques of the Kanō school in his youth under Katō Bunrei (1706–82).

After Bunrei's death, Bunchō worked with masters of other schools and developed a wide stylistic range that included many Chinese, Japanese and European idioms. Unlike most bunjinga painters of his time, he painted idealized Chinese landscapes, actual Japanese sites, and poetically-inspired traditional scenery.

He also painted portraits of his contemporaries and imagined images of such Chinese literati heroes as Su Shi and Tao Yuanming.

£600-800

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312 GROUP OF THREE WOODBLOCK PRINTS 歌川広重《五百羅漢さゞゐ 堂》、 《外桜田弁慶堀糀町》及 二代目 歌川広重《江戸名勝 圖會》版畫（一組三幅） comprising: 'Spiral Hall, Five Hundred Rakan Temple' from the series 'One Hundred Famous Views of Edo'; 'Benkei Moat From SotoSakurada to Kojimachi', from One Hundred Famous Views of Edo, both by Utagawa

Hiroshige (1797-1858) ; and one from the series of 'Edo Meisho-zue' by Utagawa Hiroshige II (1826-1869), all framed (3) largest: 35.7cm x 23.5cm with frame Provenance: Collection of Dr John A Packer, Edinburgh

£300-500

313 GROUP OF THREE WOODBLOCK PRINTS 歌川国貞《妾桂木 実ハ児白菊》、 《 佐々木右衛門》、 《狩野雅楽之 助》版畫（一組三幅） comprising: one depicting a noble lady holding a tiered box, titled "Mistress Minoru Hako Shirakiku"; two other each depicting a seated samurai, titled "Sasaki Uemon" and "Kano Utanosuke", all framed (3) largest: 35cm x 21cm Provenance: Collection of Dr John A Packer, Edinburgh

£300-500

314 GROUP OF THREE WOODBLOCK PRINTS 豐原國周《浪六 中村芝翫 鮫 蔵 市川九蔵》、戲浪圖 及 歌 川国貞《雙筆五十三次 藤枝》 版畫（一組三幅） comprising: 'Fujieda' from the series 'Fifty-three Stations

by Two Brushes' by Utagawa Toyokuni III (1786-1865); and another two each depicting a male figure on water, both

by Toyohara Kunichika (18351900), all framed (3) 35.7cm x 24.5cm each Provenance: Collection of Dr John A Packer, Edinburgh

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

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INDIAN & ISLAMIC WORKS OF ART

315 KASHAN MONOCHROME TURQUOISE POTTERY BOWL PERSIA, 13TH CENTURY of rounded form on a short foot, decorated in black on a monochrome turquoise ground with a large medallion containing a cruciform design separating panels with cross-hatching and vegetal motifs, the interior rim with a narrow band of pseudo kufic designs (1) 8cm high; 19cm diameter £400-600

316 KASHAN ‘PANEL-STYLE’ UNDERGLAZE PAINTED POTTERY BOWL PERSIA, 14TH CENTURY of rounded form on a short foot, painted in blue, black and turquoise on a cream ground, the interior divided into panels radiating from the centre decorated with lattice, vegetal and floral designs, the exterior with stippled radial lines in blue and black (1) 9.8cm high; 20.7cm diameter £300-500

317 SAFAVID UNDERGLAZE PAINTED POTTERY BOWL PERSIA, 17TH CENTURY of rounded form on a short foot, decorated in blue on a white ground, the exterior painted with a wide band containing repeat floral sprays, the centre of the well painted with a floral medallion, the rim edged in brown (1) 10cm high; 21.7cm diameter Provenance: Christie's South Kensington, London, 23 April 2013, lot 2

£800-1,200

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318 PROPERTY OF MAHARAJAH DULEEP SINGH (1838-93) THE LAST SIKH KING TWO SILK AND GILT-METAL THREAD SASHES, INDIA, 19TH CENTURY one burgundy, the other purple and yellow, with tassels-weights at the end of each sash, constructed of gilt-metal and metal thread bound onto a core, the metal thread combined with silk thread (2) length: 202cm and 308cm long Provenance: Elveden Hall, Suffolk, Home of Maharajah Duleep Singh (1863-1893).

Private Collection, UK, acquired from the above in the late 1950s.

Note: In the renowned full portrait painting of Maharaja Duleep Singh by Franz Xaver Winterhalter (1805-73) [1], the last Sikh king is featured as a young man in his full Indian regal dress. He is shown wearing a silk sash wound around his waist that closely resembles the two offered here for sale.

Another property of Maharajah Singh was offered in Lyon and Turnbull, 9th December 2009, lot 123 [1] The Royal Collection Trust, accession number RCIN 403843 Born in Lahore (present-day Punjab in Pakistan) in 1838, Maharajah Duleep Singh became the last ruler of the Sikh Empire just after his fifth birthday, with his mother ruling as regent. The reign was short-lived. Following the Second Anglo-Sikh War in 1849, the Sikh Empire fell, and he was forced to surrender to the British. Duleep Singh was taken into the care of the British forces, converted to Christianity in 1853, and granted a pension on the condition he be obedient to the British government. The following year, he arrived in England and joined the British royal court.

Arriving in England in 1854, Duleep Singh quickly became a favourite of Queen Victoria. During this same year, she commissioned a portrait of him by the renowned court painter Franz Xavier Winterhalter. Duleep Singh and his wife Bamba became great socialites from their country home at Elveden Hall, frequently entertaining noble and aristocratic guests such as the Prince of Wales. Following financial difficulties in 1881, the family moved from their country estate to Holland Park in London, where Duleep Singh continued to learn about his heritage and the Sikh Empire, and although he was prevented from ever returning to India, in 1886 he eventually was able to be re-baptised into his Sikh faith.

£2,500-3,500

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

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319 TODI RAGINI: A PRINCESS PLAYING A SITAR WITH A DEER IN A LANDSCAPE KANGRA, INDIA, EARLY 19TH CENTURY gouache and gold on paper, dark blue floral border (1) 18cm x 13.5cm Provenance: Private English collection, acquired in New York

£1,500-2,000

320 Y GROUP OF FIVE EROTIC PAINTINGS ON IVORY INDIA, 19TH CENTURY painted in polychrome with gilt highlights, each depicting a couple in an amorous embrace (5) largest 8.8cm x 11.5cm £1,000-1,500

INVITING CONSIGNMENTS FOR

SELECT JEWELLERY & WATCHES 1ST JULY 2021 LONDON

Already consigned: AN AMERICAN ART DECO PINK SAPPHIRE, SEED PEARL AND DIAMOND PENDANT, CIRCA 1925 Sri Lankan 25ct pink sapphire, no heat treatment £4,000-6,000 (+ fees)

For more information or to discuss selling works at auction, please contact: Charlotte Peel GG | 0207 930 9115 charlotte.peel@lyonandturnbull.com

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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.

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2. OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below. (a) Condition Reports: Condition Reports are provided on our Website

21.2

or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way. (b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon. (c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

3. WITHDRAWAL Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.

4. JEWELLERY, CLOCKS & OTHER ITEMS (a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling.

These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report. (iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any

improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent.

The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. (iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced. (b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order.

As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary.

Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted.

These watches cannot be shipped to the USA and only imported personally.

Clocks may be sold without pendulums, weights or keys. (c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine.

We can provide no guarantees as to how the alcohol may have been stored.

There is always a risk of cork failure and allowance by the Buyer must be made.

Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given. (d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing.

This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects

not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300. (e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. (f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.

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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

137 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.

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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.

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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.

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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.

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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. Please see D.2(e) for the conditions to be fulfilled before the VAT charged on the Hammer Price may be cancelled or refunded upon exporting from the UK. (a) Lots affixed with (†): Value Added Tax on the Hammer Price and Buyer’s Premium 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 UK and is not operating under a Margin Scheme. (b) Lots affixed with (‡): A reduced rate of Import Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the UK. (c) Lots affixed with [Ω]: Standard rate of 20% of Import Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the UK and do not fall within the reduced rate category. (d) Lots affixed with [Ω] or ‡ when these lots are released to buyers in the UK, the buyer will become the importer and must pay us Lyon & Turnbull Ltd. the import VAT at the rates noted above on the hammer price. The buyer should also note that the appropriate rate will be that in force on the date of our release and not that in force at the date of auction or payment. (e) Export from the UK: For lots offered

under the VAT Margin Scheme and lots with [Ω] or ‡ symbols attached; you may be eligible to have a VAT refund in certain circumstances if the lot is exported. Should you show us proof of export within three months of collection a VAT refund may be arranged. No VAT amounts will be refunded where the total refund is under £100. Bank/transfer charges relating to any refund will be borne by the buyer and will not be reimbursed.

Please also note that all customs formalities of the destination country are the responsibility of the buyer.

3. ARTIST’S RESALE ROYALTY (DROIT DE SUITE) This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than €1,000 (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

138 may be added to this agreement by law, are excluded.

2. AUTHENTICITY GUARANTEE We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser.

This Guarantee does not apply if: (a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or (b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or (c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.

This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must: (a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by

any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

3. YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that: (i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant 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. (h) If you agree to our pack and send service (if applicable) payment of shipping fees must be made prior to us posting. Any shipping fee will be inclusive of VAT. 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 (a) 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. (b) We offer a limited pack and send service using Royal Mail on small jewellery items. When items leave our premises and are in transit via postal service We are not responsible for any damage or loss incurred. We are also not responsible for making any claim regarding loss or damage to items. A tracking reference number will be issued which can be used to raise a claim with the relevant shipping provider.

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

139 licences shall neither justify the recession of any sale not any delay in making full payment for the Lot. 3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites We accept no liability for any Lots which may be subject to CITES but have not be identified as such.

I. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties. (b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or (ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium,Provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph. (c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services. (d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot (e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid

by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS 1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if; (i) Any of our warranties are not

correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or (iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction.

3. COPYRIGHT We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission.

We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot. 4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities.

6. REPORTING ON WWW.LYONANDTURNBULL.COM Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.

7. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a Lot is sold in any other

currency than Sterling, the exchange rate is to be taken on the date of sale.

8. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security arrangements.

Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

9. DATA PROTECTION Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www. lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@lyonandturnbull.com.

10. FORCE MAJEURE We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

11. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

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.

21.2

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GUIDE TO BIDDING & PAYMENT REGISTRATION

HOW TO BID

BID LIVE ONLINE

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

BY COMMISSION/ ABSENTEE BID

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, Liveautioneers and 51bidlive (additional charges applicable).

1 – Government issued photo ID (Passport/Driving licence) 2 – Proof of address (utility bill/bank statement).

We may, at our option, also ask you to provide a bank reference and/or deposit.

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

BIDDING LIMITS Bidding levels in this auction will be capped. All new clients and clients who are looking to spend over £7,000 hammer may be requested by Lyon & Turnbull to submit a Bid Limit Request application and deliver to Lyon & Turnbull a deposit.

BIDDING Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. All lots will be invoiced to the name and address given on your registration form, which is nontransferable.

Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com

BY PHONE A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Please note that telephone bidding will only be available for lots over £3,000 and all bids must be booked by Thursday 13th May. First come-first served basis.

Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

PAYMENT Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods: BANK TRANSFER Account details are included on any invoices we issue or upon request from our accounts department.

ONLINE CREDIT OR DEBIT CARD Payment can be made by Visa Debit, Maestro, Mastercard, Visa Credit or Union Pay cards. We do not accept card payments by phone. Please use our online payment service (provided by Opayo). You will find a link to this service in the email invoice issued after the sale or you can visit the payments section of our website.

CASH No cash payments will be accepted for this auction.

Inside Cover Lot 244

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