Elegant Embellishments: Featuring the RenLu Collection

Elegant Embellishments: Featuring the RenLu Collection New York I September 21, 2020

Elegant Embellishments: Featuring the RenLu Collection New York | Monday September 21, 2020 at 10am

BONHAMS 580 Madison Avenue New York, New York 10022 bonhams.com PREVIEW Bonhams’ operations and facilities are currently subject to government restrictions and arrangements may be subject to change. Lots will be made available for in-person viewing by appointment only [on the following dates:] September 17, 10am till 5pm September 18, 10am till 5pm September 19, 10am till 5pm September 20, 10am till 5pm Please contact the specialist department on +1 (212) 644 9113 or george.foren@bonhams. com to arrange an appointment before visiting our galleries. In accordance with Covid-19 guidelines, it is mandatory that you wear a face mask and observe social distancing at all times. Additional lot information and photographs are available from the specialist department upon request.

BIDS +1 (212) 644 9001 +1 (212) 644 9009 fax To bid via the internet please visit www.bonhams.com/26224 Please note that bids should be submitted no later than 24hrs prior to the sale.

New Bidders must also provide proof of identity when submitting bids. Failure to do this may result in your bid not being processed.

LIVE ONLINE BIDDING IS AVAILABLE FOR THIS SALE Please email bids.us@bonhams.com with “Live bidding” in the subject line 48hrs before the auction to register for this service.

Bruce Maclaren Vice President +1 (917) 206 1677 bruce.maclaren@bonhams.com Ming Hua 華銘 Junior Specialist +1 (646) 837 8132 ming.hua@bonhams.com Sherman To Inventory control +1 (917) 206 1610 sherman.to@bonhams.com San Francisco Daniel Herskee Senior Specialist, Asian Art +1 415 503 3271 daniel.herskee@bonhams.com

Please see pages 59 to 63 for bidder information including Conditions of Sale, after-sale collection and shipment.

Lingling Shang Consultant, Asian Art +1 415 503 3208 lingling.shang@bonhams.com

BIDDING We can accept bids in advance, on the telephone and online. Please register to bid online or via email at bids.us@bonhams. com. In accordance with Covid-19 guidelines, we are unable to offer in-person bidding for this auction.

SALE NUMBER: 26224 Lots 300 - 362

Los Angeles Rachel Du Specialist, Chinese Art +1 (323) 436 5587 rachel.du@bonhams.com

PAYMENT, COLLECTIONS & SHIPPING If you wish to automatically receive a Bonhams Shipping quote, please confirm as such at the time of registration. In-person or third-party collections from our galleries are by appointment only and can be scheduled with our Client Services team. In accordance with Covid-19 guidelines, we strongly encourage contactless payment of invoices prior to collection via wire transfer or credit card through your MyBonhams account. For further information, please refer to your invoice or contact the Client Services team at invoices.us@bonhams. com.

Ian Ehling - 2068610-DCA

Bonhams © 2020 Bonhams & Butterfields Auctioneers Corp. All rights reserved.

CATALOG: $45 AUCTIONEERS Jacqueline Towers-Perkins - 2068426-DCA

Bonhams & Butterfields Auctioneers Corp.

2077070-DCA GLOBAL HEAD, CHINESE CERAMICS AND WORKS OF ART

Asaph Hyman +44 (0) 20 7468 5888 asaph.hyman@bonhams.com INQUIRIES

Chinese Works of Art Dessa Goddard US Head, Asian Art +1 (415) 503 3333 dessa.goddard@bonhams.com

ILLUSTRATIONS Front Cover: 308 (detail) Inside Front Cover: 318 Inside Back Cover: 362 REGISTRATION IMPORTANT NOTICE Please note that all customers, irrespective of any previous activity with Bonhams, are required to complete the Bidder Registration Form in advance of the sale. The form can be found at the back of every catalogue and on our website at www.bonhams.com and should be returned by email or post to the specialist department or to the bids department at bids.us@bonhams.com To bid live online and / or leave internet bids please go to www.bonhams.com/26224 and click on the Register to bid link at the top left of the page.

International Chinese Works of Art and Paintings Team Global Asaph Hyman Global Head, Chinese Art Colin Sheaf Deputy Chairman Dessa Goddard US Head, Asian Art

Asia Xibo Wang Hong Kong Keason Tang Hong Kong Iris Miao Hong Kong

Europe Benedetta Mottino London, New Bond Street Edward Luper London, New Bond Street Rachel Hyman London, Knightsbridge

Rosangela Assennato London, Knightsbridge Aude Louis Carves Paris

USA Bruce MacLaren New York Ming Hua New York Daniel Herskee San Francisco Ling Shang San Francisco

Amelia Chau San Francisco Dick Lin San Francisco

Australia Rachel Du Los Angeles Yvett Klein Sydney

Asia Representatives Bernadette Rankine Singapore Bobbie Hu Taipei

Chronology NEOLITHIC CULTURES Cishan-Peiligang Central Yangshao Gansu Yangshao Hemadu Daxi Majiabang Dawenkou Songze Hongshan Liangzhu Longshan Qijia

c. 6500-5000 BC c. 5000-3000 BC c. 3000-1500 BC c. 5000-3000 BC c. 5000-3000 BC c. 5000-3500 BC c. 4300-2400 BC c. 4000-2500 BC c. 3800-2700 BC c. 3300-2250 BC c. 3000-1700 BC c. 2250-1900 BC

EARLY DYNASTIES Shang c. 1500-1050 BC Western Zhou 1050-771 BC Eastern Zhou

Spring & Autumn 770-475 BC

Warring States 475-221 BC IMPERIAL CHINA Qin 221-207 BC Han

Western Han 206 BC-AD 9

Xin AD 9-25

Eastern Han AD 25-220 Three Kingdoms

Shu (Han) 221-263 Wei 220-265 Wu 222-280 Southern dynasties (Six Dynasties) Western Jin 265-316 Eastern Jin 317-420 Liu Song 420-479 Southern Qi 479-502 Liang 502-557 Chen 557-589 Northern dynasties Northern Wei 386-535 Eastern Wei 534-550 Western Wei 535-557 Northern Qi 550-577 Northern Zhou 557-581 4 |

BONHAMS

Sui 589-618 Tang 618-906 Five Dynasties 907-960 Liao 907-1125 Song Northern Song 960-1126 Southern Song 1127-1279 Jin 1115-1234 Yuan 1279-1368 Ming Hongwu 1368-1398 Jianwen 1399-1402 Yongle 1403-1424 Hongxi 1425 Xuande 1426-1435 Zhengtong 1436-1449 Jingtai 1450-1456 Tianshun 1457-1464 Chenghua 1465-1487 Hongzhi 1488-1505 Zhengde 1506-1521 Jiajing 1522-1566 Longqing 1567-1572 Wanli 1573-1620 Taichang 1620 Tianqi 1621-1627 Chongzhen 1628-1644 Qing Shunzhi 1644-1661 Kangxi 1662-1722 Yongzheng 1723-1735 Qianlong 1736-1795 Jiaqing 1796-1820 Daoguang 1821-1850 Xianfeng 1851-1861 Tongzhi 1862-1874 Guangxu 1875-1908 Xuantong 1909-1911 REPUBLICAN CHINA Republic 1912-1949

People’s Republic 1949-

The Ren Lu Collection 潤廬品金

The RenLu Collection is a love story. A collection of scholars works of art, furniture, sculpture and jewelry accumulated through years of acquiring one special object at a time. Each one a token of my father’s devotion and love for my mother — or at least that was his justification.

My father is well known as a designer, with impeccable taste, and as a creator of fine objects and furniture. He is also an avid student of Chinese antiques and is always curious how they were created, what motivated the maker, and how individual personality and character is portrayed through the pieces. What most people do not know about him is his love for Chinese gold jewelry. His passion started during his business trips to China to work on his contemporary collections.

This passion soon became his favorite pastime. Since he is a “maker” himself he was acutely aware, and in awe, of the intricate detail and work in the jewelry. He would be delighted and find joy in the whimsy and characteristics of each piece. He justified his collecting passion by saying they were birthday gifts, anniversary gifts, and holiday gifts for my mother - any reason to buy another special piece. Few people have seen or know about this collection. My father is a very private person, and that both insulates him and fosters a blissful naiveté of pure pleasure for my parent’s collection.

From the craftsmen who create and communicate with their hands to the scholars that study the objects, those are the people with whom my father has an easy rapport. He is uncomfortable in the spotlight and would much rather be in a lively discussion with craftsmen problem-solving and creating. He is able to ancient techniques to create modern pieces that are relevant yet steeped with history. And in doing so, he is considered an internationally renowned designer.

My father was raised in a family that revolved around art, and making art is what he knows best. His father, Ming Chiao Kuo, was a calligraphy artist whose paintings are in the permanent collection of the Vatican Museum and the Natural History Museum in Taiwan. His applied art (cloisonné) was collected by museums and also given as diplomatic gifts to foreign visitors by Madame Chiang Kai-shek. Family friends included people like Li De (artist/professor), Mo Tian (artist), Max Chi Wai Liu (watercolor artist), Li Lin Can (vice director of National Palace Museum), Ma Bai Sui, and my grandfather’s mentor Jiang Zhao He who my grandfather lived with for 3 years before he left Beijing.

This collection is my father’s way of sharing part of himself with others, his quirkiness, whimsy, joyfulness, and amazement at life - through the stellar objects that live in this collection.

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BONHAMS

潤盧收藏講述了一個愛情故事。收藏中的每一件文人畫、家 具、雕塑、珠寶首飾都是我父親在經年歲月中為我母親精挑細 選而得，以此作為他們鹣鲽 情深的見證。至少他是這麼解釋的。 我的父親是一位以品味超卓，能工巧匠而聞名的設計師。同時 他也是一位對中國古董癡迷而恭敬的爱好者。每件藝術品的創 作過程，背後的創作動機，以及透過它們流露出的匠人迥異的 個性和氣質通通都令他著迷。但很少有人了解我父亲對中國金 飾的熱情。有一次我父親去中國處理他当代艺术 品收藏的一些 相关事宜，卻意外發現了對中國金飾的喜愛。從此以後收藏金 飾很快發展成他最喜歡的消遣活動。由於他本人也是“匠人” 的緣故，我父親總能敏銳地注意到首飾中精巧繁複的細節，并 對之充滿珍愛甚至敬重之情。每一件首飾體現出的奇思妙想 都使他由衷感到快樂。他總以給我母親送禮物為由不停地收 藏獨特的首飾，生日、結婚紀念日、節假日，任何一個機會都 不會錯過。這個收藏幾乎無人知曉。我父親為人十分低調而注 重私密，這使他與世隔絕的同時也成全了我父母間純真而甜蜜 的幸福。 從以手工製品托物言志的匠人，到研究這些物件的學者，我父 親都能與之相談甚歡，相處融洽。但他不喜歡成為聚光燈下的 焦點，相較而言，與工匠進行一場解決問題或構思設計的討論 反而更使他自在愉快。他能用傳統的技法創造出飽含歷史韻味 又不失現代功能的設計，因此他被認為是一個享有國際盛名的 設計師。 我父親在一個充滿藝術氛圍的家庭中長大，因此藝術創作是他 最擅長的。他的父親郭明喬是一位書法藝術家，作品收藏於梵 蒂岡博物館和台灣自然歷史博物館中。他的景泰藍作品也被若 干博物館收藏，并曾作為外交禮物被蔣中正贈與各國友人。往 來的好友也大多是藝術家，包括李德（藝術家/教授），莫田 （藝術家），劉其偉（水彩畫家），李霖灿（原台北故宮博物 院副院長），馬白水等。蔣兆和曾是我爺爺的導師，搬到北京 之前兩人曾朝夕相處了三年之久。 潤盧收藏中這些如恆星般閃耀的藝術品，一件件都講述著我父 親的故事，講述著他的古怪，他的異想天開，他的快樂以及他 對生活的驚歎。

ELEGANT EMBELLISHMENTS |

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Elegant Embellishments In the ‘Tributes of Yu’ chapter of the Book of Documents it is thus recorded: “Its articles of tribute were three types of metal (gold, silver, and copper)”. Legend has it that more than four thousand years ago, in the era when Yu was separated into nine states, the metallic tributes from the areas along the Huai and Yangzte rivers were said to be separated into three levels of quality. Since early times then, China has held the commodities of gold and silver as symbols of wealth and identity, and the collection of gold and silver decorations as the exclusive provenance of the nobility.

The fifty lots of gold and silver forming the ‘Elegant Embellishments’ collection is comprised of hair ornaments, earrings, necklaces, bangles, ‘ear cups,’ belt hooks and mat weights. Especially noteworthy within the ‘Elegant Embellishments’ collection are the early gold and silver decorations, rarely seen on the market.

Because of the scarcity of the commodity itself, in addition to the intricacy, complexity and virtuosity of the artistic creativity of their accomplished artisans, gold and silver objects have historically been held in high esteem by the imperial family and the aristocracy, serving variously the functions of currency, reward, tribute, and objets d’art—their preservation a valuable witness to their historical and cultural legacy.

Due to many varied reasons, though the early gold and silver decorations have a high cultural and economic value, they have always been a somewhat neglected category. The most readily visible of these older types of gold and silver are for the most part found in the collections of cultural institutions, inaccessible for the private collector.

The accumulation of pieces forming this dedicated ‘Elegant Embellishments’ collection was both via a lengthy process over an extended period of time as well as via occasional chance encounters of serendipity. When I was in college, I helped my father, painter Kuo Ming Chiao in the business of cloisonné. During its production I was brought in contact with the field of Chinese artistry and handicrafts.

It was specifically the craftsmanship of gold and silver items from the Spring and Autumn, and Warring States periods through the Eastern and Western Han that struck me as particularly interesting and inspired me towards their collection and research.

In the ‘Elegant Embellishments’ auction, Lot 300, A rare inlaid gilt bronze belt hook, Warring States, and Lot 308, A fine and rare inlaid bronze garment hook, Warring States/Western Han period, one can see that the production technology of these pieces is adapted and extrapolated from techniques for soldering and casting bronzes. Engraving, gold and silver inlay, and gilding are notable features of gold and silver from this era.

The decoration and form of the Song dynasty gold and silver pieces trended towards more simple elegance. The patterns and subject matter of Lot 316, A pair of gold ‘bird’ earrings, and Lot 324, A pair of gold bracelets took their inspiration from the natural world. The appearance of these shapes and motifs was closely linked to a renewed aesthetic and artistic focus in the Song dynasty upon mood and feeling.

Objects of the Ming and Qing dynasties were cast in forms solemn, sumptuous and resplendent, redolent of a notably imperial aura. Lot 318, A pair of gold ‘figural’ earring pendants, moves with a rustic simplicity, whereas Lot 335, A gold ‘dragon bracelet, is an exquisite technical tour de force, elegant and stately.

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BONHAMS

The flavor and appearance of gold and silver varied from era to era, each with its own beauty.

I first set foot in the field of Chinese antique collecting in 1979, acquiring numerous objects, directing my attention towards articles made from wood, gold and silver, as well as other miscellanea. Afterwards, I spent many hours crisscrossing America, Hong Kong, Taiwan and the Mainland. During my travels I had numerous excellent teachers and helpful friends that provided lots of assistance, including Jan Stuart, Na Chih-Liang, Wang Shixiang. While I was interacting with them, I ceaselessly studied the materials, forms, and techniques of China’s classical artworks, gradually getting a sense of the Eastern philosophy inherent in the techniques and craftsmanship of the ancient artisans of these objects.

In 1984, I founded a company in West Hollywood. Because of my continued research and collection of China’s ancient arts, my perspectives widened, and my business development process was greatly inspired. Regardless of an artwork’s material or region or date of manufacture, the prerequisite for the creation of any good piece of art is to recognize clearly the relation between old and new as well as the melding of Eastern and Western elements—this has been of extremely important significance in my search for design inspiration.

After its policy of Reform and Opening, I traveled nearly everywhere searching for pieces I loved and that had their own artistic feel, the act of collection becoming my own systematic process, creating a farreaching influence upon my design. Of these objects, the collection of gold and silver was formed between 1979 and 2005. Very few pieces entered my care after that.

The objects included in this ‘Elegant Embellishments’ sale were the best items chosen by me from the many years I spent collecting. Gold and silver are rare precious metals, especially gold which does not oxidize or decompose easily. Though a thousand years may pass, the work still shines like new, regarded as treasure to be passed through the generations.

The soul of gold and silver collection is in the aesthetics of form and craftsmanship, these are the things most worthy of our attention. Gold and silver artifacts where the form and materials are both of equally high quality are not commonly seen. That I could briefly possess these perfect testaments to history gives me a heartfelt sense of gratitude and joy.

The level of complexity and elegance of the craftsmanship, as well as its weight and color decide the price of a piece of gold and silver. However, to a collector, to evaluate a piece’s value, it is even more important to consider its cultural and historical significance.

‘A beauty’s necklace, a marquis’ kingly seal; all come dredged from sands and waves.’ I hope that these timeless masterpieces can continue to elegantly accompany modern man.

‘Gold and silver of luminous shine; brilliant beauty in all directions.’

ROBERT KUO

潤盧品金

《尚書·禹貢》記載「厥貢惟金三品」——傳說四千多年前禹分 九州的時代，淮揚之地進貢的金屬已經分為三等。中國自古以 黃金白銀為身份財富象徵，金銀器更是專屬貴族的收藏。 「潤廬品金」專場五十組金銀器中，有發飾、耳飾、頸飾、臂 釧、耳杯、帶鉤、席鎮等飾件。比較特別的是，「潤廬品金」 專場彙集多件高古時期的金銀器，這在市場上很罕見。 因為金銀本身的稀缺性，加上能工巧匠繁複精絕的藝術創作， 金銀器歷來為皇家、貴族推崇，被賦予貨幣、賞賜、供奉、觀 賞等功能，是歷史文化珍貴的遺存和見證。 受很多因素限制，高古金銀器雖然文化價值、經濟價值很高， 但一直是偏冷僻的門類，大家能夠經常見到的金銀器，大多屬 於文博藏品，私人無法庋藏。 「潤廬品金」專場的這些藏品，也都是經過漫長的時間和偶然 的機緣才收集到的。我大學時幫父親郭明橋（畫家）經營景泰 藍，在製作過程中接觸到中國工藝美術的領域，對春秋戰國 和兩漢時期的金銀器製作工藝特別感興趣，有了研究和收藏 的發心。 從本次「潤廬品金」專場中的Lot 300：戰國銅鎏金包銀嵌寳 帶鈎、及Lot 308：戰國/西漢時期局部鎏金銅錯銀嵌松石雙獸 首帶鈎，人們能夠看出製作工藝是青銅器冶煉和鑄造工藝的移 植和延伸。鏨花、金銀錯、鎏金是這一時期金銀器的特色。 宋代金銀器在造型和紋飾上變得素雅。Lot 316的半月形鳥紋 金耳環、及Lot 324的金跳脫均為很好的範例。Lot316紋樣取 材於自然，這種造型風格的出現，與宋代以心境意緒為藝術和 美學主題的審美有密切的關係。 明清金銀器造型莊重，華麗繁縟，宮廷氣息濃厚。Lot 318的 人物金耳墜生動古樸; 而Lot 335：雙龍首金手鐲，技巧細膩 精工，雍容華貴。 金銀器在每個時期表現出的氣息和面貌很不一樣，各有各的

美。我從1979年開始涉足中國古代藝術品收藏，以木器、金銀 器、雜項為方向，積累了很多藏品。此後，我把很多時間用在 穿梭於美國、香港、臺灣、大陸之間，在這段旅程中，有很多 良師益友為我提供了許多幫助，Jan Stuart、那志良、王世 襄……在與他們的交往中，我通過對中國古代藝術品材質、造 型、工藝的不斷學習，逐漸摸索到古人製作器物的技巧和工藝 之中蘊含的東方哲學。 1984年，我在美國西好萊塢成立公司，因為持續研究、收藏中 國古代藝術品，開拓了我的視野，在創業過程中得到很多啟 發，不論材質、地域、年代，做好藝術品的前提是認清舊與新 的關係、東方與西方元素的融合，對我找尋設計靈感也有著非 常重要的意義。 中國改革開放後，我到各個地方找尋自己喜愛且具有藝術感的 藏品，形成了自己的收藏體系，對我的設計也產生了深遠的影 響。其中，對金銀器的收藏，時間從1979年到2005年，之後就 很少入手了。 本次「潤廬品金」專場中的器物，是從歷年來我收集到的藏品 中精選出來的。金與銀都是稀有的貴金屬，尤其是黃金不易氧 化腐蝕，歷經千年，仍新亮如初，被視為傳世之寶。 工藝、造型的美感是金銀器收藏中最為靈魂，最應值得關注的 東西。造型和品質俱佳的金銀器並不常見，我為能短暫擁有過 這些見證了歷史的美好器物，感到由衷的感激和歡喜。 金銀器工藝的複雜性及精美程度，重量及成色決定著一件器物 的價值高低。對藏家來說，考量其價格更要看器物本身所包含 的人文價值和歷史價值。 「美人首飾侯王印，盡是沙中浪底來。」希望這些穿越時空的 佳作，可以成為現代人優雅的陪伴。 金銀曜爍，美熠四方。 ROBERT KUO

ELEGANT EMBELLISHMENTS |

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300

300 A RARE INLAID GILT BRONZE BELT HOOK Warring States period The gilt bronze surface cast as a feline mask embellished with twisted sashes heightened with raised commas enclosing a circular plaque inlaid with six radiating clusters of degraded stone, and joined to a silver housed shaft terminating in a dragon-headed hook, the gilt underside supported by a broad stud.

4 1/4in (10.7cm) long US$6,000 - 8,000 戰國 銅鎏金包銀嵌寳帶鈎一件 For a closely related belt hook, see Inspired Metalwork: Precious Metal Objects in Early Chinese Art by Gisèle Croës (Brussels, 2005), p.54. Compare an inlaid belt hook from the Junkunc collection sold by Sotheby’s New York, 9 March 2019, lot 114.

See also a belt hook of related shape, published in Julia White et al Adornment for the Body and Soul: Ancient Chinese Ornaments from the Mengdiexuan Collection (Hong Kong: The Univ. Museum and Art Gallery, 1999), p 110.

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BONHAMS

301

301 A RARE GILT BRONZE MODEL OF A SILKWORM Han dynasty The segmented body solid cast and supported on four paired legs on the dimpled body, the neck and lifted head further segmented and with three paired legs, large patches of gilding evident under the rich encrusted patina.

2 7/8in (7.4cm) long US$10,000 - 15,000 漢 鎏金蝅形銅飾一件 The worship of the silkworm can be traced to the Shang Dynasty ( 1600 – 1027 BCE ) when it was common to make human sacrifices during the silkworm ceremony. Representations of the silkworm are associated with the domestication, rearing of the silk worm, and the all-important silk weaving industry which was part of the essential economy of China. From the 3rd Century CE the spirit of the silkworm personified the Empress Xiling after which the spirit of the silkworm was worshiped in a special ceremony officiated by the Empress every year during the second half of the lunar month, with offerings of mulberry leaves and woven silk at a special altar set up in the silkworm temple or palace. See examples in the Minneapolis Museum of Art; Gift of Ruth and Bruce Dayton 96.55.1; J.J. Lally & Co., Chinese Works of Art May 27-June 18, 1998, no. 21,

潤廬品金 ELEGANT EMBELLISHMENTS

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303

303 TWO GILT BRONZE BEAR-FORM SUPPORTS Han dynasty Each hollow cast and seated with left fore-paw on folded leg and right fore-paw on well-rounded thigh, each head downcast with gaping mouth showing large teeth and surrounded by a large ruff under pointed ears framing small eyes, the deep sockets and rounded belly cast to receive inlays, the back of each figure cast with a perforated lug for attachment.

1 3/8in (3.5cm) high (2).

302

US$8,000 - 12,000 漢 铜鎏金熊形器足兩件

302 FOUR GILT BRONZE ANIMAL SCULPTURES Han dynasty Each hollow ornament cast in high relief with a recumbent panther or feline, the well-defined head resting on back haunches.

Average length: 1 1/8in (2.8cm) Average height: 3/4in (2cm) (4).

US$2,500 - 4,000 漢 銅鎏金獸雕四件 Hollowed Ornaments such as these were used as either mat weights with the addition of filler，or part of a horse bridle or saddle embellishments.

For a related group, see Christie’s, New York, 16 March 2017, lot 851, from the Erwin Harris Collection, Miami, Florida.

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Bears were depicted in Chinese art at least as early as the Shang dynasty (c. 1600–c. 1050 BC). The bear imagery was popular during the Han Dynasty symbolizing heroic power and has been associated with legendary rulers. Bears are observed in Han art as integral supports for bronze, lacquer and ceramic vessels, as solid-cast bronze sculptural mat-weights, in molded ceramic tiles, in textiles and as carved jade and hardstone figures. For a fine inlaid example, see Ancient Chinese Bronzes and Gilt Bronzes from the Wessen and Other Collections (Eskenazi, Ltd., London, 11-25 July 1980) no. 22. See also a small gilt bronze bear mat weight sold at Christie’s New York, 17 March 2015, from the Robert Ellsworth collection, a closely related seated bear in the Cleveland Museum collection (acquisition number 1994.203), and a set of four Han bear support fittings in the National Museum of Korea, (acquisition number Bongwan 4799).

304

305

304 A JADE BIRD-FORM BELT HOOK Late Warring States/Early Western Han dynasty Raised on a large circular stud for attachment, elegantly carved with long tail feathers set off by a short neck and slender head turned back to form the hook, the stone a pale greenish-yellow with white alterations from burial.

1 3/8in (3.5cm) long US$3,000 - 5,000 戰國晚期/西漢早期 鳥形玉帶鈎一件 See a closely related bird-form belt hook published by J.J. Lally & Co., New York, June 1 to 25, 1994, catalog 41. Bronze examples of this type are illustrated in Bernhard Karlgren, Chinese Agraffes in Two Swedish Collections (Stockholm, BMFEA, 1966), no. 38, pl. 75. See also Sotheby’s New York, September 10, 2019, lot 238.

305 TWO PARTIAL GILT SILVER HANDLE FITTINGS Han dynasty Of a curving boat-form, each fitting decorated in gilt with angled geometric patterns to the exterior walls.

5 3/8in (13.7cm) long (2).

US$2,000 - 3,000

306 306 AN INLAID GILT BRONZE BELT HOOK Warring States period The curved shaft set with a supporting boss under a central recumbent dragon head rendered in gilt and silver sheet set with turquoise separating a further dragon head on one end and a serpent-headed terminal on the other, the top ridge with turquoise inlay amidst areas of degradation.

8 3/8in (21.2cm) long US$3,000 - 5,000 戰國 銅鎏金包銀嵌松石雙獸首帶鈎一件

漢 漆耳杯錯金銀扣一對 Metal fittings of this shape were used to ornament the ear-shaped handles of lacquered vessels during the Han dynasty.

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307

307 A GILT BRONZE EAR CUP Han dynasty The concave oval dish raised on a shallow foot and worked with two small flanges on opposing long edges, the surface richly gilt.

4 1/8in (10.5cm)long; 1in (2.5 cm) high US$6,000 - 9,000 漢 銅鎏金耳杯一件 For a spectacular jade version of this type of vessel, see the Western Han example sold in our Hong Kong rooms，5 April 2016, lot 36. This shape (also called yushang), popular during the Western and Eastern Han dynasties, can be traced back to the Warring States period. Han examples in lacquer, rock crystal, and bronze have also appeared at auction.

See also a Liao example from the Songzhutang Collection, sold in our same room on 30 May 2017, lot 59 .

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308 A FINE AND RARE INLAID BRONZE GARMENT HOOK Warring States/Western Han period Imaginatively cast on the crest with a mythical winged bixie, its long tail and open mouth joined to a curved shaft finely inlaid with silver and turquoise and terminating in gilt bronze hooks, one end in the form of a fantastic bear, the precocious animal standing on hind legs in a dynamic pose with front paws resting on powerful thighs and mouth agape, the opposing hook modeled as a dragon head with ears laid back flanking deep-set eyes, the whole with patches of green encrustation and supported by a knop for attachment.

8 3/8in (21.3cm) long US$20,000 - 30,000 戰國/西漢 局部鎏金銅錯銀嵌松石雙獸首帶鈎一件 There are two turquoise inlaid belt hooks of thin elongated shape published in Julia White et al Adornment for the Body and Soul: Ancient Chinese Ornaments from the Mengdiexuan Collection (Hong Kong: The Univ. Museum and Art Gallery, 1999, pp. 109 and 111; the former dated to the Warring States period and the latter as Han. See the gold harness fitting with a bear design published in Simon Kwan and Sun Ji Zhongguo Gudai Jinshi [Chinese Gold Ornaments] (Hong Kong: Muwen Tang Meishu Chubanshe, 2003), pp. 232233. Sun there notes that this artifact is likely related to recent archaeological finds excavated from the area of the modern city of Guangzhou.

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308

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309

310

309 A GILT BRONZE BELT HOOK Warring States/Western Han period The curved shaft designed as the body of a long-tailed bird and elegantly cast with broad raised spirals tapering to a narrow beaked head set off by opposing c-shaped tail feathers US$2,500 - 3,500 戰國/西漢 銅鎏金鳥首帶鈎一件 310 A GOLD INLAID BRONZE GARMENT HOOK Han dynasty The tapered shaft finely inlaid in gold and silver in a geometric pattern of interlocking spirals and banded lozenges extending the length of the crest to the dragon-head hook, the underside showing traces of inlay on the large button for attachment.

4 1/2in (11.5cm) long US$2,000 - 3,000 漢 銅錯金銀幾何紋龍首帶鉤一件

311

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Belt hooks with this elegant and fluid geometric design can be found on Warring States and Western Han lacquer and painting. For a discussion of this, see a related example published in Julia M. White and Emma C. Bunker, Adornment for Eternity (Denver, Denver Art Museum, 1994), catalog no. 27, page 108. Compare also a similar example from the Kempe collection, sold at Sotheby’s London, 14 May 2008, lot 24, and published in Bo Gyllensvard, Chinese Gold and Silver in the Carl Kempe Collection (Stockholm, 1953), cat. no 78, and another published and exhibited in Ancient Chinese and Ordos Bronzes (Hong Kong Museum of Art, Hong Kong 1990）, cat. no 134.

312

311 A GILT BRONZE GARMENT HOOK Warring States period The curved panel cast as a powerful dragon head, the bulging eyes and curved horns forming the center of the crest under a narrow neck extending to a bird-head hook with open beak.

3in (7.7cm) long US$3,000 - 5,000 戰國 銅鎏金鳥形帶鈎一件 See a comparable hook published in Simon Kwan and Sun Ji Zhongguo Gudai Jinshi [Chinese Gold Ornaments] (Hong Kong: Muwen Tang Meishu Chubanshe, 2003), pp. 224-225, no. 85.

312 A GOLD AND SILVER INLAID BRONZE BELT HOOK Han dynasty The plump shield-form body elegantly inlaid with two addorsed birds sharing a central ‘tail’, each head and claw finely executed in silver under gold inlaid bodies extending to flared ‘wings’ bordered in silver above a bovine head at the base, and upward to further silver talons at the narrow neck of the serpent head, the underside with extensive silver bands of geometric pattern inlaid under the domed stud, together with a ring of plain hammered silver.

3in （97.7cm) long (2).

313

313 A GILT BRONZE AXE-HEAD GARMENT HOOK Han dynasty Cast in the form of a flattened axe-head inlaid with fine gold in a geometric pattern of whorls and c-commas, and joined to the hook by a taotie mask carefully inlaid in gold along with the narrow shaft terminating in a dragon head hook, the details further accented in gold inlay, the reverse boss once inlaid and now covered with a malachite patina.

3 1/2in (8.8cm) long US$3,000 - 5,000 漢 銅錯金饕餮紋斧形龍首帶鈎一件 Several hooks from the Warring States period through the Han with repeating geometric inlay patterns reminiscent of the present lot are illustrated in Julia White et al Adornment for the Body and Soul: Ancient Chinese Ornaments from the Mengdiexuan Collection (Hong Kong: The Univ. Museum and Art Gallery, 1999), pp. 107-114. See notably the example described as a ‘garment hook’ on p. 113 with the wide body like that of the present lot.

Compare a related example from the Sze Yuan Tang collection, sold at Christie’s New York, 16 Sept 2010, lot 862, and in the British Museum (acquisition number 1936,1118.113) dated Warring States to Han.

US$4,000 - 6,000 漢 銅錯金銀鳥獸紋帶鈎及銀環各一件

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314

315

314 A GOLD INLAID BRONZE GARMENT HOOK Han dynasty Elegantly inlaid with a cut gold geometric pattern of continuous c-commas and volutes extending toward a well-modeled bird head, the design accented by silver wire inlays repeated on the sides and the raised boss.

6in (15.3cm) long US$3,000 - 5,000

315 TWO BRONZE ANIMAL-SHAPED ORNAMENTS Han dynasty The first a bird-form finial dingshi cast with a broad tail and crescentshaped body supported by a circular socket; the second a miniature vessel modeled as a crouching tiger resting on folded legs, its mouth open forming a spout and tail curled back joining a narrow curved handle, the body with incised details. finial 41/4in (10.8cm) long, 3 1/8in (7.9cm) high tiger vessel 4in (10.1cm) long; 2in (5.1cm) high (2).

漢 銅錯金嵌銀絲龍首帶鈎一件

US$3,000 - 6,000

For a Han example of an elongated hook with geometric pattern and turquoise inlay，see Julia White et al Adornment for the Body and Soul: Ancient Chinese Ornaments from the Mengdiexuan Collection (Hong Kong: The Univ. Museum and Art Gallery, 1999), p. 111. For a Warring states version, see ibid p. 107.

Compare also a related Warring States example with elaborate gold geometric pattern inlay published in Simon Kwan and Sun Ji Zhongguo Gudai Jinshi [Chinese Gold Ornaments] (Hong Kong: Muwen Tang Meishu Chubanshe, 2003), pp. 220-221.

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漢 動物形青銅飾物兩件 See an elaborately cast and inlaid bronze dingshi finial sold in these rooms on 16 March 2015 as lot 2001, and a finely detailed bronze example as 2002. The tiger-form vessel has its larger comparable in animal-form vessels. See a fine example of a larger type in J.J. Lally.

Archaic Chinese Bronzes, Jades and Works of Art (June 1 to 25, 1994), no 59.

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316

317

316 A PAIR OF GOLD ‘BIRD’ EARRINGS, ERHUAN Song dynasty Each rendered in the form of a bird with an open beak, its curving body resembling the shape of a crescent moon, etched with stylized feathers, the tail thinning into a distinctive 几-form pin.

7/8in (2.2cm) wide from head to tail (2).

US$3,000 - 5,000

317 TWO GOLD ‘CELESTIAL DEITY’ EARRINGS, ERHUAN 10th-14th century Each decorated with a deity seated on floating clouds holding a fruitlike offering in two hands, the figure’s head surmounted with a crown, framed by a halo with incised lines, the curving pin thinning towards its tip.

1 3/8in (3.5cm) long excluding pin (2).

US$4,000 - 6,000

宋 半月形鳥紋金耳環一對 Simple crescent moon-shaped earrings represent one of the distinctive jewelry designs during the Song dynasty. For further discussion on this subject，refer to Zhongguo Gudai Jinyin Shoushi, Yang Zhishui (Beijing: Gugong, 2014), vol. 1, p. 282.

Compare a similar example in Ancient Chinese Gold Earrings, The Cheng Xun Tang Collection, Xu Xiadong (Hong Kong, Arts of Asia, 2006), vol. 36, no. 6, p. 75, pl. 10. Also, a related pair of earrings was referred in The Art of the Chinese Goldsmith, The Cheng Xun Tang Collection (Hong Kong: Art Museum, The Institute of Chinese Studies, The Chinese University Hong Kong, 2007), The referred pair was found from a Northern Song Tomb dated to 1090 CE in Pengze, Jiangxi Province (Part II, pp. 216-217, no. D19).

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十至十四世紀 仙人雲紋金耳環一對 In Zhongguo Gudai Jinyin Shoushi (Beijing: Gugong, 2014), Yang Zhishui states that earrings carrying the images of young boys or celestial figures were favored during the Song and Yuan dynasties.

The popularity of such themes continued into the Ming dynasty (vol.

2, p. 614). In his book Yang refers to two pairs of earrings, both featuring a figurine design, excavated from the same Ming burial site in Daqiangmen, Wuxi.One pair was made in gold, the other in gold inset with jade (p. 615, pl. 6.19.1 & 6.19.2).

Refer to a set of eight small gold ornaments depicting the Eight Daoist Immortals, originally applied to a gold headband that belonged to a Ming dynasty princess. The figurines were unearthed in Jiangxi Province and published in Chinese Gold Ornaments, Simon Kwan and Sun Ji (Hong Kong: Muwen Tang Fine Art Publication Ltd., 2003), pp.

470-471, pl. 311. Deity images were often utilized during the Ming dynasty to ornament gold jewelries. Compare also lot 318 in this sale, a pair of Ming dynasty gold ‘figural’ earring pendants. The figures are depicted in a lively and yet austere fashion, exhibiting some similarities with the style of the present earrings.

318 318 A PAIR OF GOLD ‘FIGURAL’ EARRING PENDANTS, ERZHUI Ming dynasty Each rendered as a female figure in layered leaf-form robes standing on a flower pedestal and carrying a basket on her back containing a lingzhi branch, identified either as the Deity of Medicine yaoshen or as Maonu, her rounded face framed by thick hair and surmounted with a large lotus blossom with a wire loop in the center for attaching a pin.

2in (5.1cm) high overall (2).

US$8,000 - 10,000 明 人物金耳墜一對 A virtually identical pair of earrings was recovered from a Ming (Yongle period) burial in the Xu Da Family cemetery near Nanjing in the 1970s.

The figure decorating the earrings is identified as the Yaoshen (Deity of Medicine) in Jin yu Yu (金與玉，2004). The earrings are also published and illustrated in Zhongguo Gudai Jinyin Shoushi (Beijing: Gugong, 2014), vol. 2, p. 623, pl. 6.24. Yang Zhishui, author of the book, states that the depicted figure is in fact called Yujiang, known as Maonu (hairy girl) – an immortal known after the collapse of the Qin dynasty.

The information related to Maonu is recorded in the Han dynasty book Liexian Zhuan (Biographies of Immortals).

Compare also another example of an almost identical figure appearing on a hairpin, excavated from a Ming tomb in Qizhou County, Hubei Province, illustrated in The Golden China, Gold Artifacts of Ancient China, (Nanjing: Nanjing Museum, 2013), pp. 342-343.

It is believed that there were inlaid beads on each of the flower petals above the figure’s head, now missing.

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319 A GOLD FLOWER HAIRPIN, ZAN Ming dynasty The tapering shaft with subtly beveled top and decorated with incised lotuses to the upper section, supporting a slightly tilted neck encircled by thin rings below an angled flower head and three sensitively rendered leaves.

5 3/4in (14.7cm) long US$2,500 - 3,500 明 花卉紋金簪一支 There are many different terms for hairpins in Chinese depending on the design, and how and where they are used for. Broadly, hairpins can be classified as zan (one-tined hairpins) and chai. (two-tined hairpins). zan can be found in use by both men and women, while chai is mostly reserved for women.

319

In Chinese Gold Ornaments (Hong Kong: Muwen Tang Fine Art Publication Ltd., 2003), Simon Kwan and Sun Ji point out that the zan was more popular than chai during the Ming dynasty, when there exist a greater variety of shape and design on the shaft of the zan style hairpins (p. 100), such as featuring two beveled sides sloping from the central raised ridge as shown in the present example. Other zan hairpins with alike shaped shafts are illustrated on page. 101, pl. 213.

320 A GOLD ‘DRAGON’ HAIRPIN, CHAI Yuan dynasty The two-tined hairpin gently curved, cast and chased to the upper portions with two confronting dragons joined by a flower head, the prongs rendered thin and flat.

6 1/2in (16.5cm) long US$3,000 - 5,000 元 卷龍紋金釵一件

320

In Chinese Gold Ornaments (Hong Kong: Muwen Tang Fine Art Publication Ltd., 2003), Simon Kwan and Sun Ji discuss the curving finishing seen on hairpins during the Yuan and early Ming dynasties, as well as the gold hairpins with coiled dragon design which is peculiar to the Yuan dynasty (pp. 458-460, pl. 299 and 300). In addition, a set of seven gold head ornaments, included a similarly decorated gold hairpin, excavated from a Yuan dynasty burial at Zhoujiatian in Huangpi, Hubei province, are illustrated in Ancient Chinese Cultures of Gold Jewellery and Ornamentation by Yang Boda (Arts of Asia, MarchApril 2008), vol. 38, no. 2, pl.58.

Compare also similar examples in Radiant Legacy; Ancient Chinese Gold from the Mengdiexuan Collection by Jenny F. So (Hong Kong: The Chinese University, 2013), Part II, pp. 112–113, no. 3, and in Chinese Gold and Silver in the Carl Kempe Collection by Bo Gyllensvärd, (Stockholm, 1953), p. 121, pl. 63.

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321

321 A GOLD HAIRPIN WITH FLOWER DECORATION, TONGZAN 12th-14th century Worked in beaten gold sheet folded into a hollowed, slightly tapering shaft, the upper section with repoussé flowers and leaves between two key-fret bands, crowned with a flower head top further decorated with raised leafy blossoms.

8 3/4in (22.2cm) long US$8,000 - 12,000

321 (detail)

十二至十四世紀 花紋金筒簪一支 Compare a gold nail-form hairpin with floral design and dated to the Southern Song dynasty, illustrated in Chinese Gold Ornaments (Hong Kong: Muwen Tang Fine Art Publication Ltd., 2003), p. 395, pl. 240.

Simon Kwan and Sun Ji compare the illustrated gold hairpin to a similar example unearthed from the Zhu Family cemetery and dated to year 1197 in Jiangxi province. P. 394.

In addition, Yang Zhishui described a related gold hairpin, excavated from a Yuan dynasty tomb in Hunan province, illustrated in Zhongguo Gudai Jinyin Shoushi (Beijing: Gugong, 2014), vol. 1, pp. 176-177, pl.

3.15.5. In contrast to the Song hairpin, the shaft of the Yuan dynasty hairpin appears to taper more dramatically, and finished with a thinner tip.

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322

323

322 A GOLD ‘DRAGON’ AIRPIN, CHAI Yuan dynasty The two-tined hairpin molded and chased with two coiled dragons topped with a flower blossom, the shafts hammered flat.

5 1/2in (14cm) long US$3,000 - 4,000 元 卷龍紋金钗一件 Compare two very similar gold hairpins excavated from a Yuan dynasty tomb belonged to the Huang Family in Yuanling, Hunan province, illustrated in Zhongguo Gudai Jinyin Shoushi, Yang Zhishui (Beijing: Gugong, 2014), vol. 1, p. 152, pl. 4.3.1 & 4.3.2.

See also gold hairpins cast and chased with a twisted dragon design, illustrated in Radiant Legacy, Ancient Gold from the Mendexuan Collection, Jenny F. So (Hong Kong: The Chinese University, 2013), vol. 3, p.113, pl. C & D, as well as in Adornment for Eternity by Julia M. White and Emma C. Bunker (Denver Art Museum, 1994), p. 192, pl. 105, where the authors note that the “twisted gilt hairpins of this two-tined type have also been found in Inner Mongolia and appear to belong to a type that originated in the north and was brought to the south during the Yuan dynasty.” (p. 192).

322 (detail)

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324

323 A PAIR OF GOLD DRAGON-FORM BRACELETS, QIANZHUO Ming dynasty or earlier Each penannular-form bracelet with a solid, rounded shank flattening towards its terminals, with worn hammered details to present a pair of facing dragons.

2 5/8in (6.7cm) wide (2).

US$7,000 - 9,000

324 A PAIR OF GOLD BRACELETS, TIAOTUO Song-Yuan dynasty Of circular form, each made from a long strip of gold sheet, one side hammered with two parallel grooves, the narrower ends wrapped with spiraled wire, terminating in loops surrounding the body of the bracelet to create a spring-like effect for expansion.

2 3/4in (7cm) diameter (2).

US$8,000 - 12,000

明或更早期 雙龍紋金鉗鐲一對 The rudimentary format of the bracelets appears to have taken inspiration of the jue-form gold bracelets found as early as the Shang and Zhou dynasties. Jue(玦）is distinctive design better known in early Chinese jade carving characteristically presented in the form of a ring with a small break in the circumference.

A group of gold jue-form jewelries excavated from Shang and Zhou tombs near Beijing are illustrated and discussed in Chinese Gold Ornaments (Hong Kong: Muwen Tang Fine Art Publication Ltd., 2003), P. 41, no. 49, and pp. 136-137, pl. 137. Simon Kwan and Sun Ji point out that the measurements of this group of distinctive gold jewelries vary notably. It is believed that they could have been bracelets, earrings, or nose ring hoops. This group of penannular-form gold jewelries all feature a rounded shank and flattened termini but in a flared, ‘trumpet shape’. It is possible that the present pair of bracelets evolved from the early gold jue-form jewelries.

宋元 金跳脫一對 In Zhongguo Gudai Jinyin Shoushi (Beijing: Gugong, 2014), Yang Zineng mentions of a pair of related silver bracelets from the Song dynasty excavated from a site in Jiangxi (p. 327). He suggests that bracelets during this period could be divided into looser types versus tighter types. Aspects of the present lot suggest that it is one of the ‘looser’ types as he describes it.

In Chinese Gold Ornaments (Hong Kong: Muwen Tang Fine Art Publication Ltd., 2003), Simon Kwan and Sun Ji make note of a gold bracelet (tiaotuo), found in a Song dynasty burial site in Luoyang, which is nearly identical to the present pair, illustrated on p. 84, no.

161.

Compare another related example in Celestial Creations, Art of the Chinese Goldsmith, The Cheng Xun Tang Collection Part 1 (Art Museum. The Institute for Chinese Studies, The Chinese University Hong Kong, 2007), pp. 220-221, no. D23,

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325

326

US$2,000 - 3,000

326 A PAIR OF GEMSTONE-INSET GOLD EARRINGS, ERHUAN Ming dynasty The lavish pendant of each earring modeled with two plum flower heads below a butterfly-shaped design to the front and reverse, and paired by intricate tubes enmeshed with thin wires, each flower head and the butterfly adorned with a central ruby cabochon set within a high collar, the top surmounted with a long, elaborately curved pin rising between a pair of flanking leaves.

1 1/2in (3.8cm) long excluding pin (2).

明/清初 鍍金銀嵌寶石花形耳環一對

US$5,000 - 7,000

325 A PAIR OF GILT SILVER AND RUBY EARRINGS, ERHUAN Ming/early Qing dynasty The pendant of each earring modeled as a single flower head with a central ruby cabochon set within a roped collar surrounded by realistically rendered flower petals housing granulated balls, the curving flower stem issuing from behind served as the pin.

1/2in (1.3cm) diameter of pendant (2).

For additional gold ‘flower head’ earrings with inlaid precious stones, refer to Adornment for the Body and Soul, Ancient Chinese Ornaments from the Mengdiexuan Collection, Emma C. Bunker and Julia M. White with Jenny F. So (Hong Kong, the University of Hong Kong Museum Society, 1999), p. 301, pl. 145， and The Art of the Chinese Goldsmith, The Cheng Xun Tang Collection (Hong Kong: Art Museum, Institute of Chinese Studies, The Chinese University Hong Kong, 2007), Part II, pp. 462-463, no. G65.

Gold earrings with inset gemstone decoration are seen in both the Ming and Qing dynasties. But generally, the earring pins from the Qing dynasty tend to be thinner and more delicate than the bolder and thicker pins shown in the present pair of earrings.

明 嵌寶石蝶趕梅花金耳環一對 Long wire pins and elaborate, layered gold work with sumptuous precious stone inlays are characteristic of Ming dynasty jewelry and was a style favored by the Ming Imperial Family. Similar examples were found in the Mausoleum of Ding Ling according to Zhong Guo (Beijing: 1989), pl. 126.

The combination of a butterfly or a bee and flower blossoms on gemstone-inlaid jewelry belongs to a distinctive motif common during the Yuan and Ming dynasties, called feng die gan hua (bee and butterfly chasing flowers). For more information related to this prototype, refer to Zhongguo Gudai Jinyin Shoushi by Yang Zhishui (Beijing: Gugong, 2014), vol. 2, p612-614.

For detailed treatment and workmanship similar to the present pair of earrings, compare a gemstone-inlaid gold hairpin illustrated in The Golden China, Gold Artifacts of Ancient China, (Nanjing: Nanjing Museum, 2013), p. 330, p. 333, and p.345.

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327

327 A PAIR OF GEMSTONE-INLAID GOLD HAIRPINS, ZAN Late Ming/early Qing dynasty Each single-tined hairpin decorated with bamboo stalk pattern to the flattened shaft, branching into large filigree lotus blossoms and buds inset with red cabochon rubies and sapphires interspersed with lively leaves.

5 1/2in (14cm) long (2).

US$6,000 - 8,000 明末/清初 金纍絲嵌寶荷花簪一對 Gold hairpins with branched flowers and embellished with inset gemstones were fashionable in the Ming and Qing dynasties. For more examples, refer to Zhongguo Gudai Jinyin Shoushi, Yang Zhishui (Beijing: Gugong, 2014), vol. 3, pp 812-818, and The Golden China, Gold Artifacts of Ancient China, (Nanjing: Nanjing Museum, 2013), p. 350, p. 360, and p. 362. Similar pair of earrings is also published and illustrated in Art of the Chinese Goldsmith, The Cheng Xun Tang Collection (Hong Kong: Art Museum, The Institute of Chinese Studies, The Chinese University Hong Kong, 2007), Part II, pp. 568-569, no. H27.

327 (detail)

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328

328 AN IMPRESSIVE GOLD ‘LONGEVITY’ HAIRPIN, TONGZAN Late Ming dynasty Made by rolling a beaten gold sheet into a tapering shaft with an openwork lotus reserve between repoussé bands, the shaft slightly curved toward the top and terminated in a mushroom head with a pierced shou character between two additional shou roundels.

9in (22.9cm) long US$8,000 - 12,000 明末 蘑菇首壽紋金筒簪一支 According to Yang Zhishui, the distinctive shape of this hairpin, characterized by its long conical shaft gently angled toward a mushroom-form head, was fashionable during the Ming dynasty. This type of hairpins was generally used by men and was also made in other materials, including jade, agate, and amber. Compare a pair of gold hairpins of this type, unearthed from the Xu Da Family cemetery of the Ming dynasty in Nanjing, measuring 11.5cm, published and illustrated in Zhongguo Gudai Jinyin Shoushi (Beijing: Gugong, 2014), vol. 2, pp. 438-439, pl. 5.43. The present example is distinctive for its unusually large size.

See also a similar gold hairpin in Celestial Creations. Art of the Chinese Goldsmith, The Cheng Xun Tang Collection (Art Museum, The Institute for Chinese Studies, The Chinese University, Hong Kong 2007), Part II, pp. 396-397, no. G28.

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329

329 A CRYSTAL AND GOLD BEAD NECKLACE The crystal： Liao dynasty or later The bead crystals carved as flattened ovals, melon shape，or fishform set between hollow gold beads of various sizes linked to a cylindrical neck piece, wrapped gilt wire chain for suspension.

14 5/8in (37cm) long US$10,000 - 15,000 水晶金珠項鏈一條 水晶：遼或晚期 Emma Bunker cites in Adornment for the Body and Soul: Ancient Chinese Ornaments from the Mengdiexuan Collection (Hong Kong: The Univ. Museum and Art Gallery, 1999), that a Liao example of a rock crystal necklace with amber plaques found intact at Yemaotai (p.

155 and 163).

Another Liao necklace with tubular gold spacers and rock crystal beads was sold at Sotheby’s London, 10 November 2010, lot 161.

A set of rock crystal belt fittings dated Jin/Liao was sold at Christie’s London, 18 June 2002, lot 83. They noted there that ‘rock crystal and agate were among the most popular materials chosen as adornments by the Liao aristocracy, and often carved as ornaments or belt plaques.’

Compare also a gold and crystal necklace from the Ch. Deydier Collection, dated to the Liao dynasty, illustrated in Ancient Chinese Gold (Paris: ARHIS, 2001), Han Wei & Christian Deydier, p. 191, pl.481. 潤廬品金 ELEGANT EMBELLISHMENTS

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330 THREE GOLD HAIRPINS Two-tined hairpin chai: Tang-Song dynasty One-tined hairpins zan: Qing dynasty Including a two-tined hairpin split to the top into an arched, double saddle-form head rendered from a thin gold sheet, and two similar one-tined hairpins, each of slender tapering form, the top of the shaft slightly angled to a tripartite floral design.

3 3/4, 3 5/8, and 3 5/8in (9.5, 9.2, and 9.2cm) long (3).

US$3,000 - 5,000 金並頭釵一件及金簪兩件 金並頭釵 唐宋 金簪 清

330

331 THREE GOLD HAIRPINS, CHAI Tang-Song dynasty All two-tined, including a Tang dynasty hairpin rendered in U-form, cast with a simple bridge-shaped head, and two hairpins of Tang-Song dynasty, each with long tapering prongs, connected to the top with a small saddle-form head.

3 1/2, 6 1/16 and 7 1/16in (8.9, 15.5 and 18.1cm) (3).

US$4,000 - 6,000 唐宋 金折股釵三件 Compare a similar gold hairpin from the Tang dynasty with a bridgelike head, illustrated in The Golden China, Gold Artifacts of Ancient China, (Nanjing: Nanjing Museum, 2013), p. 318. It is stated in The Art of the Chinese Goldsmith, The Cheng Xun Tang Collection that simple two–pronged hairpins were found in Sui tombs and an early Tang tomb in Xianyang, Shaanxi Province ((Hong Kong: Art Museum, The Institute of Chinese Studies, The Chinese University Hong Kong, 2007), Part II, pp. 140-141. See also a gold hairpin with a double saddle-shaped head, dated to the Tang dynasty, illustrated in Chinese Gold and Silver in the Carl Kempe Collection by Bo Gyllensvärd , (Stockholm, 1953), p.

104, pl. 46.

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331

332 A GOLD-MOUNTED WHITE JADE PENDANT Qing dynasty The white jade carved in openwork and incised line with a central cash design surrounded by seven flower petals, mounted with a gold bee with two spiral antennae each terminated with a small pearl, the body of the bee inset with a large ruby cabochon above a pair of leaves inset with additional pearls.

2 1/4in (5.7cm) diameter of jade US$3,000 - 5,000 清 白玉鑲金嵌珍珠紅寶石飾牌一枚 Ornaments such as the present example would be used either as garment appliques or personal adornment such as those attached to pins to form hairpins during the Qing dynasty.

Compare similar examples published and illustrated in Celestial Creations, Art of the Chinese Goldsmith, The Cheng Xun Tang Collection (The Art Museum, The Institute for Chinese Studies, The Chinese University Hong Kong 2007), Part II, pp. 446 – 449, as well as in Chinese Gold Ornaments (Hong Kong, Muwen Tang Fine Art Publication Ltd., 2003), Simon Kwan and Sun Ji, p. 494, no. 336.

332

333 A GOLD HAIRNET ORNAMENT, DIANSHI Qing dynasty Skillfully worked in delicate filigree technique to display three bats surrounding clouds and encircled by auspicious ruyi cloud scrolls, backed by wires and four central ruyi collars soldered with two thin tubes for attachment.

2 1/8 x 2 7/8in (5.4 x 7.3cm) US$3,000 - 5,000 清 祥雲蝙蝠紋金鈿飾一件

333

Hair ornaments with sumptuous filigree design were favored during the Qing dynasty. They were often attached to a wire and silk-woven hairnet called ‘dianzi’ worn by females in elite families. A piece such as the present example may have originally had inlay work of kingfisher feather.

For discussion and additional examples of gold filigree hair ornaments used to decorate dianzi, refer to Chinese Gold Ornaments by Simon Kwan and Sun Ji (Hong Kong: Muwen Tang Fine Art Publication Ltd., 2003), p. 106, and pp. 546-547, pl. 184.

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334

334 A PAIR OF GEMSTONE-INLAID GOLD EARRINGS, ERHUAN Late Ming/early Qing dynasty Each modeled in the shape of two blossoms below a butterfly-like design, the inlaid cabochons of green and pink tourmaline and pearl bead set within high collars, surrounded by delicate and layered filigree work resembling chrysanthemum petals, mounted with an elaborate S-shaped pin.

1 5/8in (4.1cm) long excluding pin (2).

US$4,000 - 5,000 明末清初 金鑲寶蝶趕菊耳環一對 The earring style of the present example was favored by the Ming Imperial Family and is similar to those found in the Mausoleum of Ding Ling according to Zhongguo (Beijing: 1989), pl. 126.

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Compare a pair of almost identical earrings with inlaid precious stones，each designed as two chrysanthemum heads arranged vertically below a butterfly, unearthed from the Zou Lingren Cemetery from the Ming dynasty in Jiangyin, Jiangsu Province illustrated in Zhongguo Gudai Jinyin Shoushi, Yang Zhishui (Beijing: Gugong, 2014), vol. 2, p. 613, pl. 6.18.1 & 6.18.2. See also similar earrings with shorter pins, dated to the Yuan dynasty, illustrated in Adornment for the Body and Soul, Ancient Chinese Ornaments from the Mengdiexuan Collection, Emma C. Bunker and Julia M. White with Jenny F. So (Hong Kong, the University of Hong Kong Museum Society, 1999), p.

293, pl. 135, and in Celestial Creations, Art of the Chinese Goldsmith, The Cheng Xun Tang Collection (Hong Kong: Art Museum, Institute of Chinese Studies, The Chinese University of Hong Kong 2007), Part II, pp. 454–455, no. G59.

335 A GOLD ‘DRAGON’ BRACELET, SHOUZHUO Qing dynasty, 18th/19th century The hollowed bracelet designed with two confronting dragons, the inner side of the shank left plain, and stamped with a maker’s cartouche, reading ‘Deyuan’, the exterior with meticulously chased details depicting the scaly body of the creature undulating through clouds, each dragon head with a wide open mouth, revealing its teeth and tongue, its mane rendered in densely incised lines.

Outer diameter: 3 1/8in (7.9cm) Inner diameter: 2 5/8in (6.7cm) US$8,000 - 12,000 清 十八/十九世紀 雙龍首金手鐲一支 Yang Zhishui cites in Zhongguo Gudai Jinyin Shoushi（Beijing: Gugong, 2014） that bracelets with dragon head ends can trace their origin to the Yuan dynasty, saw development through the Ming dynasty, and provided inspiration to later bracelets in the Qing dynasty (vol. 2, p.635).

Compare similar examples illustrated in Collection of Beijing Palace Museum (Beijing, 1992), pl. 263, and in Celestial Creations, Art of the Chinese Goldsmith, The Cheng Xun Tang Collection (Art Museum, The Institute of Chinese Studies, The Chinese University Hong Kong 2007), Part II, pp. 628–629, no. H65.

335 (detail) 潤廬品金 ELEGANT EMBELLISHMENTS

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336

336 A PAIR OF GOLD EARRINGS AND FOUR GOLD ORNAMENTS Gold earrings: Qing dynasty, 19th century Each earring constructed as a large blossom with three layers of granulated balls suspending a flower-decorated crescent and teardrop-shaped leaves, the reverse of the bloom mounted with a loop, holding a thin curving pin; the bird-shaped ornaments each portrayed as a goose in flight rendered with a hollowed body and outstretched wings with hammered and pinched details, and pierced at one end for mounting.

Earrings: 1 5/8in (4.1cm) long excluding pin ‘Bird’ ornaments: 1 1/4 x 1 1/4in (3.2 x 3.2cm) (6).

US$4,000 - 6,000 瓔珞花卉半月紋金耳環一對及飛雁鳴春金飾四枚 金耳環：清 十九世紀 The subject matter of the earrings suggests that the pair could be made for the Muslim community.

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337

337 A PAIR OF OPENWORK GOLD BEADS Liao dynasty Each of spherical profile, formed by twelve curvilinear loops and two circular rings connected together with tiny granulated beads.

1/2 x 3/4 x 5/8in (1.4 x 1.9 x 1.6cm) dimensions of each (2).

US$2,000 - 3,000 遼 金項珠兩枚 Gold beads such as these would be used in necklace during the Liao dynasty.

Compare a group of five similar gold beads illustrated in Adornment for the Body and Soul, Ancient Chinese Ornaments from the Mengdiexuan Collection, Emma C. Bunker and Julia M. White with Jenny F. So (Hong Kong, the University of Hong Kong Museum Society, 1999), p. 237, pl. 104. See also Chinese Gold Ornaments, Simon Kwan and Sun Ji (Hong Kong: Muwen Tang Fine Art Publication Ltd., 2003), pp. 366-367, pl. 217.

338

338 A PAIR OF TWISTED GOLD BRACELETS, QIANZHUO 19th century or later Of penannular form, each executed from a solid strand of gold, finished in a twisted rope design.

2 7/8in (7.3cm) wide (2).

US$8,000 - 12,000 十九世紀或晚期 金紐絲鉗鐲一對 Bracelets with similar design but carved from jade were also fashionable during the Qing dynasty. Compare a white jade rope-twist bangle, dated to the 18th century, sold in our Hong Kong rooms, 28 May 2019, sale 25664, lot 83.

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339

339 A GOLD AND AMBER HAIRPIN, BAOTOULIAN ZAN 18th/19th century The slender needle-shaped shaft topped with a carved amber finger citron held by layered ruyi collars and floral design finely worked in filigree technique, all above an open lotus.

6 5/8in (16.8cm) long overall US$3,000 - 5,000 十八/十九世紀 金纍絲嵌琥珀佛手抱頭蓮簪一件 A group of similarly designed hairpins has been identified and the applied design is described as baoshi baotoulian. They belong to the zan hairpin style category, characterized with a tapering thin shaft and crowned with a bead, carved or plain, held by flower petals. The overall design is both simple and lively. Two examples from this category are recorded and illustrated in Zhongguo Gudai Jinyin Shoushi, Yang Zhishui (Beijing: Gugong, 2014), vol. 3, pp. 826-827, pl. 8.42.1 & pl.

8.42.2: one excavated from a Qing dynasty tomb in Chifeng, Inner Mongolia, the other in the Collection of the Forbidden City Museum.

340

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Similar hairpins had also been excavated from Ming burial sites.

Compare a closely related example illustrated in Chinese Gold Ornaments, Simon Kwan and Sun Ji (Hong Kong: Muwen Tang Fine Art Publication Ltd., 2003), p. 483, pl. 323. See also a group of hairpins of this type from the Carl Kempe Collection, dated to the Ming dynasty, illustrated in Chinese Gold and Silver in the Carl Kempe Collection by Bo Gyllensvärd (Stockholm, 1953), p. 120, pl. 60, 61, & 62.

341

340 AN AMBER PLAQUE 10th-14th century The brilliant orange red amber carved with the Hehe twins standing together under a broad lotus leaf.

2 x 1 5/8in (5.1 x 4.2cm) US$3,000 - 4,000 十至十四世紀 琥珀刻人物飾件一枚 For a lengthy discussion and numerous examples of the role of carved amber decorations in the Liao dynasty, see Emma Bunker et al Adornment for the Body and Soul: Ancient Chinese Ornaments from the Mengdiexuan Collection (Hong Kong: The Univ. Museum and Art Gallery, 1999), pp. 152-201. Though most of the examples discussed are of plants or animals, there is a figural group of demons reminiscent of the present lot published as plate 193.

341

341 A WHITE JADE-MOUNTED SILVER BOX Late Qing dynasty The thin box of ruyi head outline, its exterior incised with pleasant leafy flowers, the underside stamped ‘CHINA’, ‘STERLING’, and an undecipherable mark, the hinged cover mounted with a conforming white jade plaque carved in openwork depicting flowers and longtailed birds flanking a double-happiness character above an auspicious bat.

4 3/16in (10.6cm) wide US$5,000 - 7,000 晚清 嵌雙喜白玉鎖如意銀盒一件

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342 A PAIR OF GOLD ‘DRAGON-FISH’ EARRINGS, ERHUAN Qing dynasty Each hollowed dragon fish carefully rendered in pierced openwork and spiraling wire, the fins and tails in repoussé work, with an open mouth, spiky back, its lower chin suspending a curving wire and topped with a tiny lobed tray probably meant to hold a pearl.

1 5/8in (4.1cm) wide (2).

US$2,000 - 3,000 清 纍絲魚化龍金耳環一對

342

The Chinese word for fish ‘yu’ is identical in pronunciation to that of abundance, making the image a rebus for wealth. The design of the earrings is based on the Chinese interpretation of the sign Capricorn (mojie) itself derived from the Hindu makara (sea dragon) and absorbed into the Chinese repertory through the influence of the invading Hunnish tribes of Xiongnu, one of the ancestral tribes of the later Liao Dynasty.

Earrings in dragon-fish form appeared in many varieties during the Qing dynasty. Qing examples can be distinguished from the earlier periods by virtue of their spiky back, openwork body and the decorative clouds.

Compare dragon-fish earrings illustrated in Chinese Gold Ornaments, Simon Kwan and Sun Ji (Hong Kong: Muwen Tang Fine Art Publication Ltd., 2003), p. 551, pl. 386, and from the Betty Lo and Kenneth Chu Collection, illustrated in Adornment for Eternity (Denver Art Museum, 1994), White J.M and Bunker E.C., P. 158, pl.71.

343 A PAIR OF GOLD ‘BAT’ EARRINGS, ERQIAN Qing dynasty Each decorated with a carefully cut and chased bat soldered to the flattened hoop with beaded edges that narrows to a wire pin for threading through the earlobe.

1 1/8in (2.8cm) diameter (2).

US$2,000 - 3,000 清 蝙蝠紋金耳鉗一對 Yang Zhishui states in Zhongguo Gudai Jinyin Shoushi (Beijing: Gugong, 2014) that during the Qing dynasty a new style of earrings came in fashion, known as erqian (vol. 3, p. 842). A erqian is a type of hoop earring without a pendant; any decorative design is being applied directly to the hoop.

Compare a similar pair of Qing dynasty gold earrings with a bat design illustrated in Chinese Gold Ornaments, Simon Kwan and Sun Ji, (Hong Kong: Muwen Tang Fine Art Publication Ltd., 2003), p. 533, pl. 371.

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343

344

344 A PAIR OF GOLD BRACELETS, QIANZHUO Liao dynasty style Of oval C-form, each made from a gold strip narrowing to paired snake head termini, the exterior finished with two banded ridges framing a slightly raised belt incised with flowers and leaf scrolls against a ground filled with small punched circles resembling the scaly body of a snake.

2 7/8in (7.3cm) wide (2).

US$9,000 - 12,000 遼代風格 蛇形花紋金鉗鐲一對 Compare Liao bracelets similar to the present example, published in Adornment for the Body and Soul: Ancient Chinese Ornaments from the Mengdiexuan Collection, Emma C. Bunker and Julia M. White with Jenny F. So (Hong Kong, the University of Hong Kong Museum Society, 1999), p. 236.

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345 TWO GOLD HAIRPINS, ZAN Late Qing dynasty Including a bianzan made in the shape of a flat weaving shuttle, the central waist un-decorated, separating four registers of chased flowers on each side, curving toward two double-gourd finials, the underside with two cartouche marks, reading ‘Yuzhen’, and ‘zujin’ (pure gold); the second a dingzan hairpin with a tapering shaft widening and curving to one end, decorated with the image of an additional hairpin and framed with granulated bands.

3 1/2 and 2 1/8in ((8.9 and 5.4cm) long (2).

US$2,000 - 3,000 晚清 花紋金簪兩件

345

Both bianzan and dingzan were distinctive types of hairpin widely used by women during the Qing dynasty. bianzan was used to underpin the hairdo, whilst dingzan was applied vertically to strengthen and stabilize the chignon.For more information and illustrated examples of this type, refer to Zhongguo Gudai Jinyin Shoushi, Yang Zhishui (Beijing: Gugong, 2014), vol. 3, pp. 798-800. Compare also a similar gold bianzan with a floral design, illustrated in Chinese Gold Ornaments by Simon Kwan and Sun Ji (Hong Kong: Muwen Tang Fine Art Publication Ltd., 2003), p. 526, pl. 365.

346 A PAIR OF GOLD ‘LANTERN’ EARRINGS, ERHUAN Ming dynasty style Each hollowed earring made by skillfully folding a beaten gold sheet into two globular sections with faceted sides, and mounted between delicate lotus petals, the base rendered as a lotus pod with tiny openings, with an elaborate S-shaped pin pulling from the top layers of a flower head and leaves.

1 1/2in (3.8cm) high excluding pin (2).

US$4,000 - 6,000 明式 燈籠形金耳環一對 Lantern-form earrings are discussed by Yang Zhishui in Zhongguo Gudai Jinyin Shoushi (Beijing: Gugong, 2014), vol.2, p. 626 and p.629.

See two elaborately designed lantern-form gold earrings illustrated in vol. 3, p. 849, pl. 8.63.1 and pl. 8.63.2. Compare also a pair of gold and crystal lantern-form earrings from the Ming dynasty, presented as lot 356 in this sale.

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346

347

347 A PAIR OF GOLD ‘DRAGON’ HAIRPINS, TONGZAN Qing dynasty The head of each dynamic dragon rendered in intricate pierced work and delicate wiring, and crowned with a silver-gray pearl between a pair of scrolling horns, its hollowed, elongated body serving as the pin, executed in a repetitive openwork pattern.

5 3/4in (14.7cm) long (2).

US$5,000 - 7,000 清 纍絲龍首紋金通簪一對 Simon Kwan and Sun Ji suggest in Chinese Gold Ornaments (Hong Kong: Muwen Tang Fine Art Publication Ltd., 2003) that openwork ‘dragon’ hairpins with hollowed shaft were fashionable during the Ming and Qing dynasties. This hairpin style is known as tongzan (p. 564).

For further discussion and illustrated examples of this type, refer to Zhongguo Gudai Jinyin Shoushi, Yang Zhishui (Beijing: Gugong, 2014), vol. 3, pp. 828-829.

Compare also, related examples in Celestial Creations, Art of the Chinese Goldsmith, The Cheng Xun Tang Collection Part 11 (Art Museum, The Institute of Chinese Studies, The Chinese University, Hong Kong. 2007), pp. 572–573, no. H29, and in Collection of Beijing Capital Museum (Beijing 2004), pl. 272.

347 (detail)

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348

348 A GOLD BRACELET, QIANZHUO Liao dynasty Hammered from a strip of gold, the C-shaped bracelet gently tapering toward each end, and terminated in a carefully rolled scroll, the outer side with three conforming ribs, enclosing two bands of delicately engraved acanthus leaves against a typical punched background.

2 3/4in (7cm) wide US$4,000 - 6,000 遼 花紋金鉗鐲一支

349

A slightly more elaborate pair of this general shape from the Liao dynasty was published in Emma Bunker et al Adornment for the Body and Soul: Ancient Chinese Ornaments from the Mengdiexuan Collection (Hong Kong: The University Museum and Art Gallery, 1999), p236.

Compare also, a Liao bracelet similar to the present example illustrated in Chinese Gold Ornaments by Simon Kwan and Sun Ji (Hong Kong: Muwen Tang Fine Art Publication Ltd., 2003), pp. 382-383, pl. 231.

Kwan and Sun suggest that the Liao continued stylistic developments dating to the Tang dynasty. See the Tang prototypes published in Zhongguo Gudai Jinyin Shoushi, Yang Zhishui (Beijing: Gugong, 2014), vol. 1, p. 129.

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350

349 A PAIR OF GOLD ‘DOUBLE-GOURD’ EARRINGS, ERHUAN Ming dynasty style The two rounded sections separated by a small, pearled ring at its waist, and hammered into eight panels to the side walls, each framing chased scrolling patterns, the base of the gourd decorated with a cash design, the top capped by a lotus leaf with a long S-shaped stem cleverly serving as the pin.

3/4in (1.9cm) high excluding pin (2).

US$2,000 - 3,000

350 A GOLD BRACELET，QIANZHUO Ming dynasty or later The shank of the simple C-shaped bracelet gently widening toward two nail-form termini.

3 3/16in (8.1cm) wide US$8,000 - 12,000 明或晚期 金鉗鐲一支

明式 葫蘆形金耳環一對 The double-gourd motif carries many important, auspicious meanings in the Chinese culture including fertility, immortality, prosperity and high social status. The image appears in many forms of art throughout the Chinese history.

Yang Zhishui states in Zhongguo Gudai Jinyin Shoushi (Beijing: Gugong, 2014) that the gourd-form earrings are a commonly seen design during the Ming dynasty. Such design was developed from the Yuan dynasty prototype (vol. 1, pp. 601-609).

Examples of related form are seen in Adornment for the Body and Soul, Ancient Chinese Ornaments from the Mengdiexuan Collection, Emma C. Bunker et. al. (Hong Kong, the University of Hong Kong Museum Society, 1999), pp. 282-283, pl. 124 & 125. Compare also a pair of gold ‘double-gourd’ ear pendants from the Carl Kempe Collection, sold at Sotheby’s, Hong Kong, 11 April 2008, lot 2324,

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Property of Various Owners

351 A SMALL SILVER ‘LOTUS’ BOWL Song/Yuan dynasty The deep bowl finely formed as a graceful open lotus, its gently sloping side walls carefully indented and cut out to present eight lotus petals rising from a circular foot ring, enclosing a skillfully rendered blossom well fitted in the floor of the bowl and on the base.

1 1/2in (3.8cm) high US$5,000 - 7,000 351

宋/元 蓮花小銀碗一件 Although no other identical examples of this type have been recorded, bowls and cups designed in an open flower shape appear to have been popular during the Song and Yuan dynasties.

Compare a gold bowl cut out in the form of an open chrysanthemum, published and illustrated in the exhibition catalog Imperial Gold from Ancient China, Christian Deydier (London, Oriental Bronzes Ltd., 1990), p. 42, pl. 14. Refer also to a parcel gilt flower-form silver cup, dated to the Song dynasty and reminiscent of the present example, illustrated in Ancient Chinese Gold, Han Wei and Chritian Deydier (Paris, Les Editions D’art et D’histoire, 2001), p. 183, pl. 456.

A more elaborate silver cup in the form of a lotus flower is known in the Zhejiang Museum Collection in Jiangsu province. In addition, floriform is an important design motif that often appears on ceramics from both the Song and Yuan dynasties.

351 (detail)

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352 A FINE GOLD ‘FLOWER’ HAIRPIN, CHAI Southern Song dynasty The tapering shafts of the two-tined hairpin richly decorated to the upper portion in high relief with various flowers and leaves against a punched ground, all above bands of vertical lappets and triangle patterns, the top finished with an oval chrysanthemum blossom detailed with tiered radiating petals.

7 7/8in (20cm) long US$8,000 - 12,000 南宋 花紋雙股金釵一件 Compare a pair of gold hairpins from the Southern Song dynasty, illustrated in Adornment for Eternity, Julia M. White and Emma C. Bunker (Denver Art Museum, 1994), p. 184, no. 96. In the exhibition catalog, the authors refer similar hairpins, excavated from a Southern Song tomb in a suburb of Fuzhou, published and illustrated in Wenwu (Beijing, 1977, issue no. 7), p. 10, pl. 29. Another example published in Wenwu 1984, issue no. 5, p. 83, pl. 5.

352

See also two closely related gold hairpins illustrated in Celestial Creations, Art of the Chinese Goldsmith: The Cheng Xun Tang Collection, Vol. I (Hong Kong, 2007), pp. 184-185, no. D03, and three smaller gold hairpins illustrated in Chinese Gold Ornaments, Simon Kwan and Sun Ji, (Hong Kong: Muwen Tang Fine Art Publication Ltd., 2003) pp. 396-397, no. 242.

352 (detail)

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353 A PAIR OF AMBER AND GOLD EARRINGS， ERHUAN Liao dyansty, circa 1100 Each crafted with an ovoid bead formed by gold curvilinear loops housing a gold bauble suspended from a long wire threading through an amber and a fluted gold bead, and terminating into a U-shaped hook.

1 3/8in (3.5cm) long excluding pin (2).

US$5,000 - 7,000 遼 約十一世紀前後 金珠琥珀耳環一對

354 A PAIR OF GOLD AND CARNELIAN EARRINGS, ERZHUI Ming dynasty, 16th/17th century Each designed with a carnelian flower bud capped with gilt silver work decorated with two pairs of opposing flower heads inset with small gemstone beads, probably garnets, and topped with a plum flower blossom with a long curving stem threading through a small loop, serving as the pin.

1 3/8in (3.5cm）long excluding pin (2).

US$6,000 - 8,000 明 十六/十七世紀 紅玉髓花心金耳墜一對

354

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355

355 A PAIR OF GOLD CUPS Ming dynasty, circa 1600 The side walls carefully hammered into eight lobes, rising from a slightly flayed foot ring, and finished with a conforming, rolled lip rim.

1 3/8 in (3.5cm) diameter 2 1/2 in (6 cm) high (2).

US$25,000 - 35,000 明 約十六世紀前後 花瓣形金杯一對 Compare a related example of a single gold cup published and illustrated in The Art of the Chinese Goldsmith, The Cheng Xun Tang Collection (Hong Kong: Art Museum, Institute of Chinese Studies, The Chinese University Hong Kong, 2007), part II, pp. 518 – 519, no. G99.

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356 A PAIR OF GOLD AND CRYSTAL EARRINGS， ERHUAN Ming dynasty, 16th century Composed of two faceted orbs of rock crystal mounted in a petalled lantern crest and cap, suspended from U-shaped gold clasps.

1in (2.54cm) long excluding pin US$8,000 - 12,000 明 十六世紀 燈籠形金穿水晶耳環一對 Lantern-form earrings are discussed in detail by Yang Zhishui in Zhongguo Gudai Jinyin Shoushi (Beijing: Gugong, 2014), vol.2, p. 626 and p. 629. This format of earrings was also made in other materials, including jade and gold combination, pearl and gold combination, or solid gold during the Ming dynasty. Compare a jade and gold filigree lantern-form earring unearthed from a Ming tomb in Lanzhou, Gansu Province, illustrated in vol. 3, p. 1067, pl.6.29.1.

See also a closely related pair of earrings in Chinese Gold Ornaments, Simon Kwan and Sun Ji (Hong Kong: Muwen Tang Fine Arts Publications Ltd, 2003), p.508, no.348, #4.

356

357 A PAIR OF GOLD EARRINGS，ERQIAN Late Ming/early Qing dynasty Of penannular-form, each designed as a pair of dragons facing each other with a pearl balanced between them.

7/8in (2.2cm) long US$2,000 - 3,000 明末清初 雙龍戯珠金耳鉗一對 For a closely related pair, see Simon Kwan and Sun Li Chinese Gold Ornaments （Hong Kong: Muwen Tang Fine Arts Publications Ltd, 2003), p. 551, no. 387, and The Art of the Chinese Goldsmith, The Cheng Xun Tang Collection. (Hong Kong: Art Museum, Institute of Chinese Studies, The Chinese University Hong Kong, 2007), part II, p.

464, #G66.

357

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358

358 A GOLD PERFUME HOLDER, POMANDER Song/Jin dynasty, 11th/12th century Crafted from a sheet of gold, pierced and decorated in repoussé and chasing technique, the teardrop-shaped container composed of two halves with one side fitting tightly into the other, meant to hold fragrant leaves or scented material and to be suspended from either a belt or attached to a shawl.

3 3/8in (8.5cm) high US$10,000 - 15,000 宋/金 十一/十二世紀 鏤空金香薰盒一件 Compare similar examples published in Adornment for Eternity (Denver Art Museum, 1994) by Julia M. White and Emma C. Bunker. p 186, no. 98, and in Adornment for the Body and Soul, Ancient Chinese Ornaments from the Mengdiexuan Collection (Hong Kong: The university Museum and Art Gallery, The University of Hong Kong, 1999), Emma C. Bunker, Julia M. White, and Jenny F. So, p. 289 no.131.

See also a pomander excavated from a woman’s tomb in Nanjing in 1980 published in Wenwu (Beijing: 1982.3), pl. 3 no. 1, and in Zhongguo meishu quanji (Beijing: Renmin Meishu Chubanshe, 1988) by Yang Boda, vol. 10, p. 41, pls. 86 & 87.

A gold pendant of similar form decorated in openwork with a phoenix and peony design, excavated in 1980 from a Northern Song tomb at Mufushan, Nanjing, and now in the collection of the Nanjing Museum, is illustrated in Compendium of Chinese Works of Art, Arts and Crafts 10: Gold, Silver, Glass, and Cloisonné (Beijing: 1987), p. 41, nos. 86 and 87, with description on p. 25, where the author states that this type of pendant was worn on a silk cord or necklace and used as a pomander.

Another similar gold ‘twin phoenix’ pendant is illustrated in the catalogue of the special exhibition organized by the Art Museum of the Chinese University of Hong Kong, entitled Celestial Creations, Art of the Chinese Goldsmith: The Cheng Xun Tang Collection, (Hong Kong: 2007), Vol. I, pp. 224–225, described as a scarf pendant and attributed to the Song dynasty.

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359 A PAIR OF FILIGREE EARRINGS, ERQIAN Qing dynasty, 18th century Each composed of intricate floral filigree surface in a gold frame mounted at one end with a bat and flower terminal centered with a small ruby cabochon.

1 1/8in (2.8cm) high US$6,000 - 8,000 清 十八世紀 金纍絲嵌寳蝙蝠紋耳鉗一對 For a closely related pair, see Chinese Gold Ornaments (Hong Kong: Muwen Tang Fine Arts Publications Ltd., 2003), Simon Kwan and Sun Li, pp. 548-549, # 385, and in The Art of the Chinese Goldsmith, The Cheng Xun Tang Collection (Hong Kong: Art Museum, Institute of Chinese Studies, The Chinese University Hong Kong, 2007), part II, pp.610 – 611, #H53.

359

360 AN ELABORATE GOLD HAIRPIECE Qing dynasty, 18th century Consisting of twelve chains of pomegranate and fruit suspended from an elaborate hair piece of flowers, birds and cloud scrolls rendered from fine gold wires joined to a two-prong pin.

5 1/2in (13.3cm) long US$12,000 - 18,000 清 十八世紀 吉祥花果紋金發飾一件

360

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BONHAMS

361

361 A PAIR OF GOLD PHOENIX HAIRPINS， FENGCHAI 10th-14th century Each bird with uplifted wings and long tail plumage, standing on a flower-head platform issuing from a curving stem splitting into two prongs through a rolled leaf with indented detail.

5 1/4in (13.3cm) long

361 (detail)

US$30,000 - 40,000 十至十四世紀 綉羽鳴春金釵一對 Yang Zhishui states in Zhongguo Gudai Jinyin Shoushi (Bejing: Gugong, 2014) that some decorative designs on gold jewelry during the Song and Yuan dynasties could be inspired by known paintings or embroidery work. Among the examples given in the book is a hairpin decorated with a long-tailed bird on a flower-head excavated from a Yuan tomb in Hunan province, comparable to the present example.

These bird images seem to closely echo the motif depicted in an embroidery work from the Song dynasty now in the Palace Museum Collection. (vol. 3., p. 912, pl. 9.18 & pl. 919).

361 (detail)

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362 A FINE AND RARE GOLD ‘PHOENIX’ HEADBAND Mid-late Qing dynasty The deeply arched band cleverly designed as three hinged segments, decorated with graceful lotus flowers framed by fine openwork borders, the top of the band adorned with nine carefully rendered models of phoenix worked in filigree technique, the back of each phoenix inset with a ruby cabochon and a pearl, its wings skillfully wired to create a dynamic effect, separated by eight pleasant blossoms each with layered filigree petals and surmounted with a central pearl bead. dimensions??

US$180,000 - 220,000 清中晚期 嵌珍珠寶石金鳳冠一件 While there appear to be no published examples of this type, the superb quality of the hairpiece suggests use by the Imperial Court; the subject matter suggests it was made for informal use or used most likely by a bride during the wedding ceremony or for important court event. The symbol of the phoenix was associated with the Empress.

In the official portrait of the Empress Xiaozhuangwen (1613 -1688) she is seen to be wearing a differently designed crown decorated with phoenix each holding pearls.

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AUTUMN 2020 ONLINE EXHIBITION September 17 through October 4

asiaweekny.com

Images of Devotion Hong Kong | 5 October, 2020

ENQUIRIES Hong Kong +852 2918 4321 Edward.wilkinson@bonhams.com

New York +1 (917) 206 1688 Mark.rasmussen@bonhams.com +1 (917) 206 1620 Doris.jinhuang@bonhams.com bonhams.com/himalayan

* Prices shown include buyer’s premium. Details can be found at bonhams.com

A GILT COPPER ALLOY FIGURE OF AVALOKITESVARA YUAN DYNASTY, 14TH CENTURY 14 cm (5 1/2 in.) high HK$3,500,000 - 4,500,000 *

Fine Japanese Art New Bond Street, London | 5 November 2020

ENQUIRIES London +44 (0) 20 7468 8368 suzannah.yip@bonhams.com

New York +1 (212) 461 6516 jeff.olson@bonhams.com bonhams.com/japaneseart

* For details of the charges payable in addition to the final hammer price, please visit bonhams.com/buyersguide

A RARE TRIPOD NABESHIMA LARGE DISH WITH CHERRY BLOSSOMS AND WAVE DESIGN Edo period (1615-1868), late 17th/early 18th century £20,000 - 30,000 *

Conditions of sale The following Conditions of Sale, as amended by any published or posted notices or verbal announcements during the sale, constitute the entire terms and conditions on which property listed in the catalog shall be offered for sale or sold by Bonhams & Butterfields Auctioneers Corp. and any consignor of such property for whom Bonhams acts as agent. By participating in this sale, you agree to be bound by these terms and conditions.

If live online bidding is available for the subject auction, additional terms and conditions of sale relating to online bidding will apply; see www.bonhams.com/WebTerms for the supplemental terms. As used herein, “Bonhams,” “we” and “us” refer to Bonhams & Butterfields Auctioneers Corp.

1.

As used herein, the term “bid price” means the price at which a lot is successfully knocked down to the buyer.

The term “purchase price” means the aggregate of (a) the bid price, (b) a PREMIUM retained by us and payable by the buyer (the “buyer’s premium”), EQUAL TO 27.5% OF THE FIRST $3,000 OF THE BID PRICE, 25% OF THE AMOUNT OF THE BID PRICE ABOVE $3,000 UP TO AND INCLUDING $400,000, 20% OF THE AMOUNT OF THE BID PRICE ABOVE $400,000 UP TO AND INCLUDING $4,000,000, AND 13.9% OF THE AMOUNT OF THE BID PRICE OVER $4,000,000, and (c) unless the buyer is exempt by law from the payment thereof, any Alabama, Arizona, California, Colorado, Connecticut, Florida, Georgia, Hawaii, Idaho, Illinois, Iowa, Indiana, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Michigan, Minnesota, Mississippi, Nebraska, Nevada, New Jersey, New York, North Carolina, Ohio, Oklahoma, Pennsylvania, Rhode Island, South Carolina, Texas, Utah, Virginia, Washington, D.C., Washington state, West Virginia, Wisconsin, Wyoming or other state or local sales tax (or compensating use tax) and other applicable taxes. With regard to New York sales tax, please refer to the “Sales and Use Tax” section of these Conditions of Sale.

2.

In order to bid at the sale, prospective bidders must submit to Bonhams a completed bidder registration form (appearing at the end of this catalog) and any other requested information or references. New bidders and bidders who have not recently updated their registration information must pre-register to bid at least two business days before the sale. Individuals will be required to provide government-issued proof of identity and proof of address.

Entity clients will be required to provide documentation including confirmation of entity registration showing the registered name, confirmation of registered address, documentary proof of officers and beneficial owners, proof of authority to transact on behalf of the entity and governmentissued proof of identity for the individual who is transacting on the entity’s behalf.

We may also request a financial reference and /or deposit from bidders before approving the bidder registration. In the event a deposit is submitted and you are not the successful bidder, your deposit will be returned to you. If you are the successful bidder, any such deposit will be credited to offset the appropriate portion of the purchase price.

We reserve the right to request further information, including regarding the source of funds, in order to complete bidder identification and registration procedures (including completing any anti-money laundering and/or anti-terrorism financing checks we may require) to our satisfaction. If our bidder identification and registration procedures are not satisfied, we may, in our sole discretion, decline to register any bidder or reject any bid or cancel any sale to such bidder.

Every bidder shall be deemed to act as a principal unless prior to the commencement of the sale there is a written acceptance by Bonhams of a bidder registration form completed and signed by the principal which clearly states that the authorized bidding agent is acting on behalf of the named principal. Absent such written acceptance by Bonhams, any person placing a bid as agent on behalf of another (whether or not such person has disclosed that fact or the identity of the principal) may be jointly and severally

liable with the principal under any contract resulting from the acceptance of a bid. Every bidder shall be responsible for any use of its assigned paddle or bidding account, regardless of the circumstances.

3.

You represent and warrant that: (i) you have provided us with true and correct copies of valid identification and proof of residence and, if applicable, financial and/ or corporate documents; (ii) neither you, your principal (if applicable, and subject to Bonhams’ prior written acceptance pursuant to paragraph 2 above), nor any individual or entity with a beneficial or ownership interest in either or in the purchase transaction is on the Specially Designated Nationals List maintained by the Office of Foreign Assets Control of the U.S. Department of the Treasury nor subject to any other sanctions or embargo program or regulation in effect in the United States, European Union, England and Wales, or other applicable jurisdictions; (iii) if you are acting as an agent for a principal, you have conducted appropriate due diligence into such principal, and agree that Bonhams shall be entitled to rely upon such due diligence, you will retain adequate records evidencing such due diligence for a period of five (5) years following the consummation of the sale, and will make these records available for inspection upon Bonhams’ request; (vi) neither the purchase transaction (including your bidding activity) nor the purchase funds are connected with nor derive from any criminal activity, and they are not designed to nor have they or shall they, violate the banking, anti-money laundering, or currency transfer laws or other regulations (including without limitation, import-export laws) of any country or jurisdiction, or further any other unlawful purpose, including without limitation collusion, anti-competitive activity, tax evasion or tax fraud.

You acknowledge and agree that we may rely upon the accuracy and completeness of the foregoing warranties.

4.

On the fall of the auctioneer’s hammer, the highest bidder shall have purchased the offered lot in accordance and subject to compliance with all of the conditions set forth herein and (a) assumes full risk and responsibility therefor, (b) if requested will sign a confirmation of purchase, and (c) will pay the purchase price in full or such part as we may require for all lots purchased. No lot may be transferred.

Unless otherwise agreed, payment in good, cleared funds is due and payable within five (5) business days following the auction sale. Whenever the buyer pays only a part of the total purchase price for one or more lots purchased, we may apply such payments, in our sole discretion, to the lot or lots we choose. Payment will not be deemed made in full until we have received good, cleared funds for all amounts due.

Title in any purchased property will not pass until full and final payment has been received by Bonhams. Accounts must be settled in full before property is released to the buyer. In the event property is released earlier, such release will not affect the passing of title or the buyer’s obligation to timely remit full payment.

We reserve the right to refuse to accept payment from a source other than the registered bidder or buyer of record.

Once an invoice is issued, we cannot change the buyer’s name on an invoice.

Payment for purchases must be made in the currency in which the sale is conducted and may be made in or by (a) cash, up to the amount of US $5,000 (whether by single or multiple related payments), or the equivalent in the currency in which the sale is conducted, (b) cashier’s check or money order, (c) personal check with approved credit drawn on a U.S. bank, (d) wire transfer or other immediate bank transfer, or (e) Visa, MasterCard, American Express or Discover credit, charge or debit card, provided that the registered bidder or buyer’s name is printed on the card. A processing fee will be assessed on any returned checks.

To the fullest extent permitted by applicable law, the buyer grants us a security interest in the property, and we may retain as collateral security for the buyer’s obligations to us, any property and all monies held or received by us for the

account of the buyer, in our possession. We also retain all rights of a secured party under the California Commercial Code, and you agree that we may file financing statements without your signature. If the foregoing conditions or any other applicable conditions herein are not complied with, in addition to all other remedies available to us and the consignor by law, we may at our election: (a) hold the buyer liable for the full purchase price and any late charges, collection costs, attorneys’ fees and costs, expenses and incidental damages incurred by us or the consignor arising out of the buyer’s breach; (b) cancel the sale, retaining as liquidated damages all payments made by the buyer; and/ or (c) cancel the sale and/or resell the purchased property, at public auction and/or by private sale, and in such event the buyer shall be liable for the payment of all consequential damages, including any deficiencies or monetary losses, and all costs and expenses of such sale or sales, our commissions at our standard rates, all other charges due hereunder, all late charges, collection costs, attorneys’ fees and costs, expenses and incidental damages. In addition, where two or more amounts are owed in respect of different transactions by the buyer to us, to Bonhams 1793 Limited and/or to any of our other affiliates, subsidiaries or parent companies worldwide within the Bonhams Group, we reserve the right to apply any monies paid in respect of a transaction to discharge any amount owed by the buyer.

If all fees, commissions, premiums, bid prices and other sums due to us from the buyer are not paid promptly as provided in these Conditions of Sale, we reserve the right to impose a finance charge equal to 1.5% per month (or, if lower, the maximum nonusurious rate of interest permitted by applicable law), on all amounts due to us beginning on the 31st day following the sale until payment is received, in addition to other remedies available to us by law.

5.

We reserve the right to withdraw any property and to divide and combine lots at any time before such property’s auction. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the catalog and no lots shall be divided or combined for sale.

6.

We reserve the right to reject a bid from any bidder, to split any bidding increment, and to advance the bidding in any manner the auctioneer may decide. In the event of any dispute between bidders, or in the event the auctioneer doubts the validity of any bid, the auctioneer shall have sole and final discretion either to determine the successful bidder, re-open the bidding, or to cancel the sale and re-offer and resell the article in dispute. If any dispute arises after the sale, our sales records shall be conclusive in all respects.

We further reserve the right to cancel the sale of any property if (i) you are in breach of your representations and warranties as set forth in paragraph 3 above; (ii) we, in our sole discretion, determine that such transaction might be unlawful or might subject Bonhams or the consignor to any liability to any third party; or (iii) there are any other grounds for cancellation under these Conditions of Sale.

7.

If we are prevented by fire, theft or any other reason whatsoever from delivering any property to the buyer or a sale otherwise cannot be completed, our liability shall be limited to the sum actually paid therefor by the buyer and shall in no event include any compensatory, incidental or consequential damages.

8.

All lots in the catalog are offered subject to a reserve unless otherwise indicated in the catalog. The reserve is the confidential minimum bid price at which such lot will be sold and it does not to exceed the low estimate value for the lot. If a lot is offered subject to a reserve, we may implement such reserve by bidding on behalf of the consignor, whether by opening bidding or continuing bidding in response to other bidders until reaching the reserve. If we have an interest in an offered lot and the proceeds therefrom other than our commissions, we may bid up to the reserve to protect such interest. If the auctioneer determines that any opening or subsequent bid is below the reserve for a lot, (s)he may reject such opening bid and withdraw the item from sale.

NY/MAIN/7.2020

Conditions of sale - continued CONSIGNORS ARE NOT ALLOWED TO BID ON THEIR OWN ITEMS. 9.

Other than as provided in the Limited Right of Rescission with respect to identification of authorship, all property is sold “AS IS” and any statements contained in the catalog or in any advertisement, bill of sale, announcement, condition report, invoice or elsewhere as to period, culture, source, origin, media, measurements, size, quality, rarity, provenance, importance, exhibition and literature of historical relevance, merchantability, fitness for a particular purpose, or physical condition ARE QUALIFIED STATEMENTS OF OPINION AND NOT REPRESENTATIONS, WARRANTIES, OR ASSUMPTION OF LIABILITY. Neither Bonhams nor the consignor shall be responsible for any error or omission in the catalog description of any property. No employee or agent of Bonhams is authorized to make on our behalf or on that of the consignor any representation or warranty, oral or written, with respect to any property.

10. All purchased property shall be removed from the premises at which the sale is conducted by the date(s) and time(s) set forth in the “Buyer’s Guide” portion of this catalog.

If not so removed, daily storage fees will be payable to us by the buyer as set forth therein. We reserve the right to transfer property not so removed to an offsite warehouse at the buyer’s risk and expense, as set forth in more detail in the “Buyer’s Guide.” Packing and handling of purchased lots are the responsibility of the buyer and at the buyer’s entire risk, as are the identification, application for, and cost(s) of obtaining of any necessary export, import, restricted material (e.g. endangered species) or other permit for such lots.

For an additional fee, Bonhams may provide packing and shipping services for certain items as noted in the “Buyer’s Guide” section of the catalog.

11. The copyright in the text of the catalog and the photographs, digital images and illustrations of lots in the catalog belong to Bonhams or our licensors. You will not reproduce or permit anyone else to reproduce such text, photographs, digital images or illustrations without our prior written consent. Bonhams and the consignor make no representation or warranty as to whether the buyer acquires any copyrights on the purchase of an item of Property.

12. Bonhams may, in our discretion, as a courtesy and free of charge, execute bids on your behalf if so instructed by you, provided that neither Bonhams nor our employees or agents will be liable for any error or default (whether human or otherwise) in doing so or for failing to do so. Without limiting the foregoing, Bonhams (including our agents and employees) shall not be responsible for any problem relating to telephone, online, or other bids submitted remotely through any means, including without limitation, any telecommunications or internet fault or failure, or breakdown or problems with any devices or online platforms, including third-party online platforms, regardless of whether such issue arises with our, your, or such third-party’s technology, equipment, or connection.

By participating at auction by telephone or online, bidders expressly consent to the recording of their bidding sessions and related communications with Bonhams and our employees and agents, and acknowledge their acceptance of these Conditions of Sale as well as any additional terms and conditions applicable to any such bidding platform or technology.

13. These Conditions of Sale shall bind the successors and assigns of all bidders and buyers and inure to the benefit of our successors and assigns. No waiver, amendment or modification of the terms hereof (other than posted notices or oral announcements during the sale) shall bind us unless specifically stated in writing and signed by us. No act or omission of Bonhams, its employees or agents, nor any failure thereof to exercise any remedy hereunder, shall operate or be deemed to operate as a waiver of Bonhams’ rights under these Conditions of Sale. If any part of these Conditions of Sale is for any reason invalid or unenforceable, the rest shall remain valid and enforceable.

14. These Conditions of Sale and the buyer’s and our respective rights and obligations hereunder shall be governed by and construed and enforced in accordance with the laws of the State of California. Any dispute, controversy or claim arising out of or relating to this agreement, or the breach, termination or validity thereof, brought by or against Bonhams (but not including claims brought against the consignor by the buyer of lots consigned hereunder) shall be resolved by the procedures set forth below.

15. You accept and agree that Bonhams will hold and process your personal information and may share and use it as required by law and as described in, and in line with Bonhams’ Privacy Policy, available at website at www. bonhams.com/legals/. If you desire access, update, or restriction to the use of your personal information, please email data.protection@bonhams.com.

SALES AND USE TAX New York sales tax is charged on the hammer price, buyer’s premium and any other applicable charges on any property collected or delivered in New York State, regardless of the state or country in which the buyer resides or does business.

Buyers who make direct arrangements for collection by a shipper who is considered a “private” or “contract” carrier by the New York Department of Taxation and Finance will be charged New York sales tax, regardless of the destination of the property. Property collected for delivery to a destination outside of New York by a shipper who is considered a “common carrier” by the New York Department of Taxation and Finance (e.g. United States Postal Service, United Parcel Service, and FedEx) is not subject to New York sales tax, but if it is delivered into any state in which Bonhams is registered or otherwise conducts business sufficient to establish a nexus, Bonhams may be required by law to collect and remit the appropriate sales tax in effect in such state. Property collected for delivery outside of the United States by a freightforwarder who is registered with the Transportation Security Administration (“TSA”) is not subject to New York sales tax.

MEDIATION AND ARBITRATION PROCEDURES (a) Within 30 days of written notice that there is a dispute, the parties or their authorized and empowered representatives shall meet by telephone and/or in person to mediate their differences. If the parties agree, a mutually acceptable mediator shall be selected and the parties will equally share such mediator’s fees. The mediator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling mediations.

Any communications made during the mediation process shall not be admissible in any subsequent arbitration, mediation or judicial proceeding. All proceedings and any resolutions thereof shall be confidential, and the terms governing arbitration set forth in paragraph (c) below shall govern. (b) If mediation does not resolve all disputes between the parties, or in any event no longer than 60 days after receipt of the written notice of dispute referred to above, the parties shall submit the dispute for binding arbitration before a single neutral arbitrator. Such arbitrator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling arbitrations. Such arbitrator shall make all appropriate disclosures required by law. The arbitrator shall be drawn from a panel of a national arbitration service agreed to by the parties, and shall be selected as follows: (i) If the national arbitration service has specific rules or procedures, those rules or procedures shall be followed; (ii) If the national arbitration service does not have rules or procedures for the selection of an arbitrator, the arbitrator shall be an individual jointly agreed to by the parties. If the parties cannot agree on a national arbitration service, the arbitration shall be conducted by the American Arbitration Association, and the arbitrator shall be selected in accordance with the Rules of the American Arbitration Association. The arbitrator’s award shall be in writing and shall set forth findings of fact and legal conclusions.

(c) Unless otherwise agreed to by the parties or provided by the published rules of the national arbitration service: (i) the arbitration shall occur within 60 days following the selection of the arbitrator; (ii) the arbitration shall be conducted in the designated location, as follows: (A) in any case in which the subject auction by Bonhams took place or was scheduled to take place in the State of New York or Connecticut or the Commonwealth of Massachusetts, the arbitration shall take place in New York City, New York; (B) in all other cases, the arbitration shall take place in the city of San Francisco, California; and (iii) discovery and the procedure for the arbitration shall be as follows: (A)

All arbitration proceedings shall be confidential;

(B) The parties shall submit written briefs to the arbitrator no later than 15 days before the arbitration commences; (C) Discovery, if any, shall be limited as follows: (I) Requests for no more than 10 categories of documents, to be provided to the requesting party within 14 days of written request therefor; (II) No more than two (2) depositions per party, provided however, the deposition(s) are to be completed within one (1) day; (III) Compliance with the above shall be enforced by the arbitrator in accordance with California law; (D) Each party shall have no longer than eight (8) hours to present its position. The entire hearing before the arbitrator shall not take longer than three (3) consecutive days; (E) The award shall be made in writing no more than 30 days following the end of the proceeding. Judgment upon the award rendered by the arbitrator may be entered by any court having jurisdiction thereof.

To the fullest extent permitted by law, and except as required by applicable arbitration rules, each party shall bear its own attorneys’ fees and costs in connection with the proceedings and shall share equally the fees and expenses of the arbitrator.

LIMITED RIGHT OF RESCISSION If within one (1) year from the date of sale, the original buyer (a) gives written notice to us alleging that the identification of Authorship (as defined below) of such lot as set forth in the BOLD TYPE heading of the catalog description of such lot (as amended by any saleroom notices or verbal announcements during the sale) is not substantially correct based on a fair reading of the catalog (including the terms of any glossary contained therein), and (b) within 10 days after such notice returns the lot to us in the same condition as at the time of sale, and (c) establishes the allegation in the notice to our satisfaction (including by providing one or more written opinions by recognized experts in the field, as we may reasonably require), then the sale of such lot will be rescinded and, unless we have already paid to the consignor monies owed him in connection with the sale, the original purchase price will be refunded.

If, prior to receiving such notice from the original buyer alleging such defect, we have paid the consignor monies owed him in connection with the sale, we shall pay the original buyer the amount of our commissions, any other sale proceeds to which we are entitled and applicable taxes received from the buyer on the sale and make demand on the consignor to pay the balance of the original purchase price to the original buyer. Should the consignor fail to pay such amount promptly, we may disclose the identity of the consignor and assign to the original buyer our rights against the consignor with respect to the lot the sale of which is sought to be rescinded. Upon such disclosure and assignment, any liability of Bonhams as consignor’s agent with respect to said lot shall automatically terminate.

The foregoing limited right of rescission is available to the original buyer only and may not be assigned to or relied NY/MAIN/7.2020

Conditions of sale - continued upon by any subsequent transferee of the property sold.

The buyer hereby accepts the benefit of the consignor’s warranty of title and other representations and warranties made by the consignor for the buyer’s benefit. Nothing in this section shall be construed as an admission by us of any representation of fact, express or implied, obligation or responsibility with respect to any lot. THE BUYER’S SOLE AND EXCLUSIVE REMEDY AGAINST BONHAMS FOR ANY REASON WHATSOEVER IS THE LIMITED RIGHT OF RESCISSION DESCRIBED IN THIS SECTION. “Authorship” means only the identity of the creator, the period, culture and source or origin of the lot, as the case may be, as set forth in the BOLD TYPE heading of the print catalog entry. The right of rescission does not extend to: (a) works of art executed before 1870 (unless these works are determined to be counterfeits created since 1870), as this is a matter of current scholarly opinion which can change; (b) titles, descriptions, or other identification of offered lots, which information normally appears in lower case type below the BOLD TYPE heading identifying the Authorship; (c) Authorship of any lot where it was specifically mentioned that there exists a conflict of specialist or scholarly opinion regarding the Authorship of the lot at the time of sale; (d) Authorship of any lot which as of the date of sale was in accordance with the then generally-accepted opinion of scholars and specialists regarding the same; or (e) the identification of periods or dates of creation in catalog descriptions which may be proven inaccurate by means of scientific processes that are not generally accepted for use until after publication of the catalog in which the property is offered or that were unreasonably expensive or impractical to use at the time of such publication.

LIMITATION OF LIABILITY EXCEPT AS EXPRESSLY PROVIDED ABOVE, ALL PROPERTY IS SOLD “AS IS.” NEITHER BONHAMS NOR THE CONSIGNOR MAKES ANY REPRESENTATION OR WARRANTY, EXPRESS OR IMPLIED, AS TO THE MERCHANTABILITY, FITNESS OR CONDITION OF THE PROPERTY OR AS TO THE CORRECTNESS OF DESCRIPTION, GENUINENESS, ATTRIBUTION, PROVENANCE OR PERIOD OF THE PROPERTY OR AS TO WHETHER THE BUYER ACQUIRES ANY COPYRIGHTS OR OTHER INTELLECTUAL PROPERTY RIGHTS IN LOTS SOLD OR AS TO WHETHER A WORK OF ART IS SUBJECT TO THE ARTIST’S MORAL RIGHTS OR OTHER RESIDUAL RIGHTS OF THE ARTIST. THE BUYER EXPRESSLY ACKNOWLEDGES AND AGREES THAT IN NO EVENT SHALL BONHAMS BE LIABLE FOR ANY DAMAGES INCLUDING, WITHOUT LIMITATION, ANY COMPENSATORY, INCIDENTAL OR CONSEQUENTIAL DAMAGES. IN NO EVENT SHALL THE AGGREGATE LIABILITY OF BONHAMS AND ITS CONSIGNOR TO A PURCHASER EXCEED THE PURCHASE PRICE ACTUALLY PAID FOR A DISPUTED ITEM OF PROPERTY.

Seller’s guide SELLING AT AUCTION

CONSIGNING YOUR PROPERTY

ESTATE SERVICES

Bonhams can help you every step of the way when you are ready to sell art, antiques and collectible items at auction.

Our regional offices and representatives throughout the US are available to service all of your needs. Should you have any further questions, please visit our website at www. bonhams.com/us for more information or call our Client Services Department at +1 (212) 644 9001.

After you receive an estimate, you may consign your property to us for sale in the next appropriate auction. Our staff assists you throughout the process, arranging transportation of your items to our galleries (at the consignor’s expense), providing a detailed inventory of your consignment, and reporting the prices realized for each lot. We provide secure storage for your property in our warehouses and all items are insured throughout the auction process. You will receive payment for your property approximately 35 days after completion of sale.

Since 1865, Bonhams has been serving the needs of fiduciaries – lawyers, trust officers, accountants and executors – in the disposition of large and small estates.

Our services are specially designed to aid in the efficient appraisal and disposition of fine art, antiques, jewelry, and collectibles. We offer a full range of estate services, ranging from flexible financial terms to tailored accounting for heirs and their agents to world-class marketing and sales support.

Sales commissions vary with the potential auction value of the property and the particular auction in which the property is offered. Please call us for commission rates.

For more information or to obtain a detailed Trust and Estates package, please visit our website at www. bonhams.com/us or contact our Client Services Department.

AUCTION ESTIMATES The first step in the auction process is to determine the auction value of your property. Bonhams’ world-renowned specialists will evaluate your special items at no charge and in complete confidence. You can obtain an auction estimate in many ways: • Attend one of our Auction Evaluation Events held regularly at our galleries and in other major metropolitan areas. The updated schedule for Bonhams Auction Evaluation Events is available at www.bonhams.com/us.

• Call our Client Services Department to schedule a private appointment at one of our galleries. If you have a large collection, our specialists can travel, by appointment, to evaluate your property on site.

• Send clear photographs to us of each individual item, including item dimensions and other pertinent information with each picture. Photos should be sent to Bonhams’ address in envelopes marked as “photo auction estimate”.

Alternatively, you can submit your request using our online form at www.bonhams.com/us. Digital images may be attached to the form. Please limit your images to no more than five (5) per item.

PROFESSIONAL APPRAISAL SERVICES Bonhams’ specialists conduct insurance and fair market value appraisals for private collectors, corporations, museums, fiduciaries and government entities on a daily basis. Insurance appraisals, used for insurance purposes, reflect the cost of replacing property in today’s retail market.

Fair market value appraisals are used for estate, tax and family division purposes and reflect prices paid by a willing buyer to a willing seller.

When we conduct a private appraisal, our specialists will prepare a thorough inventory listing of all your appraised property by category. Valuations, complete descriptions and locations of items are included in the documentation.

Appraisal fees vary according to the nature of the collection, the amount of work involved, the travel distance, and whether the property is subsequently consigned for auction.

Our appraisers are available to help you anywhere and at any time. Please call our Client Services Department to schedule an appraisal.

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Buyer’s guide BIDDING & BUYING AT AUCTION Whether you are an experienced bidder or an enthusiastic novice, auctions provide a stimulating atmosphere unlike any other. Bonhams previews and sales are free and open to the public. As you will find in these directions, bidding and buying at auction is easy and exciting. Should you have any further questions, please visit our website at www.bonhams.com or call our Client Services Department at +1 (212) 644 9001.

parties present in the saleroom, from telephone bidders, and from absentee bidders who have left written bids in advance of the sale. The auctioneer may also execute bids on behalf of the consignor by placing responsive or consecutive bids for a lot up to the amount of the reserve, but never above it.

Catalogs Before each auction we publish illustrated catalogs. Our catalogs provide descriptions and estimated values for each “lot.” A lot may refer to a single item or to a group of items auctioned together. The catalogs also include the dates and the times for the previews and auctions. We offer our catalogs by subscription or by single copy. For information on subscribing to our catalogs, you may refer to the subscription form in this catalog, call our Client Services Department, or visit our website at www.bonhams.com/us.

In Person If you are planning to bid at auction for the first time, you will need to register at the reception desk in order to receive a numbered bid card. To place a bid, hold up your card so that the auctioneer can clearly see it. Decide on the maximum auction price that you wish to pay, exclusive of buyer’s premium and tax, and continue bidding until your bid prevails or you reach your limit. If you are the successful bidder on a lot, the auctioneer will acknowledge your paddle number and bid amount.

Previews Auction previews are your chance to inspect each lot prior to the auction. We encourage you to look closely and examine each object on which you may want to bid so that you will know as much as possible about it. Except as expressly set forth in the Conditions of Sale, items are sold “as is” and with all faults; illustrations in our catalogs, website and other materials are provided for identification only. At the previews, our staff is always available to answer your questions and guide you through the auction process. Condition reports may be available upon request.

Estimates Bonhams catalogs include low and high value estimates for each lot, exclusive of the buyer’s premium and tax. The estimates are provided as an approximate guide to current market value based primarily on previous auction results for comparable pieces, and should not be interpreted as a representation or prediction of actual selling prices. They are determined well in advance of a sale and are subject to revision. Please contact us should you have any questions about value estimates.

Reserves Unless indicated by the ¤ symbol next to the lot number, which denotes no reserve, all lots in the catalog are subject to a reserve. The reserve is the minimum auction price that the consignor is willing to accept for a lot. This amount is confidential and does not exceed the low estimate value.

Auction House’s Interest in Property Offered at Auction On occasion, Bonhams may offer property in which it has an ownership interest in whole or in part or otherwise has an economic interest. Such property, if any, is identified in the catalog with a symbol next to the lot number(s).

Bonhams may also offer property for a consignor that has been guaranteed a minimum price for its property by Bonhams or jointly by Bonhams and a third party. Bonhams and any third parties providing a guarantee may benefit financially if the guaranteed property is sold successfully and may incur a financial loss if its sale is not successful. Such property, if any, is identified in the catalog with a symbol next to the lot number(s).

Bidding at Auction At Bonhams, you can bid in many ways: in person, via absentee bid, over the phone, or via Bonhams’ live online bidding facility. Absentee bids can be submitted in person, online, via fax or via email.

Valid Bonhams client accounts are required to participate in bidding activity. You can obtain registration information online, at the reception desk or by calling our Client Services Department.

By bidding at auction, whether in person or by agent, by absentee bid, telephone, online or other means, the buyer or bidder agrees to be bound by the Conditions of Sale.

Lots are auctioned in consecutive numerical order as they appear in the catalog. Bidding normally begins below the low estimate. The auctioneer will accept bids from interested

We assume no responsibility for failure to execute bids for any reason whatsoever.

Absentee Bids As a service to those wishing to place bids, we may at our discretion accept bids without charge in advance of auction online or in writing on bidding forms available from us. “Buy” bids will not be accepted; all bids must state the highest bid price the bidder is willing to pay. Our auction staff will try to bid just as you would, with the goal of obtaining the item at the lowest bid price possible. In the event identical bids are submitted, the earliest bid submitted will take precedence.

Absentee bids shall be executed in competition with other absentee bids, any applicable reserve, and bids from other auction participants. A friend or agent may place bids on your behalf, provided that we have received your written authorization prior to the sale. Absentee bid forms are available in our catalogs, online at www.bonhams.com/ us, at offsite auction locations, and at our San Francisco, Los Angeles and New York galleries.

Buyer’s Premium A buyer’s premium is added to the winning bid price of each individual lot purchased, at the rates set forth in the Conditions of Sale. The winning bid price plus the premium constitute the purchase price for the lot. Applicable sales taxes are computed based on this figure, and the total becomes your final purchase price.

Unless specifically illustrated and noted, fine art frames are not included in the estimate or purchase price. Bonhams accepts no liability for damage or loss to frames during storage or shipment.

All sales are final and subject to the Conditions of Sale found in our catalogs, on our website, and available at the reception desk.

Payment All buyers are asked to pay and pick up by 3pm on the business day following the auction. Payment may be made to Bonhams by cash, checks drawn on a U.S. bank, money order, wire transfer, or by Visa, MasterCard, American Express or Discover credit or charge card or debit card. All items must be paid for within 5 business days of the sale. Please note that payment by personal or business check may result in property not being released until purchase funds clear our bank. For payments sent by mail, please remit to Cashier Department, 220 San Bruno Avenue, San Francisco, CA 94103.

Sales Tax Residents of states listed in Paragraph 1 of the Conditions of Sale must pay applicable sales tax. Other state or local taxes (or compensation use taxes) may apply. Sales tax will be automatically added to the invoice unless a valid resale number has been furnished or the property is shipped via common carrier to destinations outside the states listed in the Conditions of Sale. If you wish to use your resale license please contact Cashiers for our form.

By Telephone Under special circumstances, we can arrange for you to bid by telephone. To arrange for a telephone bid, please contact our Client Services Department a minimum of 24 hours prior to the sale.

Shipping & Removal Bonhams can accommodate shipping for certain items.

Please contact our Cashiers Department for more information or to obtain a quote. Carriers are not permitted to deliver to PO boxes.

Online We offer live online bidding for most auctions and accept absentee bids online for all our auctions.

Please visit www.bonhams.com/us for details.

International buyers are responsible for all import/export customs duties and taxes. An invoice stating the actual purchase price will accompany all international purchases.

Bid Increments Bonhams generally uses the following increment multiples as bidding progresses: $50-200..............................................by $10s $200-500............................................by $20/50/80s $500-1,000.........................................by $50s $1,000-2,000.....................................by $100s $2,000-5,000.....................................by $200/500/800s $5,000-10,000…................................by $500s $10,000-20,000.................................by $1,000s $20,000-50,000.................................by $2,000/5,000/8,000s $50,000-100,000...............................by $5,000s $100,000-200,000.............................by $10,000s above $200,000.................................at auctioneer’s discretion

The auctioneer may split or reject any bid at any time at his or her discretion as outlined in the Conditions of Sale.

Currency Converter Solely for the convenience of bidders, a currency converter may be provided at Bonhams’ auctions. The rates quoted for conversion of other currencies to U.S. Dollars are indications only and should not be relied upon by a bidder, and neither Bonhams nor its agents shall be responsible for any errors or omissions in the operation or accuracy of the currency converter.

Collection of Purchases Please arrange for the packing and transport of your purchases prior to collection at our office. If you are sending a third party shipper, please request a release form from us and return it to +1 (212) 644 9009 prior to your scheduled pickup.

To schedule collection of purchases, please call +1 (212) 644 9001.

Handling and Storage Charges Please note that our office has requirement for freight elevator usage. Please contact us to schedule an elevator appointment for pickup of any large or awkward items. Thursday 24 Septemberoversized lots (noted as W next to the lot number and/or listed on page 63) will be sent to Door to Door Services where transfer and full value protection fees will be immediately applicable. Storage charges will begin accruing for any lots not collected within 5 business days of the date of auction. All other sold lot will be retained in Bonhams Gallery until Tuesday 19 October. Collection of lots will be by appointment only. Please call +1 (212) 644 9001 at least 24 hours in advance to make an appointment.

Storage charges of $5 per lot, per day will begin accruing for any lots not collected within 14 calendar days of the auction.

Bonhams Reserve the right to remove uncollected sold lots to the warehouse of our choice at the buyer’s risk and expense.

Further transfer, handling, storage and full value protection fees will apply if move to a warehouse of our choice.

Auction Results All you need is a touch-tone telephone and the lot number.

Auction results are usually available on the next business day following the sale or online at www.bonhams.com/us.

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Important notice to buyers COLLECTION & STORAGE AFTER SALE

HANDLING & STORAGE CHARGES

Please note that all oversized lots listed below and marked with a W in the catalogue will be removed to the warehouse of Door to Door Services herein referred to as Door To Door on Thursday 24 September. Lots not so listed will remain at Bonhams.

Please note: For sold lots removed to Door To Door there will be transfer and Full value protection charges but no storage charge due for lots collected by Tuesday 28 September. For sold lots that remain at Bonhams, there will be no storage charge for lots collected within 14 days of the sale date.

W LOTS WILL BE AVAILABLE FOR COLLECTION FROM DOOR TO DOOR BEGINNING AT 9AM ET ON

SEPTEMBER.

FRIDAY 25

Address Door To Door Services 50 Tannery Rd #8A Somerville, NJ 08876 Lots will be available for collection 24hrs following transfer to Door to Door every business day from 9am to 5pm ET. Collections appointments must be booked 24 hours in advance (subject to full payment of all outstanding amounts due to Bonhams and Door To Door) by contacting Door To Door at 1-908-707-0077 ext 2070

The per-lot charges levied by Door To Door Services are as follows (plus any applicable sales tax): FURNITURE/LARGE OBJECTS Transfer .................. $75 Daily storage........... $10 Insurance (on Hammer + Premium + tax) 0.3% SMALL OBJECTS Transfer ................. $37.50 Daily storage........... $5 Insurance (on Hammer + Premium + tax) 0.3% Please contact Michael Van Dyke at Door To Door +1 908 707 0077 ext 2070 +1 908 707 0011 (fax) quotes@dtdusa.com For more information and estimates on domestic and International shipping Please contact Michael Van Dyke at Door To Door +1 908 707 0077 ext 2070 +1 908 707 0011 (fax) quotes@dtdusa.com

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Auction Registration Form

(Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above.

Sale title:

Elegant Embellishments: Featuring the RenLu Collection

Sale date:

Paddle number (for office use only)

Sale no.

26224

Sale venue: New york

General Notice: This sale will be conducted in accordance with Bonhams Conditions of Sale, and your bidding and buying at the sale will be governed by such terms and conditions. Please read the Conditions of Sale in conjunction with the Buyer’s Guide relating to this sale and other published notices and terms relating to bidding.

Payment by personal or business check may result in your property not being released until purchase funds clear our bank. Checks must be drawn on a U.S. bank.

General Bid Increments: $10 - 200 .....................by 10s $200 - 500 ...................by 20 / 50 / 80s $500 - 1,000 ................by 50s $1,000 - 2,000 .............by 100s $2,000 - 5,000 .............by 200 / 500 / 800s $5,000 - 10,000 ...........by 500s

Notice to Absentee Bidders: In the table below, please provide details of the lots on which you wish to place bids at least 24 hours prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Buyer’s Guide in the catalog for further information relating to instructions to Bonhams to execute absentee bids on your behalf. Bonhams will endeavor to execute bids on your behalf but will not be liable for any errors or non-executed bids.

Notice to First Time Bidders: New clients are requested to provide photographic proof of ID - passport, driving license, ID card, together with proof of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their articles of association / company registration documents, together with a letter authorizing the individual to bid on the company’s behalf. Failure to provide this may result in your bids not being processed. For higher value lots you may also be asked to provide a bankers reference.

Notice to online bidders; If you have forgotten your username and password for www.bonhams.com, please contact Client Services.

If successful I will collect the purchases myself Please contact me with a shipping quote (if applicable) I will arrange a third party to collect my purchase(s) Please email or fax the completed Registration Form and requested information to: Bonhams Client Services Department 580 Madison Avenue New York, New York 10022 Tel +1 (212) 644 9001 Fax +1 (212) 644 9009 bids.us@bonhams.com

Type of bid (A-Absentee, T-Telephone)

Lot no.

September 21, 2020

$10,000 - 20,000 .........by 1,000s $20,000 - 50,000 .........by 2,000 / 5,000 / 8,000s $50,000 - 100,000 .......by 5,000s $100,000 - 200,000 .....by 10,000s above $200,000 ...........at the auctioneer’s discretion The auctioneer has discretion to split any bid at any time.

Customer Number

Title

First Name

Last Name

Company name (to be invoiced if applicable) Address City

County / State

Post / Zip code

Country

Telephone mobile

Telephone daytime

Telephone evening

Fax

Telephone bidders: indicate primary and secondary contact numbers by writing 1 or 2 next to the telephone number.

E-mail (in capitals) By providing your email address above, you authorize Bonhams to send you marketing materials and news concerning Bonhams and partner organizations. Bonhams does not sell or trade email addresses.

I am registering to bid as a private client

I am registering to bid as a trade client

Resale: please enter your resale license number here

We may contact you for additional information.

SHIPPING Shipping Address (if different than above): Address: _____________________________________

Country: _____________________________________

City: _________________________________________

Post/ZIP code: _________________________________

Please note that all telephone calls are recorded.

Brief description (In the event of any discrepancy, lot number and not lot description will govern.)

If you are bidding online there is no need to complete this section.

You instruct us to execute each absentee bid up to the corresponding bid amount indicated above.

MAX bid in US$ (excluding premium and applicable tax) Emergency bid for telephone bidders only*

* Emergency Bid: A maximum bid (exclusive of Buyer’s Premium and tax) to be executed

by Bonhams only if we are unable to contact you by telephone or should the connection be lost during bidding.

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE READ AND UNDERSTAND OUR CONDITIONS OF SALE AND SHALL BE LEGALLY BOUND BY THEM, AND YOU AGREE TO PAY THE BUYER’S PREMIUM, ANY APPLICABLE TAXES, AND ANY OTHER CHARGES MENTIONED IN THE BUYER’S GUIDE OR CONDITIONS OF SALE. THIS AFFECTS YOUR LEGAL RIGHTS. Your signature:

Date: NY/MAIN/07.17

Bonhams 580 Madison Avenue New York, NY 10022 +1 212 644 9001 bonhams.com AUCTIONEERS SINCE 1793